Changing Times: Technology and Literature in Classrooms

This is only my sixth-year teaching, so technology use has been embedded in my practice right from the start. During my Master of Teaching, I remember sitting in a tutorial and a friend said, “Let’s use Google Docs to collaborate” and my mind was blown that each group member could access the document individually and make changes in real-time! Technology is seamlessly (most of the time) integrated into our daily lives at school – from learning management systems and emails to student and staff devices. In addition, many staff incorporate digital tools to support classroom teaching and learning activities to foster participation, collaboration, and engagement (e.g. Canva, Prezi, YouTube, iMovie, ACMI Storyboard Generator and so on).

As an English teacher, I haven’t seen much digital literature in use for classroom study and eBooks are not promoted at our school library. There was some discussion a few years ago about bringing Inanimate Alice onto a Year 7 text list, but there was some anxiety amongst staff about how to approach teaching a multimodal text (as opposed to a book or film text). I don’t think it’s just a matter of ‘changing tools’ as there are different pedagogical practices associated with embedding digital technology (and digital literature!) into the classroom. Instead, we need to be adapting our curriculum, upskilling, and expanding our pedagogical practices accordingly.

This discussion reminds me of the SAMR model, developed by Dr Ruben Puendetara, which is a hierarchical framework for the integration of digital technology in the classroom. The four levels are: substitution, augmentation, modification, and redefinition (Hilton, 2016). The lowest level, substitution, is where teachers replace tools using technology, but without any functional change. The highest level, redefinition, is the best-case scenario – where digital technology is used to expand possibilities that were not viable without technology. As education theorist Kirkland states, “the key to using the SAMR model is not to think of it as a progression to work through. Really using technology effectively means creating the kind of rich tasks that redesign traditional ways of learning” (2014, p. 16). I personally think this is exciting, but I know that it must be scary for some educators!

Reference List:

Hilton, J. T. (2016). A Case Study of the Application of SAMR and TPACK for Reflection on Technology Integration into Two Social Studies Classrooms. Social Studies, 107(2), 68–73.

Kirkland, A. B. (2014). Models for Technology Integration in the Learning Commons. School Libraries in Canada, 32(1), 14–18.

Image Credit: Photo by Wokandapix from Pixabay

The Future of Reading

This week I read an article by Anna Burkey in Synergy (the School Library Association of Victoria’s publication), titled ‘Reading for the Future‘. In it, Burkey presents some research that validates what I’m sure many of suspected already – that 87% of Australian children and young people enjoy reading when at home (Burkey, 2014). However, there are also significant literacy challenges for young readers all around the country. Burkey calls for more detailed research that reveals “what young people are reading, why it appeals and how they choose to access it” (Burkey, 2014).

Since this article was published, some major research has already begun by a team of Deakin University academics who are working on a project titled ‘Teen Reading in the Digital Era’ (Deakin University, 2022). The research team are collecting data on reading preferences and behaviours, in terms of both physical and digital literature. Their snapshot report, released in March 2017, provides an overview of progress with data about how many minutes Australian kids and teens are spending reading for pleasure, gender differences, preferences for tablets and eBooks… the list goes on. This year they are surveying Aussie students from VIC, WA, NSW and QLD about how they find good books in the digital age. I can’t wait to see what the researchers find out!

Burkey (2014) expresses optimism about how digital technologies are transforming reading experiences. She mentions the ‘Lizzie Bennet Diaries‘ (vlogs) and ‘Nowhere Boys‘ (a ABC adaptation for TV of the popular book with a linked video game). Burkey also recommends the platform Storybird for young people wanting to create digital literature.

