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Remixed Recipes and Mimicked Mentor Texts: Reading Young Children's Play(Giarism) as Complex Scenes of Early Writing

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Title: Remixed Recipes and Mimicked Mentor Texts: Reading Young Children's Play(Giarism) as Complex Scenes of Early Writing
Language: English
Authors: Jon M. Wargo (ORCID 0000-0001-9100-9091)
Source: Early Childhood Education Journal. 2025 53(6):1905-1914.
Availability: Springer. Available from: Springer Nature. One New York Plaza, Suite 4600, New York, NY 10004. Tel: 800-777-4643; Tel: 212-460-1500; Fax: 212-460-1700; e-mail: customerservice@springernature.com; Web site: https://link.springer.com/
Peer Reviewed: Y
Page Count: 10
Publication Date: 2025
Document Type: Journal Articles
Reports - Research
Descriptors: Emergent Literacy, Beginning Writing, Young Children, Writing Processes, Play, Plagiarism
DOI: 10.1007/s10643-024-01751-4
ISSN: 1082-3301
1573-1707
Abstract: Questioning the common practice of treating texts as property that can be stolen and instead exploring the social and rhetorical dimensions that define what is owned (and what is not), as well as what can be taken and appropriated, I drew on data from a yearlong qualitative investigation of young children writing with technology to interrogate how one young child's scene of play(giarism) can be rendered as consequential writing. Entering this work from a sociocultural perspective wherein literacy learning is intersubjective, findings highlight the descriptive contexts wherein individuality came to intersect with the politics of social belonging and academic obligation. Realizing individual freedoms through contesting compositional forms, play(giarism) meshes personal ways of being and knowing with the doing of (and sometimes disciplining from) others.
Abstractor: As Provided
Entry Date: 2025
Accession Number: EJ1479625
Database: ERIC
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  Value: <anid>AN0187189975;5mx01aug.25;2025Aug11.03:06;v2.2.500</anid> <title id="AN0187189975-1">Remixed Recipes and Mimicked Mentor Texts: Reading Young Children's Play(Giarism) as Complex Scenes of Early Writing </title> <p>Questioning the common practice of treating texts as property that can be stolen and instead exploring the social and rhetorical dimensions that define what is owned (and what is not), as well as what can be taken and appropriated, I drew on data from a yearlong qualitative investigation of young children writing with technology to interrogate how one young child's scene of play(giarism) can be rendered as consequential writing. Entering this work from a sociocultural perspective wherein literacy learning is intersubjective, findings highlight the descriptive contexts wherein individuality came to intersect with the politics of social belonging and academic obligation. Realizing individual freedoms through contesting compositional forms, play(giarism) meshes personal ways of being and knowing with the doing of (and sometimes disciplining from) others.</p> <p>Keywords: Literacy; Play; Multimodal composition; Writing; Studies in Human Society Sociology</p> <p>Copyright comment Springer Nature or its licensor (e.g. a society or other partner) holds exclusive rights to this article under a publishing agreement with the author(s) or other rightsholder(s); author self-archiving of the accepted manuscript version of this article is solely governed by the terms of such publishing agreement and applicable law.</p> <p>"Shake your arms fast and shake them slowly. C'mon, everybody, do the guacamole. Guac, guac, guacamole, guacamole, yeah!" Yliana, a small 8-year-old child with big eyes and expressive eyebrows, sang this song in the pseudo-style and heightened voice of Elmo, a Sesame Street character who marks this chant when helping the Queen of Nacho Picchu search for a large dip for her big tortilla chip in a segment entitled "Elmo the Musical." "Are you off task?" Mrs. O'Toole, Yliana's teacher, asked. "It's her inspiration," Clayton, a 7-year-old peer, replied. "Yeah," Yliana echoed, "it's my inspiration for my cookbook! I'm going to give it to Elmo." "You should do your own work, Yliana," Mrs. O'Toole demanded. "Stop playing.</p> <p>Organizing my exploration around these ideas of play and compositional originality, I drew on and recovered those child-produced artifacts, commonly referred to as "off-task texts," during my yearlong investigation into young children writing with technology. By "off-task texts," I mean those created under the radar (see Wohlwend, [<reflink idref="bib33" id="ref1">33</reflink>]) and which subvert what we may read as school-sanctioned norms for writerly composition. More specifically, in reanimating them here, I asked,</p> <p></p> <ulist> <item> How do young children navigate the perceived parameters of schooled writing through their production of off-task texts?</item> <p></p> <item> When understood as complex scenes of play(giarism), what might these texts teach us about early literacy? How might we understand play(giarism) as an interactional accomplishment?</item> </ulist> <p>I worked from the examples featured here not to privilege particular forms, functions, or genres, but because I believe they help us understand how these scenes of young children's play(giarism) may be understood as complex scenes of consequential writing. Questioning the common practice of treating a child's text as property that can be stolen and instead exploring the social and rhetorical practices that define what is owned (and what is not), as well as what can be taken and appropriated, these texts provide windows into how children write relationally. Realizing individual freedoms through compositional form, play(giarism) meshes personal ways of being and knowing with the doing of (and sometimes disciplining from) others.