Critical Reflection of Digital Literature Experiences
What is a digital text? Groth (2018) and Walsh (2013) both point out that it is a complex issue with so many variations available, there is no one form, genre or means of navigating. To begin with, it must contain the elements of good literature in the traditional sense, an authentic setting, characters the reader can empathise with, evocation of emotions or imagination and language and structure that suits both the age of the reader and the purpose of the author (Walsh, 2013). Many make the distinction between digitized texts, those originally designed for print (e-books and enhanced e-books), and digital texts, those created by and for the digital medium (story apps, transmedia and hypertexts) (Bouchardon, 2019; Bouchardon & Heckman, 2012). Strickland (2009) says it must rely on code for its creation, preservation and display. He says digitized versions of print works don’t qualify, a computer is necessary, and if you can print it out it is not digital literature. Merit can be seen in this definition, especially in considering awards eligibility, however the digitised text or e-book has a valuable role to play.
So a digital text may be either digitized or digital, but what makes a good one? As stated above, it must first meet the criteria of quality literature. Then specific digital criteria can also be applied. First and foremost in most checklists is that any digital features strongly enhance the story (Haines, 2016; Lamb, 2011; Kluver in Kucirkova, 2018). Audio, graphics, motion and interactive elements all need to be of high quality and integral to the story. They should support struggling readers, cue readers to important events, contribute to the mood, clarify difficult concepts and promote comprehension. Elements that do not can actually distract from the story and impede comprehension (Haines, 2016; Lamb, 2011). Consideration must also be given to the overall feel; seamless integration of enhancements, technical polish, ease of use and navigation and advertisement free reading (Haines, 2016).
So, what purpose do these digital texts serve? In a school library, collection development focuses on texts for teaching literacy skills, supporting curriculum programs and personal reading (O’Connell et al., 2015). In order for a digital text to be considered, it must also meet one or more of these needs. Additionally, using digital texts in the school setting aims to close the gap between how students learn and how they live, can motivate students and support specialised learning needs and meet curriculum requirements related to reading multimodal texts and digital literacies (O’Connell et al., 2015). Furthermore, Felvegi and Matthew (2012) argue that digital texts reduce expenses because they cost less to produce and store, and they are portable and accessible so students can read and study in diverse locations at any time. Never has this been more pertinent than during the current COVID-19 induced home learning situation across the globe.
Digital texts certainly come with their challenges also. Yes, in theory they may be available to all, in all locations but in reality they are available to those who can afford and who have access to a device, power and a reliable internet connection. There is also the issue of rapid advancements in technology leading to the technology needed to access a digital text becoming outdated or obsolete (Boluk et al., 2016). Is the work then gone for good? Print definitely wins out over these two challenges and I must say that print is still my personal preference. While completing an online university degree, I still prefer to print out papers and highlight and take notes the old fashioned way. And when reading for pleasure, I have never considered looking for a digital text. Even when travelling when I know I could fit thousands of digital texts into the same space as my physical one. It is a personal preference, partly habit, partly the desire to get away from the screen that now dictates so much of our lives for a little while. In saying that, I absolutely see the need for students to engage with digital literature and try to incorporate it into my teaching and learning programs. As a teacher I have used e-books and enhanced e-books such as those reviewed in Part A in the classroom. I am yet to use a story app such as Nurot. This is very much due to the issues O’Connell et al. (2015) describe around access to multiple devices, managing the app on multiple devices and reliable wireless connection. In a school setting, particularly a primary school where bring your own device (BYOD) is rare, the paperwork to complete, and the personnel required, to download a $2.69 app can be tiresome and prohibitive. In saying this, I believe this text has a lot to offer and may be worth the effort. The New South Wales Education Standards authority (NESA) states that,
“Through the study of English students learn about the power, value and art of the English language for communication, learning and enjoyment… They learn about language and literature through working with a wide range of print, spoken, visual, media, multimedia and digital texts.”
Nurot is the perfect text to work toward these aims. The story itself is about communication. It can also be used as a text for comprehension and reading response activities, incorporating print, media, multimedia and digital elements. It would suit use in a small group, guided situation where students each has access to a device with the app downloaded. This would be the most practical given the barriers identified by O’Connell et al. (2015) but also would align with Hoffman and Paciga’s (2013) view that technology should not replace adult-child interactions. Rather it should be seen as a new form and context that requires just this, shared interactions between adults and children that promote rich learning of new literacies. Furthermore Nurot could be used as a model text for students creating their own digital texts, illustrating the effect that images, text, music, sound effects and hotspot interaction have on the reader. It could also be used in Personal Development/Health lessons dealing with communication, emotions and relationships.
References
Boluk, S., Flores, L., Garbe, J. & Salter, A. (Eds.). (2016, Feb). The electronic literature collection: Volume 3. https://collection.eliterature.org/3/about.html
Bouchardon, S. (2019). Mind the gap! 10 gaps for digital literature? Electronic Book Review. https://doi.org/10.7273/j3w2-h969
Bouchardon, S. & Heckman, D. (2012). Digital manipulability and digital literature. Electronic Book Review. https://electronicbookreview.com/essay/digital-manipulability-and-digital-literature/
Chiquimedia. (2017). Nurot (Version 1.1.1) [mobile app]. Google Play Store. https://play.google.com/store/apps/details?id=org.chiquimedia.apps.nurot&hl=en_AU
Flevegi, E. & Matthew, K.I. (2012). eBooks and literacy in K-12 schools. Computers in the Schools, 29(1-2), 40-52. https://doi.org/10.1080/07380569.2012.651421
Groth, S. (2018, May 20). Still defining digital literature. The Writing Platform. http://thewritingplatform.com/2018/05/still-defining-digital-literature/
Haines, C. (2016). Evaluating apps and new media for young children: A rubric. Never Sushed. https://nevershushed.files.wordpress.com/2016/09/2016evaluatingappsandnewmediaforyoungchildrenarubric.pdf
Hoffman, J. L. & Paciga, K. A. (2013). Click, swipe, and read: Sharing e-Books with toddlers and pre-schoolers. Early Childhood Education Journal, 41(6), 401-484. https://doi.org/10.1007/s10643-013-0622-5
Kucirkova, N. (2018). How and why to read and create children’s digital books: A guide for primary practitioners. UCL Press. https://doi.org/10.14324/111.9781787353473
Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology, 39(3), 12-17.
New South Wales Education Standards Authority. (n.d.). English in kindergarten to year 10. https://educationstandards.nsw.edu.au/wps/portal/nesa/k-10/learning-areas/english-year-10
O’Connell, J., Bales, J. & Mitchel, P. (2015). [R]Evolution in reading cultures: 2020 vision for school libraries. The Australian Library Journal. http://dx.doi.org/10.1080/00049670.2015.1048043
Strickland, S. (2009, Feb 13). Born digital. Poetry Foundation. https://www.poetryfoundation.org/articles/69224/born-digital
Walsh, M. (2013). Literature in a digital environment (Ch. 13). In L. McDonald (Ed.), A literature companion for teachers (pp. 181 – 194). Primary English Teaching Association Australia (PETTA).
