ABSTRACT
Resumen Existe consenso en la literatura acerca de la importancia del andamiaje del adulto en el desarrollo de la cognición y, particularmente, de las habilidades lingüísticas de los niños (Bruner, 1986; Nelson, 1996; Vygotsky, 1978). En este sentido, el presente trabajo tuvo por objetivo examinar la incidencia de la intervención del adulto, según su metodología de enseñanza, en el desempeño narrativo de niños de primer grado. Para ello, se evaluó el rendimiento en una tarea de recuento de relatos de dos grupos de niños que concurrían a primer grado en escuelas del distrito de Quito que sostenían una metodología diferente: mientras que una de ellas se atenía exclusivamente a los lineamientos del diseño curricular planteado por el Ministerio de Educación, en la otra se incorporaban, además, estrategias de los libros Letras y sonidos I (Jara de Torres, 2001) y Aprendo y escribo (Jara de Torres, 2003) -adaptados de la propuesta integral de la editorial Abeka- y principalmente se recurría a la lectura dialógica y a la enseñanza explícita de habilidades de producción de relatos. Se analizaron las narrativas producidas por los niños a principio y a fin de año y se comparó el desempeño de ambos grupos atendiendo tanto a la cantidad de información recuperada como al tipo de información y los recursos lingüísticos puestos en juego. Se observaron diferencias significativas en las variables mencionadas, lo cual brinda evidencia acerca de la incidencia positiva de la lectura dialógica y la enseñanza de habilidades de producción de relatos en el desarrollo narrativo.
Abstract There is a consensus in the literature about the importance of adult scaffolding in the development of children's cognition and language skills (Bruner, 1986; Nelson, 1996; Vygotsky, 1978). This document analyzes first grade children's narrative development in order to verify the incidence of adult intervention and teaching methodology. For this purpose, the performance of two groups of children enrolled in first grade of school in the district of Quito was analyzed. Two different teaching methodologies were observed: while one of them exclusively adheres to the guidelines of the curriculum design proposed by the Ministry of Education, the other one incorporates strategies from the books Letters and Sounds I (Jara de Torres, 2001) and Learn and Write I (Jara de Torres, 2003) -adapted from the proposal by editorial Abeka. The narratives performed by the children at the beginning and at the end of the school year were analyzed and each performance of both groups was compared based on the amount of information retrieved and the type of information and linguistic resources used. The stories were presented to the children in audiovisual format (steady images and recorded voice). For task administration, the children were instructed to listen and look at the story very carefully because they had to recount it to a friend or family member. The children's remarks were recorded on audio for later analysis. Descriptive and inferential statistical methods were used in order to analyze and compare the linguistic and cognitive performance in the production of stories of the two groups of children in the different evaluation. Significant differences were observed in the variables analyzed, which provides evidence about the positive incidence of dialogic reading and the teaching of story production skills in narrative development. Differences in the performance of schools, especially in first graders, cannot be attributed to maturational factors since both groups are conformed by children of the same chronological age. Neither by the socioeconomic factors, since, in fact, group A was composed of children who attend a rural school and most of them happened to have low resources. Therefore, the significant improvement in the performance of the children of group A at the end of the school year could be attributed to the intervention of their teacher's work. It is thought that this advance in retell story skills is due to an improvement in the understanding of the basic story, however there are studies that observe that the level reached in this process does not directly affect the quality of children's narrative performance (Bustos Ibarra et al., 2014). In consequence, the improvement in the children's narrative performance of group A can be linked not only to the work carried out by the teachers with texts but also to the situations of story production involved. Many investigations have observed that adult scaffolding during story reading has a positive effect on children's linguistic and discursive development (Sénechal, Le Fevre, Hudson & Lawson, 1996; Trabasso & Nickels, 1992; Wasik & Bond, 2001; West et al., 2021). In fact, as Wells (1988) points out in a pioneering study, while reading stories contributes to children's linguistic development, the parallel text generated by teachers through their interventions to explain vocabulary, make inferences explicit, relate events and post-reading reconstruction has shown a greater effect than just reading any kind of story aloud. Thereupon, the results obtained in this work show the relevance not only of the teacher's texts daily reading but, mainly, of the intervention strategies and methodologies that they use to promote comprehension and textual production in the classroom.
ABSTRACT
A análise com adolescentes implica mudanças no tratamento psicanalítico que favorecem uma nova experiência compartilhada entre paciente e analista, no qual dois inconscientes se comunicam e se transformam reciprocamente dentro de um campo bipessoal. Consideramos que o elemento fundamental da transformação é a disponibilidade da analista para acolher as diferentes modalidades de comunicação (ações, enactment, desenho, rêverie) que foram construídas graças à adesão ao setting analítico e à pessoa da analista que se deixou usar pela adolescente. No contato com o medo e a impotência de um pensamento vazio de representações, pode acontecer que o agir da analista funcione como socorro, como remédio à urgência, e que forneça uma saída; trata-se de algo que não se encontra ali para ser decodificado, mas que está à espera de uma rêverie e de um desenvolvimento narrativo. Como numa cena de teatro, os desenhos conferem figurabilidade aos conflitos, às emoções, às lembranças evocadas na consulta e tornam acessível a entrada do novo e do não representável.
Analyzing adolescents demands changes in the psychoanalytic technique which foster a new shared experience where two unconscious communicate and transform one another inside a bi-personal field. We consider that the key transforming element is the analyst willingness to take in the many communications modalities (actions, enactment, drawing, rêverie) which is possible to be constructed due to the compliance to the analytic setting and to the person of the analyst that allows the adolescent to use her. In contact with fear and with the helplessness of thoughts void of representations, the acts of the analyst may work as rescue, as emergency remedy, and provide an exit: it is something that is not there to be undecoded, but which is rather waiting for a rêverie and for a narrative development. As it is in the theatre, drawings attribute figurability to the conflicts, to the emotions, to the memories evoked during the session and turn it possible to access the new and the unrepresentable.
El análisis con adolescentes implica cambios en el tratamiento psicoanalítico que favorecen una nueva experiencia compartida entre paciente y analista, en el que dos inconscientes se comunican y se transforman recíprocamente dentro de un campo bipersonal. Consideramos que el elemento fundamental de la transformación es la disponibilidad de la analista para acoger las distintas modalidades de comunicación (acciones, enactment, dibujo, rêverie) que se construyeron gracias a la adhesión al setting analítico y a la persona de la analista que se dejó usar por la adolescente. En el contacto con el miedo y la impotencia de un pensamiento vacío de representaciones, puede pasar que el actuar de la analista funcione como socorro, como remedio a la urgencia, y que suministre una salida; se trata de algo que no se encuentra allí para ser descodificado, pero que está a la espera de una rêverie y de un desarrollo narrativo. Como en una escena de teatro, los dibujos confieren figurabilidad a los conflictos, a las emociones, a los recuerdos evocados en la consulta y vuelven accesible la entrada de lo nuevo y de lo no representable.