</p> <hd id="AN0187189975-2">Reading Young Children's Play(Giarism)</hd> <p>I entered this work understanding literacy from a sociocultural perspective. As such, I see literacy learning as intersubjective. Meaning, thus, is not located in intention and actions of the individual alone but rather mediated through a wide variety of sign systems, tools, and technologies and accomplished through joint negotiation. From this view, children are not just meaning makers but "makers of the means of producing meaning out of the available resources of representation" (Trimbur, [<reflink idref="bib25" id="ref2">25</reflink>], p. 191). My understanding of writing, more specifically, is also informed by this perspective. Like Yancey ([<reflink idref="bib36" id="ref3">36</reflink>]), I believe thata composition is an expression of relationships—between parts and parts, between parts and whole, between the visual and the verbal, between text and context, between reader and composer, between what is intended and what is unpacked, between hope and realization. And, ultimately, between human beings. (p. 100)</p> <p>Although not discussing early writing directly, Yancey's ([<reflink idref="bib36" id="ref4">36</reflink>], [<reflink idref="bib37" id="ref5">37</reflink>]) work helped highlight how the act of compositional production is relational and a social endeavor. Writing, thus, is a collaborative process, a tool for social change and transformation. As pathways for design, "writing systems, embodied as cultural objects mediating our interactions with the world, make available the potential for new forms of higher psychological processes" (Cole & Griffin, [<reflink idref="bib4" id="ref6">4</reflink>], p. 113). In other words, a young child's written mark or inscription reorganizes their coordination with the broader social world by operating as a mediator.</p> <hd id="AN0187189975-3">Theorizing Play in Early Literacy</hd> <p>Like other early childhood educators (Brownell, [<reflink idref="bib2" id="ref7">2</reflink>]; Buchholz, [<reflink idref="bib3" id="ref8">3</reflink>]; Dyson, [<reflink idref="bib7" id="ref9">7</reflink>]; Flint, [<reflink idref="bib11" id="ref10">11</reflink>]; Rowe, [<reflink idref="bib21" id="ref11">21</reflink>]; Thiel, [<reflink idref="bib24" id="ref12">24</reflink>]; Wohlwend, [<reflink idref="bib32" id="ref13">32</reflink>], [<reflink idref="bib35" id="ref14">35</reflink>]; Yoon, [<reflink idref="bib38" id="ref15">38</reflink>]), I start from the assumption that play <emph>is</emph> literacy. With questions of "What if we...?" or assertions such as "Now, you be...," it is important to recognize that the pretending, creating, and inventing that young children do is consequential. Defining what play is, however, remains precarious.</p> <p>Pellegrini ([<reflink idref="bib19" id="ref16">19</reflink>]) noted, there is very little consistency with which the term <emph>play</emph> is applied, noting "that in the child development literature, the term <emph>play</emph> is often used to label most forms of children's social and nonsocial behavior, regardless of whether it is play or not" (p. 8). Regardless, play is a relational space. "Play appears to us," wrote Huizinga ([<reflink idref="bib13" id="ref17">13</reflink>]),as an intermission in daily life, as a relaxation. But by virtue of its regular alternation it constitutes an accompaniment, a complement, and even a part of life in general. <emph>It adorns life</emph>, compensates for the deficiencies of life and in this respect is indispensable. (p. 28)</p> <p>Play, in short, always represents something. Recognized by a constellation of criteria and site-specific characteristics, play is a cultural activity. It is iterative, interactive, and personally meaningful.</p> <p>In the realm of early literacy, play has served as both an object of exploration and an analytic approach to study. "Play," as Medina and colleagues ([<reflink idref="bib17" id="ref18">17</reflink>]) noted, "is always contextual and an invitation to some form of emerging inquiry" (p. 11). It is a pathway. "Play allows the material reality of the classroom to slide into distant imagined spaces—the roaring drone of a football stadium—and to snap back again in the next second" (Wohlwend, [<reflink idref="bib32" id="ref19">32</reflink>], p. 128). Rendered in the literature as a scaffold to learning, rather than a rehearsal, play allows "children to discover how to co-author themselves and the world in a bidirectional spiral of mutual becoming" (Stetsenko & Ho, [<reflink idref="bib23" id="ref20">23</reflink>], p. 225). These emergent becomings are varied and have multiple goals. Regardless, play cannot be defined solely by its location as a space to explore emergent possibilities with new material resources, nor as a construction to recalibrate classroom peer culture. As Fred Rogers from Mr. Roger's Neighborhood asserts, play is "often talked about as if it were a relief from serious learning. But for children, play is serious learning...In fact, please is really the work of childhood" (Rogers, [<reflink idref="bib20" id="ref21">20</reflink>], p. 50). Play, for good and for bad, is a social practice.