References: 

Burkey, A. (2014). Reading the Future. Synergy12(2). Retrieved from https://www.slav.vic.edu.au/index.php/Synergy/article/view/V122144

Deakin University. (2022). Teen Reading in the Digital Era. https://teenreading.net/

Rutherford, L. & Johanson, K. (2017). Teen Reading in the Digital Era [Snapshot Report]. Deakin University. https://wordpress-ms.deakin.edu.au/teenreading/wp-content/uploads/sites/175/2017/04/teen-reading-folio-report_email.pdf

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Understanding Digital Literature

“The art of storytelling has remained unchanged and, for the most part, the stories are recycled. But the way that humans tell the stories has always evolved with pure, consistent novelty” (Sabia, 2011, 02:46)

The art of telling stories is innate to our very nature, and storytelling traditions span all cultures and time periods across human history. This quote by Joe Sabia, from his storytelling TED talk, powerfully encapsulates how stories are told has transformed due to technological advancements, but at its core, the essence of good storytelling has remained the same.

Digital technology is no doubt impacting the literature landscape, expanding opportunities for multimodal texts that increase user interactivity and redefine the scope of traditional paper-bound books (Lamb, 2011, p.13). Multimodality is defined by Walsh (2013) as “how communication occurs through different but synchronous modes: language, print, images, graphics, movement, gesture, texture, music, sound” (p. 181). Walsh distinguishes between traditional literature, which is represented in a digital format, “digital narratives” that are created digitally, and hybrid texts (2013, p. 183).

There are debates about the benefits of digital literature (e.g. eBooks) such as if it has a place in the classroom, if it threatens the publishing industry, whether the benefits are comparable to students reading paper books, and concern about additional access requirements (such as charged devices, different file types and specific literacy skills) compared to picking up a physical book, just to name a few (Sadokierski, 2013). Some people are resistant to digital literature due to nostalgia or preference for the tactile feeling of holding a book that they are reading (Jabr, 2013).

However, as Sadokierski (2013) states, “electronic books can do certain things that print books cannot, and therein lies their value.” Research suggests that “struggling readers” and students with specific learning requirements benefit from interactive texts that incorporate multimodal elements and enhanced navigation and usability options (Lamb, 2011).

How do we, as teachers, evaluate quality digital literature?

As Walsh (2013) states, “we need to consider whether the screen and audio effects enable students to understand and experience the characteristics of traditional narratives, for example, the development of plot with its climax and resolution, the struggle of good over evil, and the effect of setting” (p. 185). There are elements of quality literature, also proposed by Walsh, that can be used to evaluate all digital texts, such as: clear structure, authentic setting, developing reader empathy and imagination, exploration of ideas, age-appropriate language, and likelihood of motivating users to keep reading (2013, p. 185-187).

To this point Lamb (2011) advises, “when evaluating reading resources, consider the role of the audio, graphics, motion, and interactive elements and determine whether the navigation and support tools are easy to use and contribute to the reading experience” (p. 17). Dobler concurs, suggesting that evaluative criteria should include: “ease of use, the promotion of understanding and literary worthiness” (p. 21). In addition, it is important to remember that the content itself is key to evaluating text quality, not just the multimodal elements (Lamb, 2011, p. 17).

References

Dobler, E. (2013). Looking beyond the screen: Evaluating the quality of digital books. Reading Today, 30(5), 20-21. https://web-p-ebscohost-com.ezproxy.csu.edu.au/ehost/pdfviewer/pdfviewer?vid=1&sid=1b2a8f5e-8ca0-46aa-b202-52209b34b771%40redis

Jabr, F. (2013). The reading brain in the digital age: The science of paper versus screens. Scientific American, April 11. Retrieved from http://www.scientificamerican.com/article/reading-paper-screens/

Kingwell, M. (2013, December 4). Why read literature in the digital age? Retrieved from http://www.universityaffairs.ca/features/feature-article/why-read-literature-in-the-digital-age/

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology, 39(3), 12-17. Retrieved from http://ezproxy.csu.edu.au/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=ehh&AN=67371172&site=ehost-live

Sabia, J. (2011). The technology of storytelling [Video]. TED. https://www.ted.com/talks/joe_sabia_the_technology_of_storytelling

Sadokierski, Z. (2013, November 12). What is a book in the digital age? [Blog post]. Retrieved from http://theconversation.com/what-is-a-book-in-the-digital-age-19071

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).

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