Literature in Digital Environments has lit up my imagination like an electrically circuited Yellow Brick Road that zooms in, out and through Literature City (LeRoy, Cukor, Fleming, LeRoy, Taurog, Thorpe, & Vidor, 1939). Digital literature is capable of enhancing my everyday teaching practice. My professional background has been a fuddled metamorphosis (Kafka, 1946) where I scuttle between classrooms teaching a multitude of subjects for various Stages in secondary schools. Hopefully, I will transform into a teacher librarian.

My knowledge and understanding of concepts and practices in digital literature is developing. I have used such digital narratives as the Dust Echoes videos, a YouTube of [Shakespeare: The Animated Tales] Macbeth, and Storyline Online. Each has a purpose. As pointed out in Learning 2030: From Books to Screen, the novelty of gadgets and busy work soon wears off. In History, the Dust Echoes – Moon Man online video was viewed through the electronic whiteboard and some of the activities were obtained from the online study guide. The [Shakespeare: The Animated Tales] Macbeth was used as a visual synopsis to support student understanding of the play. At a more “primitive” level, I have used video to teach film and advertising. Extra features on the DVDs such as with Finding Nemo (Walters, Stanton, & Unkrich, 2003)and The Corpse Bride (Abbate, Auerbach, Frey, Ranft, Shaw, Burton & Johnson, 2005) explore the process of making the animations have been learnt from. Adapted texts have been compared such as 10 Things I Hate about You (Chernov, Hedien, Jaret, & Lazar, Silverman, & Junger, 1999) with The Taming of the Shrew (McWhorter, Taylor & Zeffirelli, 1967).  Now streaming resources are also used: Netflix, Stan and ABC iview. I aspire to use interactive and transmedia texts.

The progress of digital literature has proliferated. Issues have arisen. For instance, the quality of these resources can vary as anyone can publish on the internet. The implications for effective teaching and learning involves the discriminating use of texts possessing quality literary and digital features – questioning the need for varied ways of evaluating digital texts. The purpose for using these texts should comply with the scope and sequence and the relevant syllabus. The literary and digital features need to be presented educationally, appropriately and well – not with inappropriate distractions (Yokota and Teale, p. 581) (Walsh, 2013, p. 181-186).

Transmedia narratives are an exciting development. When stories are more than paper: Transmedia trends in Young Adult Literature tells of narratives such as Patrick Carman’s Skeleton Creek that can be read, viewed and listened to. The multimodal presentation of the text can be beneficial for a range of learning needs. It is important to study the effects these developments have on learners. In a case study conducted by Simpson and Walsh (2015), it was revealed that when a codex text was teamed with a digital version of the text, the young readers’ critical awareness was expanded due to engagement of their sense of empathy and aesthetic responses. The use of digital literature needs to be further investigated.

Literature in the digital environment offers many possibilities. However, educators need to evaluate every text, learning situation and be aware that the information age is racing ahead. This subject provides the opportunity to extend learning, acquire a number of versatile, engaging resources for a diverse audience and may broaden my professional scope.

References

Chernov, J, Hedien, J., Jaret, S., & Lazar, A., (Producers) & Silverman, G. (Associate Producer) & Junger, G., (Director), (1999), 10 Things I Hate About You, United Stated: TouchstoneAbbate, A., Auerbach, J., Burton, T., Frey, D., Ranft, J., & Shaw, T., (Producers) & Burton, T., & Johnson, M., (2005), The Corpse Bride, United States: Warner Home Video

Kafka, F. (1946), Metamorphosis, New York The Vanguard press Inc.

LeRoy, M. (Producer), & Cukor, G., Fleming, V., LeRoy, M, Taurog, N., Thorpe, R., & Vidor, K., (Directors), (1939), Wizard of Oz [Movie], United States: Warner Bros. Pictures.

McWhorter, R, Taylor, E., (Producers), & Zeffirelli, F., (Director), (1967), The Taming of the Shrew, United States: Columbia Pictures

Pexels Video – Video used on this blog page is used pursuant to Creative Commons Licence, https://www.pexels.com/video/bonfire-in-timelapse-mode-1998132/

Simpson, A., and Walsh, M.,(2015), Children’s literature in the digital world: How does multimodality support affective, aesthetic and critical response to narrative?, https://doi-org.ezproxy.csu.edu.au/10.1108/ETPC-12-2014-0005, 14(1), p.28-43

Walters, G., (Producer), Stanton, A., &  Unkrich, L., (Directors), (2003) Finding Nemo, United Stated: Pixar

The Corpse Bride

Walsh, M. (2013). Literature in a digital environment (Ch. 13). In L. McDonald (Ed.), A literature companion for teachers. Marrickville, NSW: Primary English Teaching Association Australia (PETAA)

Yokota, J. & Teale, W. H. (2014). Picture books and the digital world: educators making informed choices. The Reading Teacher, 34(6). Retrieved from http://www.academia.edu/3886534/Picture_Books_and_the_Digital_World_Educators_ Making_Informed_Choices