</p> <hd id="AN0187189975-4">Play(Giarism) in Early Writing</hd> <p>Replete with complex social imaginaries, such as Yliana yearning to create a cookbook inclusive of a guacamole recipe for Elmo, rendering play as literacy requires the recruitment of participants (i.e., co-players) and the employment of materials that work in tandem to renegotiate and recontextualize the present moment (see Fig. 1). Research in early writing has only strengthened this point. Whether children are composing "as a Minecrafter" (Brownell, [<reflink idref="bib2" id="ref22">2</reflink>], p. 1), debating the death of Michael Myers (Yoon, [<reflink idref="bib38" id="ref23">38</reflink>]), or writing themselves into identities of underwater shark explorers (Wargo, [<reflink idref="bib28" id="ref24">28</reflink>]) or damsels in distress (Wohlwend, [<reflink idref="bib34" id="ref25">34</reflink>]), research has shown how playful literacies subvert the curricular constraints of schooled writing.</p> <p>Graph: Fig. 1 An activity model of the present study, adapted from Engeström ([<reflink idref="bib10" id="ref26">10</reflink>])</p> <p>However, as evidenced in the opening exchange, not every playful text is considered promising. Play, as the scene illustrates, has a politics. In this article, I tackle some of these more political and pedagogical precarities by examining what Brownell ([<reflink idref="bib1" id="ref27">1</reflink>]) called "(play)giarism" (p. 219), a portmanteau that marries the words <emph>play</emph> and <emph>plagiarism</emph>. In utilizing the homophonic riff on the concept, I was less interested in examining plagiarism for the way we teach and understand it as an academic concept—the legality and ethics surrounding intellectual property—and instead explored it as an act of literate production. Indeed, as I will illustrate, (play)giarism is a useful optic through which to examine young children's originality, authenticity, and rhetorical purpose. As Brownell ([<reflink idref="bib1" id="ref28">1</reflink>]) suggested, play(giarism) is not only a means "to maintain personal meaning in [one's] own writing" or "space to engage [one's] interest while practicing prescribed skills" (p. 225), but also an ongoing and dynamic process of recontextualization. Comprising child, teacher, imagined audience, and the material infrastructure through which the text will appear and circulate, play(giarism) is a partnership. Through play with a compositional medium and message, children appropriate, blend, remix, and transform semiotic resources across texts.</p> <hd id="AN0187189975-5">Method</hd> <p>For this article, I drew on a subset of data from a larger qualitative project examining young children's digital inquiry (see, e.g., Wargo, [<reflink idref="bib26" id="ref29">26</reflink>], [<reflink idref="bib28" id="ref30">28</reflink>]). Whereas I previously examined how multimodal productions served as sights and signs of critical literacy learning (Wargo, [<reflink idref="bib27" id="ref31">27</reflink>]; Wargo & Giunco, [<reflink idref="bib29" id="ref32">29</reflink>]) and detailed the debate of who could be named an expert in the space of writer's workshop (Wargo, [<reflink idref="bib28" id="ref33">28</reflink>]), here I focus on a lesser known student from those studies: Yliana, an 8-year-old Latina child. In addition, and to better texture how her off-task texts came to be produced through joint negotiation, I also drew on subsequent social interactions with peripheral players: Yliana's second-grade tablemate, Star, a young Black boy; and their teacher, Mrs. O'Toole.</p> <hd id="AN0187189975-6">Yliana, Mrs. O'Toole, and Room 210</hd> <p>In her classroom, Room 210, Mrs. O'Toole had 19 students. Ranging in age, there were nine first graders, five second graders, and five third graders. The multiage classroom was housed in a large suburban elementary school in the Midwestern United States. I met Yliana in Mrs. O'Toole's classroom, a space I occupied during the 2016–2017 academic year. A third-grade leader, Yliana was familiar with the curricular lines of Mrs. O'Toole's writer's workshop. Although she leaned heavily on the district's demands of teaching "the basics" (Dyson, [<reflink idref="bib8" id="ref34">8</reflink>]), wherein each marking period resulted in children focusing their work on a different genre (e.g., personal narrative, informational), Mrs. O'Toole was creative in providing students with independent work time through alternative avenues, thereby forwarding their personal interests. The 2016–2017 school year was Yliana's third year in the class as she looped with her third-grade peers the previous two. According to Mrs. O'Toole, Yliana was a "natural leader" and was regularly tasked to "help the firsties" during independent work time. A voracious reader, Yliana was often found on a beanbag reading a book, underneath the classroom's horseshoe table writing short stories with Star, or in the hallway recording comedy sketches in front of the classroom's green screen.</p> <hd id="AN0187189975-7">Data Generation and Analysis</hd> <p>Throughout my year in the multiage space, I generated a range of data source, including audio recordings and transcripts of children's table talk, textual artifacts, field notes and jottings, and photographs documenting students' compositional process. Additionally, I conducted one-on-one design interviews (Dalton et al., [<reflink idref="bib6" id="ref35">6</reflink>]) with each of the children in the class. A central part of the learning environment, Mrs. O'Toole had children host their writing on Seesaw, an educational digital application that acted as an audit trail to students' caregivers. Although I was provided access to this audit trail, the work Yliana chose to upload was not the same as I observed her create in the classroom. Indeed, Yliana knew to house her more formal assignments on Seesaw and keep her "off-task texts" hidden. As such, the primary textual sources I drew on for this article are from her personal archive, which she called "my folder of silly writings," and from the subsequent activities (e.g., stop-motion filmmaking) that led to the production of these compositions.