The Truth of Stories in Childhood Education

The Truth of Stories

• Literature in childhood education in Ibero-America has varied in curricula.
• Literary content was once secondary to language arts, focusing on literal interpretation and neglecting personal construction of meaning.
• Literary education in early childhood doesn't fit neatly into general educational terms.
• Overcoming academic demands can lead to a more joyful connection with books.
• "Storytime" fosters enchantment and emotional connection through stories and poems.
• Early childhood is a privileged space for enjoying the playful function of literary language through stories, songs, and games.
• Investigating the continuity between these early experiences and later literary learning is important.
• Childhood animism enhances interest in stories and songs.
• Literature is similar to symbolic play.
• Jesualdo Sosa (1973) believes that artistic games develop imagination and illusion.
• Stories allow children to understand that anything can happen, but they still recognize the difference between fiction and reality.
• The essence of literature lies in the implicit agreement between the writer and audience, regardless of genre.
• According to María Teresa Andruetto (2009), literary complicity applies to all literature, not just children's.

Stories and Songs From Your Mouth

• Literature uses connotative language for aesthetic pleasure.
• The ambiguity of literary language allows readers to appropriate and personalize the work.
• Umberto Eco (1987) states that "the text wants to leave the reader with interpretive initiative".
• When reading to young children, understanding all words isn't necessary.
• Gianni Rodari (2002) thinks the enchantment in stories comes from hearing a mother's voice and sensing her presence.
• This suggests a deeper connection beyond just linguistics, rooted in shared communication codes.
• Listening is the first step in developing a literary taste.
• Lullabies are the beginnings of future interpretive initiative.
• Federico García Lorca recognized lullabies as the essence of folk songs, with the poor woman's lullaby giving the rich child the essence of the country.
• Lullabies provide early exposure to literature through musicality and rhythm, much earlier than semantic understanding.
• Today, rocking and singing are not exclusive to women, with both parents sharing childcare responsibilities.
• Educators share experiences of children singing lullabies to comfort each other during rest time.
• Singing lullabies, even without words, can evoke a sense of ancient ritual.
• Children singing lullabies confirms that the outdated sexist idea that only women can nurture is thankfully outdated.
• A supportive educational environment fosters these expressions.
• Literature can be first introduced to kids before they develop reading skills.
• Before books with images and letters, there are lullabies, songs, and oral stories.

Formal and Informal Literature Mediators

• The limited presence of poetry in literary education is often observed.
• Pedagogical frameworks that have moved away from memorizing poems for patriotic events haven't found other ways to approach poetry.
• The role of poetry in early education needs a thorough review based on insights of María Elena Walsh (1976) and Josette Jolibert (1995).
• Known writers have affirmed the role of literature in their childhoods.
• Initial connections to literature are foundational for literary interest and personal experiences.
• The first mediators of literature are those who narrate, sing or read in family settings.
• The concept refers to those who guide and encourage the love of reading.
• It emphasizes poetry and the poetic dimension of language.
• Its origins can be traced back to oral storytelling.
• Non-formal literature mediation is linked to books given as gifts which shows affection.
• These gifts are valued and are tied to an emotional connection.
• Writers of children's literature serve as non-formal mediators through presentations at schools, libraries, and book fairs.
• These interactions foster connections and support children's appreciation for literature.
• Formal mediators are librarians and teachers.
• Both formal and non-formal mediators help children grow emotionally and socially through their interventions.
• Emotional intelligence (Goleman, 1996) includes empathy, self-awareness, overcoming obstacles, reading enjoyment, understanding diverse realities, and facing personal challenges.

The Place of the Reader and Mediation in Literature

• Reception theory acknowledges the reader's role in literature.
• It's important to consider children as critical readers not consumers.
• Quality literature offers aesthetic pleasure and avoids sexism, didacticism, and manipulation.
• Literary quality is often excluded by market-driven standards.
• Mediation requires critical and reflective adults.
• Teacher training needs to be updated with literary knowledge and curricula.
• According to CERLAC, mediators can introduce others to reading and the enjoyment of books.

Mediation in Educational Centers

• Approaching challenges in educational mediation involves recognizing the many contributing factors.
• Training and suitable methodologies are key.
• Stimulating literary engagement requires language-based activities such as word games, nonsense, oral narration, and the use of puppets.
• Introducing graphic sequences, songs, poems, and riddles are essential for developing reading habits and enjoyment.
• A proactive reading habit is promoted when children can easily access books.
• Understanding animation in literature is needed for helping future readers.
• Curriculum development related to reading and writing skills often overshadows reading for pleasure.
• Teresa Colomer (1998) talks about developing literary reading habits in children by teaching them stories, poems, and books that match their interests.
• It is important to establish a love for reading early in schooling by encouraging it and creating projects based around it.
• The vital question is whether literature is important in childhood.
• The answers, practices and projects depend on the pedagogical paradigm.
• Meaningful reading habits are those motivated by interest and taste.
• Reading should come from inner motivation, not external pressure.
• Daniel Pennac (1993) says "The verb to read does not accept the imperative".
• Award winning children's literature writers value its contribution to cultural identity.
• The acknowledgement of literary works that target kids makes childhood a right.
• The practicality and methods to produce new passionate readers are a work in progress.

Educational Policies Supporting Children's Books

• Access to literature is a right that should be guaranteed by educational policies.
• Uruguay's "Uruguay Grows with You" program began in 2012 with UNICEF support.
• The program supports good parenting in lower-income families by giving newborns a welcome kit that includes books by local authors.
• Plan Ceibal has provided laptops with internet to pupils in all of Uruguay's public schools
• In 2008 there was the addition of Artistic Knowledge to the Initial and Primary Education Program which included literature, theater, visual arts, music, and expression.
• In 2014, the Council for Initial and Primary Education created the Institute of In-Service Training.
• Since 2014, the courses have targeted educators in both initial and primary levels, emphasizing disciplinary knowledge and reflection on the educator's role in mediating literary reading.
• The National Reading Plan has also added books to childhood centers also offering educators courses and guide books for families.
• Educational policies recognize needs of each country.

Children's Literature and its Intergenerational Nature

• Literature is a powerful tool that fosters social and creative development.
• Current neuroscience research shows that intergenerational experiences focused on fun shared activities benefit both kids and adults.
• Adults have few meaningful moments as literature is a start for kids.
• The concept of "mediator" is thought about in a socio-affective way- not just book wise.
• The terms fruitful, fermental, and formative are the driving forces in intergenerational links.
• Not one person should lead these connections, but should always be mutual, bringing together both the adult and child.
• Approaching children’s books is an adult competency.
• What comes from that book is shared as adults decide what role they will carry out.
• Children may be mediators as they help adults recover the joy of listening to the magic of storytelling.
• The best way to retrieve that feeling is through kids.
• Mediators of literature should allow children to go into the word's space, tying it with people as dreamers.
• Dora Isella Russell writes, "They believe I take the child by the hand / and it is the child who takes my hand."
• All stories that are read is an opportunity and can be a deep intergenerational bond.