</p> <p>Data analysis was an iterative process of tracing Yliana's individual artifacts and broader textual trajectories. First, I coded compositional activity and production across the unit for each child in the class. Looking across participants, I analyzed artifacts for moments wherein (a) elements of writing served as distinct rhetorical choices for subverting schooled form and function, and (b) authorial production transformed into what Mrs. O'Toole or peers proclaimed as "off-task" peripheral play(giarism). My analytic focus was quite Wertschian (Wertsch, [<reflink idref="bib31" id="ref36">31</reflink>]) in that I was interested in "individuals-acting-with-mediational-means" (p. 12). With these moments in mind and Yliana as a focal case, I then watched and took notes on facets of popular culture that came to intersect with her play and the television shows, movies, and games that imbued her writing and her conversations with peers. In short, I continued "to study the behavior in its observable forms with the hope of inferring a clearer conceptual picture later" (Weisler & McCall, [<reflink idref="bib30" id="ref37">30</reflink>], p. 496). This resulted in new analytic insight that helped texture my original understandings surrounding writing in Room 210. Woven together with thick descriptions (Geertz, [<reflink idref="bib12" id="ref38">12</reflink>], Chap. 1) of classroom life, my analysis revealed how these compositions and the act of play(giarism) became interdiscursively mediated by children's imagined worlds, the social hierarchies of school, and Yliana's polyphonous performance as an author.</p> <hd id="AN0187189975-8">"Taking a Seat" at the Writer's Table: A Note on Positionality</hd> <p>As someone who regularly visited Mrs. O'Toole's classroom, I became a known interlocutor among the children. Although Mrs. O'Toole positioned me as a "tech-xpert"—someone tasked to help the children produce and edit their digital productions and texts—many of the students knew me as "Dr. Wargo." Yliana, who consented to be a part of my larger project but did not enter my analytic focus until later in the academic year, was a regular character in the way I casted Room 210. Although not centered in my initial work, she was always darting around the classroom, among her friends and the focal children. Whenever I entered the class, she quickly waved me over and invited me to "take a seat." Rather than show me what she was working on, she regularly invited herself into <emph>my</emph> notebook, full of jottings and field notes, and asked "Am I in there?" She also helped anchor me into some of the well-known logics undergirding the classroom's social interactions. A seasoned expert on some of Mrs. O'Toole's pronounced rituals and routines, Yliana provided me with incredible insight that only later, in retrospect, I realized was having lasting implications for the way I structured and organized my time. Indeed, in this way, she was one of my most knowledgeable informants.</p> <p>Notwithstanding our proximity to one another, I find it necessary to craft a note detailing how, despite my attentiveness to practices rooted in dignity and care, I may have advanced oppression and reified school parameters and ways of knowing for children in Room 210. Indeed, Mrs. O'Toole often positioned me as a text to be read by the children. Because my body was quite larger than all of the children's, Mrs. O'Toole often positioned me in the classroom to surveil, "check in on," or "quiet" particular children. However, like Yliana, I often found myself off task, too. I laughed, I sang, and I played with the children. Thus, rather than "trying to write myself out" (Cushman, [<reflink idref="bib5" id="ref39">5</reflink>], p. 21) of the inquiry, I found myself a critical part of how this story of play and interaction is told.</p> <hd id="AN0187189975-9">Righting a Remixed Recipe: Reading Play(Giarism) as Pastiche</hd> <p>Presented here linearly, with each section working across a specific series of days across the 25-day classroom unit, the textual trajectory of Yliana's writing provides an analytic window into the consequential work of constructing off-task texts. Rendered here as a remixed recipe, Yliana's "copying" and practices of play(giarism) operated as an interactional space. Through her writerly work, I demonstrate how she was able to not only rehearse and navigate responses to specific social practices (e.g., conversations concerning expected conventions) but also explore a range of communicative tools—each with distinct affordances and constraints—and her prowess in producing signs and meaning making, as well as recalibrate her social space in the peer culture by leveraging the classroom as an imagined elsewhere.</p> <hd id="AN0187189975-10">Days 1–6: Featured Forms and "Four on the Floor"</hd> <p>It was common practice in Mrs. O'Toole's multiage classroom for children to write about and pursue their personal interests in projects. Located in the instructional space of Genius Hour (see, e.g., McNair, [<reflink idref="bib16" id="ref40">16</reflink>]), students regularly followed a series of prompts that facilitated individual or collaborative inquiry.</p> <p>As a third grader, Yliana was well versed in this routine. Nonetheless, during Genius Hour, she often bouncing among table groups because she was more interested in helping her first- and second-grade peers than working on her own project. As expected, this frustrated Mrs. O'Toole. "Yliana, what are <emph>you</emph> writing about, my dearie?" Mrs. O'Toole sternly asked one rainy February afternoon. "Oh," peeped Yliana, quicky looking up. Somewhat the resident class comedienne, the young girl stroked her chin and then blurted, "A cookbook! I'm making a cookbook!" Many of her classmates laughed. "A cookbook?" Mrs. O'Toole asked. "Where is your Google slide? How did you respond to these? What is your mentor text?"</p> <p>Observing the interaction, I saw Mrs. O'Toole gesture to an anchor chart of four key questions that guided all Genius Hour inquiries:</p> <p></p> <ulist> <item> Explain what topic you would like to investigate.</item> <p></p> <item> List some of the things that you already know about the topic and essential questions for which you want to find answers.</item> <p></p> <item> What steps do you need to take before you start the project?</item> <p></p> <item> Where will you find information (list sources)?</item> </ulist> <p>Looking somewhat defeated, Yliana moved back to the horseshoe table and took her writer's workshop notebook out of the bin. "Stop playing," Mrs. O'Toole warned, "Start writing." A couple days later, I started my rounds of conferencing with Star, a second-grade peer of Yliana. Yliana stopped her own writing and joined our conferring conversation. "I really like this," Yliana said, pointing to Star's storyboard of how to make a black hole. Avoiding the question, Star asked in return, "What are you going to use to make this? Are you going to show Dr. Wargo your cookbook?" Smiling, Star started whisper singing to Yliana, "Shake your arms fast and...." Picking up on Star's singsong invitation, Yliana grabbed the table, leaned back in her chair, and completed the chorus: "Shake them slowly. C'mon, everybody, do the guacamole." Together, the dyad sang the refrain: "Guac, guac, guacamole, guacamole, yeah." Hearing the ditty, Mrs. O'Toole stopped what she was doing and called out, "Four on the floor, Yli." Yliana lowered her chair until all four legs touched the carpet. "Dr. Wargo, can you assist our friend Yliana? She needs to stay on task. We need to make sure she will have something to share," Mrs. O'Toole declared. Taking my orders seriously, I pivoted and began to ask Yliana about her Genius Hour project:</p> <p></p> <ulist> <item> <bold> Wargo </bold> : So, last time I met with you, you told Mrs. O'Toole you were making a cookbook.</item> <p></p> <item> <bold> Yliana </bold> : Well, not anymore. I am making a cookbook, but it's a cookbook that has a lot of recipes. It's not a cookbook. Maybe it's just a bunch of recipes that don't go together.</item> <p></p> <item> <bold> Wargo </bold> : Can I see one?</item> <p></p> <item> <bold> Yliana </bold> : Sure. See, <emph>this</emph> is why we were singing. (See Fig. 2).</item> <p></p> <item> <bold> Wargo </bold> : Nice! So, you—.</item> <p></p> <item> <bold> Star </bold> : Turn it over.</item> <p></p> <item> <bold> Wargo </bold> : What is this?</item> <p></p> <item> <bold> Yliana </bold> : The chips are stars and, like, that is the pyramid where the queen lives.</item> <p></p> <item> <bold> Wargo </bold> : What?</item> <p></p> <item> <bold> Star </bold> : The Queen of Nacho Picchu! Jeez.</item> </ulist> <p>Graph: Fig. 2 Recipe 1: chips and guacamole</p> <p>Yliana's first recipe, "Res. 1," for her cookbook showcases several common characteristics of procedural texts. In terms of content, she provided information about <emph>how</emph> to do something. The composition, however, also has the structural and linguistic characteristics required of the genre. She included steps for how to accomplish a task, included units of measure in her description, and signaled some of the explicit information required to make chips and guacamole. On the back of the page, as faintly seen through the paper, she also referred to the origin of "Res. 1" as the Elmo and Friends song. However, as I found out later, the song took a peripheral role in her ongoing development of her cookbook as schooled notions of production took center stage.</p> <hd id="AN0187189975-11">Days 7–15: "Recipes Don't Look like This": Subverting the Social Order of Classroom Authority</hd> <p>When I returned to Yliana a few days later, I was surprised to see that her outside with a classroom tablet taking photographs of what looked to be a range of individual scenes on purple butcher paper. Holding the tablet high to get an aerial perspective of what she had created from clay, markers, and a range of other classroom art materials, I engaged her in conversation:</p> <p></p> <ulist> <item> <bold> Wargo </bold> : You making a stop-motion video like everyone else? Like Star?</item> <p></p> <item> <bold> Yliana </bold> : Nope. Here. (She put down the tablet and handed me a Blue Apron recipe card.) Mrs. O'Toole gave me this. She wants me to make my cookbook look like this.</item> <p></p> <item> <bold> Wargo </bold> : Oh, cool, we use these sometimes to make food. Did you know the food comes with these cards in a box?</item> <p></p> <item> <bold> Yliana </bold> : No.... I don't want mine to look like this. Recipes don't look like this. She didn't give Star something to copy. This is not what a cookbook is. This is a cook (pause) card.</item> <p></p> <item> <bold> Wargo </bold> : What? A cook card? Why don't you like this?</item> <p></p> <item> <bold> Yliana </bold> : I don't know. But I will make it my own. I'm gonna show her.</item> </ulist> <p>Interested in how this developed and why Yliana referenced Star in her recounting of her earlier interactions with him and their teacher, I asked Mrs. O'Toole about the Blue Apron card mentor text as I helped put up classroom chairs and turn off the classroom technology:</p> <p></p> <ulist> <item> <bold> Wargo </bold> : I saw the Blue Apron card. We use those all the time at home.</item> <p></p> <item> <bold> Mrs. O'Toole </bold> : See, that is what is important. I want these kiddos to see that they are always seeing things that can be mentor texts. I want them to look at how people really use writing, not just mimic or copy and imitate someone else. I want them to have a voice. She (Yliana) doesn't have a really strong, independent writerly voice. She has a strong voice, just not as a writer, as an author.</item> <p></p> <item> <bold> Wargo </bold> : She said you did not give one to Star for the black hole poster?</item> <p></p> <item> <bold> Mrs. O'Toole </bold> : Star is young. For him, it is about giving him confidence in things he is interested in. That's why I have second graders work alone. For Yli, it is different. This is her third year in my class. She knows better.</item> </ulist> <p>Reflecting on these conversations later, I found the event rather funny. With great volume, Yliana often made deliberate use of her voice in class. Whether in song or in what Mrs. O'Toole described as "shouting out," Yliana was overly expressive. She was a demonstrated classroom leader and regularly used a range of communicative resources to share her opinions. Of note, however, Yliana saw this activity as an opportunity to subvert the social order through recalibrating her recipe. Recognizing that her peer Star did not receive the same directive, she used the card mentor text with creative license. Rather than "copy" or "mimic" as Mrs. O'Toole declared, Yliana used the Blue Apron card to appropriate a version of what can be rather than construct something that is. This act of appropriation, as the visual arts have shown, had value. Indeed, taking creative license with visual techniques is part of a longer artistic tradition and considered by many designers as legal. Regardless, what was slowly built through Yliana's foreshadowed play(giarism) is a textual demonstration of "show[ing] her [Mrs. O'Toole]" who and what is right.</p> <hd id="AN0187189975-12">Days 16–25: "This Is All My Writing": The Journey from Blue Apron to Red Napkin</hd> <p>Circling back after the weekend, I returned to Mrs. O'Toole's classroom. Although I did not follow Yliana's every move, I observed her working feverishly beside Star, her tablemate. Most afternoons during this period, she was laser focused, and when I asked her if she needed someone to check in with or help, she dismissed me. Days later, I was crisscross applesauce, sitting in the share circle. Yliana was in the author's chair showcasing her final product as part of the discussion about the upcoming parent–teacher conferences, the culminating "going public" event for the students' Genius Hour products. When Yliana unmuted the Smartboard by clicking the remote, the blank screen transformed and her classmates shouted with excitement.</p> <p>Displayed on the screen was a Google slide, flipped vertically and divided into two parts (see Fig. 3). Like the Blue Apron card—a mimicked mentor text, per Mrs. O'Toole—the top section showed the central focus of Yliana's procedural text: her recipe's title, the ingredients, and a photograph of chips and guacamole. The bottom section provided still images from the tablet depicting what each step of the entailed. Sitting closest to the author's chair were Star and Colleen, Yliana's third grade colleague. The following is an excerpt from the share circle's larger conversation:</p> <p>Graph: Fig. 3 Yliana's red napkin recipe card</p> <p></p> <ulist> <item> <bold> Colleen </bold> : Why is it called "Red napkin"?</item> <p></p> <item> <bold> Yliana </bold> : What?</item> <p></p> <item> <bold> Mrs. O'Toole </bold> : I think the title is "Chips and guac." Is that right?</item> <p></p> <item> <bold> Yliana </bold> : Yes.</item> <p></p> <item> <bold> Colleen </bold> : No, but—.</item> <p></p> <item> <bold> Mrs. O'Toole </bold> : You're asking about here? (pointing at the top of the image)</item> <p></p> <item> <bold> Colleen </bold> : Yes.</item> <p></p> <item> <bold> Yliana </bold> : Oh, well, the other card was blue, so I made mine red so I didn't copy.</item> <p></p> <item> <bold> Wargo </bold> : I really like it.</item> <p></p> <item> <bold> Mrs. O'Toole </bold> : Well, you did copy a bit, right?</item> <p></p> <item> <bold> Star </bold> : Yup, she did.</item> <p></p> <item> <bold> Yliana </bold> : No, this is mine. It's not about the fish. It's about chips and guac. They [the Blue Apron authors] just took pictures.</item> <p></p> <item> <bold> Mrs. O'Toole </bold> : OK, Yli. Thank you for sharing. I think it looks a little similar to me, but I can tell you did a lot of work. You tried.</item> <p></p> <item> <bold> Yliana </bold> : I actually did <emph>more </emph>work. I took these from Google, and then I made these. These spoons are from the cafeteria, and I had my mom sew this for the avocados.</item> <p></p> <item> <bold> Colleen </bold> : Wow. Yeah, that is a lot of work.</item> <p></p> <item> <bold> Wargo </bold> : Super cool.</item> <p></p> <item> <bold> Mrs. O'Toole </bold> : Well, it looks good, but you could have been writing instead—.</item> <p></p> <item> <bold> Yliana </bold> : This is my writing. This is all my writing.</item> <p></p> <item> <bold> Star </bold> : But is it <emph>real</emph> writing?</item> </ulist> <p>Unresolved, and much to Mrs. O'Toole's chagrin, the lone "Red napkin" card was all Yliana had to show at the parent–teacher conferences. Notwithstanding its limits in size and scope, however, the textual artifact and process of her play(giarism) are powerful, and in response to Star's query, I contend that the recipe card displays <emph>very</emph> r<emph>eal</emph> writing. On the one hand, early years educators and researchers can see that Yliana mastered many of the language objectives of the procedural genre. For instance, in her revised version, all of the verbs are in the imperative, a significant linguistic feature for this particular type of text. Additionally, she carried over the ordinal numbers that framed "Res. 1." Although one could infer that the revised recipe card could be extended and revised with additional steps and text connectives, she clearly thought seriously about size, form, and function. On the other hand, and perhaps more reflective of the possibilities inherent in Yliana's play(giarism), are those elements of pastiche that she made visible. Understood as the expressive act of creating through close imitation, Yliana's recipe card paid homage to the original Blue Apron card. Recognizing that there are minor citational and attributional issues to resolve (e.g., ensuring that the images she used are fair use), Yliana was successful in communicating her message to her community. Skirting the disciplinary lines of schooled writing, she underscored the labor, creativity, and ingenuity featured in her text.</p> <hd id="AN0187189975-13">Discussion</hd> <p>Originality, especially in the present age of artificial intelligence, has become an increasingly important area of focus in the research and teaching of writing. From worries concerning children and youth being able to identify mis- and disinformation in images generated via artificial intelligence, to paranoia about ChatGPT and the precarity of cheating made available through large language models, plagiarism—as a concept and practice—has become a proxy for more pervasive concerns surrounding children's ability to communicate. Notwithstanding these realities, I want to abstract out from contemporary controversy surrounding textual ownership and zero back in on Yliana. In so doing, I seek to answer the question, "So what?" and ask what implications, if any, might this case of play(giarism) have for the way young children's compositions are understood. Responding that scenes of play(giarism), like Yliana's, are serious acts of writerly work, I suggest that they also serve as ripe descriptive contexts wherein individuality comes to intersect with the politics of social belonging, freedom, and academic obligation.</p> <hd id="AN0187189975-14">Reading Pastiche as Play(Giarism)</hd> <p>Yliana's completed product, the "Red napkin"–branded "Chips and guac" recipe card, is a remixed recipe. By <emph>remixed</emph>, I mean the author-directed involvement of variously sourced media assembled into a new text. As others in the share circle noticed, the design pattern that Yliana was introduced to offered itself as a ready-made artifact to be played with. However, her remix and her astute understanding of compositional purpose highlight what Kress ([<reflink idref="bib15" id="ref41">15</reflink>]) called the "two aspects of a message" (p. 15). The first is the representational, which is focused on what the writer wants to say, show, or mean, and the second is the communicational aspect of the message. The latter aspect builds socio-rhetorical awareness, or the ability for the writer (e.g., Yliana) to account for audience expectations, the communicative resources available, how the message is delivered, and ultimately, the ability to decipher how the message may be received. Although one might interrogate how original the "Red napkin" artifact is in early writing, visual artists might commend Yliana's appropriation, as many "art faculty teach students to build on and appropriate technique and material, to get ideas from other objects and artists, and to expand part of an object or image in order to help find their creative voices" (Mullin, [<reflink idref="bib18" id="ref42">18</reflink>], pp. 106–107). Regardless, playing with pastiche provided Yliana with fertile ground to innovate and recontextualize her text.</p> <hd id="AN0187189975-15">Play(Giarism) as Pedagogy?</hd> <p>Pedagogically, in this article, I also ask questions concerning how educators might understand play(giarism) in the context of early literacy. After 3 years in Mrs. O'Toole's classroom, it was clear that Yliana internalized the teacher's many disciplinary rules for collaboration, citation, and attribution. Indeed, conferring conversations provided opportunities for student–teacher dialogue, feedback, and editorial comments. Nonetheless, play, as mediated through Yliana's writing and composing, became a variation on rather than a mockery of classroom composition. Play(giarism) was a textural practice that produced a commentary on, an interpretation of, and a recontextualization of schooled writing.</p> <p>This scene of writing was also read <emph>as</emph> a text. Yliana actively understood, perpetuated, and revised her actions and composition based on her discussions with adults who made decisions about what she should own, borrow, write, and create. Highlighting the effects and contexts through which young writers are known and come to be known through a range of communicative means, these off-task texts signal how all composing is ultimately a kind of assemblage, a collage that rejects the myth that any text is wholly original (Johnson-Eilola & Selber, [<reflink idref="bib14" id="ref43">14</reflink>]). Rather than understand a work's relationship to a previously seen form or recognize it as a mimicked mentor text, what might happen if these play(giarized) compositions are seen as "proleptic bids" (Enciso & Krone, [<reflink idref="bib9" id="ref44">9</reflink>]), messages that ask what if and what can be rather than bounded understandings of what is? Rendered in this way, these texts highlight the dynamism of emergent literacy and composition. They show continuity and change, tradition and transformation, creation and transmission. As such, educators should feel less occupied with policing young children's texts and more involved in discussing the processes and concepts critical to writing their own way into the conversation.</p> <hd id="AN0187189975-16">Limitations</hd> <p>Of course, there are limitations to this work. The teaching and learning I witnessed in Mrs. O'Toole's classroom are not ubiquitous in all early years spaces, and although she was somewhat wed to the curricular constraints of a more formal English language arts instructional block, I recognize that some are even more tied to institutional demands on what to teach next. Notwithstanding, what I believe this article presents is what Stake ([<reflink idref="bib22" id="ref45">22</reflink>]) referred to as "petite generalizations" (p. 20): work that provides others with insights into the challenges and opportunities that might emerge in their work and practice. Despite being debated, play was valued in Room 210. Through improvisatory practices of asking "What if...?" and "Yes, and...?" questions, play and the imagination served as rich "locations where literacies, learning, and action coexist and allow for new understandings of agency and change to emerge beyond prescribed external boundaries" (Medina et al., [<reflink idref="bib17" id="ref46">17</reflink>], p. 16). As such, although I recognize the work in wondering if all off-task texts deserve such close and critical scrutiny, I close with the belief that creativity is a deserving craft to be honed.</p> <hd id="AN0187189975-17">Funding</hd> <p>No funding.</p> <hd id="AN0187189975-18">Declarations</hd> <p></p> <hd id="AN0187189975-19">Ethical Approval</hd> <p>The work and project presented here were approved by the Wayne State University Committee on Research Involving Human Subjects (Protocol # 1702000358).</p> <hd id="AN0187189975-20">Conflict of Interest</hd> <p>No potential conflict of interest is reported by the author.</p> <hd id="AN0187189975-21">Publisher's Note</hd> <p>Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.</p> <ref id="AN0187189975-22"> <title> References </title> <blist> <bibl id="bib1" idref="ref27" type="bt">1</bibl> <bibtext> Brownell CJ. 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  Data: Remixed Recipes and Mimicked Mentor Texts: Reading Young Children's Play(Giarism) as Complex Scenes of Early Writing
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  Data: Questioning the common practice of treating texts as property that can be stolen and instead exploring the social and rhetorical dimensions that define what is owned (and what is not), as well as what can be taken and appropriated, I drew on data from a yearlong qualitative investigation of young children writing with technology to interrogate how one young child's scene of play(giarism) can be rendered as consequential writing. Entering this work from a sociocultural perspective wherein literacy learning is intersubjective, findings highlight the descriptive contexts wherein individuality came to intersect with the politics of social belonging and academic obligation. Realizing individual freedoms through contesting compositional forms, play(giarism) meshes personal ways of being and knowing with the doing of (and sometimes disciplining from) others.
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      – Text: English
    PhysicalDescription:
      Pagination:
        PageCount: 10
        StartPage: 1905
    Subjects:
      – SubjectFull: Emergent Literacy
        Type: general
      – SubjectFull: Beginning Writing
        Type: general
      – SubjectFull: Young Children
        Type: general
      – SubjectFull: Writing Processes
        Type: general
      – SubjectFull: Play
        Type: general
      – SubjectFull: Plagiarism
        Type: general
    Titles:
      – TitleFull: Remixed Recipes and Mimicked Mentor Texts: Reading Young Children's Play(Giarism) as Complex Scenes of Early Writing
        Type: main
  BibRelationships:
    HasContributorRelationships:
      – PersonEntity:
          Name:
            NameFull: Jon M. Wargo
    IsPartOfRelationships:
      – BibEntity:
          Dates:
            – D: 01
              M: 08
              Type: published
              Y: 2025
          Identifiers:
            – Type: issn-print
              Value: 1082-3301
            – Type: issn-electronic
              Value: 1573-1707
          Numbering:
            – Type: volume
              Value: 53
            – Type: issue
              Value: 6
          Titles:
            – TitleFull: Early Childhood Education Journal
              Type: main
ResultId 1