Tag Archives: literature across curriculum

Literary Learning – Shifting from ‘Learning to Read’ to ‘Reading to learn’.

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Language and literature has always been part of educational practices. 

This is because language is central to cognition and therefore needs to be implemented in all areas of thinking and learning.  Literary learning is the use of literature across the curriculum.  It is based upon genre theory as language is learned in context and a variety of genres and formats should be made available for all students to (Derewianka, 2015).  Whilst the emotive and behavioural benefits of literature are well documented, some teachers may believe that a variety of genres in teaching and learning are unnecessary.  Cornett (2014) points out the many cognitive values of literary arts in the curriculum such as promoting literacy, supporting active meaning construction and provoking inquiry, lifelong learning, problem solving and increasing critical thinking skills.  The  role of the teacher librarian and educator is to increase the implementation of the various forms of literature, such as narratives, expositions, discussions and recounts, in order to increase student exposure to the heterogeneity of discourses available in their subject area.  

GDJ / Pixabay – Code breaker to text analyser.

Literacy for learning is when a student moves from simply being codebreakers and text participants, to using text for learning and analysing.  The basis of literary learning is genre theory and programs such as ‘reading to learn’ places an emphasis on students using a variety of literature formats in schooling (Derewianka, 2015).  Genre theory has had a great influence on education practices in Australia.  It is an extension of Vygotsky’s and Halliday’s theory of language development occurring in social contexts (Derewianka, 2015).  The extension is based upon the view that students need access to a variety of genres within their subject matter in order to be able to engage in discourse (Derewianka, 2015).  Since each genre has its own identifiable format, it is important that educators offer a variety of genres to maintain equity (Derewianka, 2015).  Derewianka (2015) also elucidates the pertinent fact that each key learning area has a particular vocabulary, and that students need to understand and develop experience with this specific language and various formats in order to achieve academic success. 

ACARA places great emphasis on literacy, language and literature in the curriculum.  It requires students to use language as a method of participating in the learning process (Derewianka, 2015).  I have previously elucidated on the importance of literacy, so I will not go into any more detail about that now.  But within the General capabilities curriculum, there is a requirement for students to be able to make meaning and critically analyse.  Therefore, the use of a variety of genres within teaching and learning practices ensures students are able to meet the learning outcomes set by the standards within the curriculum.  

From a pedagogical perspective, literary learning is a child centred approach to teaching and learning. Derewianka (2015) points out that the shift from teacher to child centric pedagogy requires student’s engagement in order for them to participate in the learning.  Literature can be used as a method to learn about subject matter as it provides a increased engagement for students and also has a higher recall compared to expository texts (Cornett, 2014, p. 151).  Besides being a mode of conveying information, the use of good quality literature has been proven to support construction of meaning, deepen understanding of complex social issues and meet the aesthetic needs of students (Cornett, 2014, p. 151).  The latter is very important as motivation is a commitment to extend the reader’s aesthetic experience (Cornett, 2014).  

 There are some educators that are skeptical of the need to implement literature across the curriculum, even though the implementation of language, literature and literacy across key learning areas has been part of teaching practice for the last few decades.  One of the arguments against the implementation of literature, is that some students would struggle against having to negotiate meaning from the text.  Students with low literacy and those who speak a second language could find some genres more problematic than others.  But Cornett (2014) refuted this argument by determining that literature based learning is beneficial to students combating aliteracy or illiteracy.  This is because students that have literature at the core of their learning improve their overall reading levels in comparison to those that do not  (Cornett, 2014).  Ironically, the use of  standarised tests have been proven to have no benefit in improving literacy outcomes but they still happen at regular intervals (Cornett, 2014).  But whilst literature have been proven to address  cognitive, emotional and developmental needs, not all students (and teachers) like  all aspects such as narrative literature.  Since choice is an essential aspect of engagement and motivation, it is important to implement a variety of genres and resources in educational practices when planning a unit of work.  Astute educators will know that it makes sense to balance pragmatism with literature.  

Literary learning is the implementation of literature across the curriculum.  By using literature as a method of conveying subject specific information, teachers are improving the learning outcomes of the students.  From an evidence based perspective, literature based learning is the better option for students as it allows students to construct their own bank of knowledge from information which is more easily read, understood and comprehended.  It allows students to put into context the subject specific vocabulary they have learned and use correctly the variety of formats and genres that are applicable to their discipline.  Students no longer just learn to read… they read so that they can learn. 

 

References:

Cornett, C. E. (2014). Integrating the literary arts throughout the curriculum. In Creating meaning through literature and the arts: arts integration for Classroom teachers (5th ed,) (pp144-193) USA

Derewianka, B. (2015). The contribution of genre theory to literacy education in Australia. In J. Turbill, G. Barton & C. Brock (Eds.), Teaching Writing in Today’s Classrooms: Looking back to looking forward (pp. 69-86). Norwood, Australia: Australian Literary Educators’ Association. Retrieved from https://ro.uow.edu.au/cgi/viewcontent.cgi?article=2620&context=sspapers

 

ETL 402 – Part B – Learning through reflection

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For a very long time

I was convinced that

literary learning

meant

learning how to read. 

 

BOY was I WRONG! 

 

This is my journey to enlightenment.  

geralt / Pixabay – Enlightened at last…

 

I wrote Once upon a time before this session even started.  I find it interesting to reflect on my journey and see how my understanding has evolved since then.  

What did I learn?

Anemone123 / Pixabay

I learned that: 

  1. Stories are more than just tall tales, they are humanity’s way of imparting information, values and language (Macdonald, 2013, p.2). 
  2. Our ability to understand language is intrinsically linked to our own literacy identity (Anstey & Bull, 2006).  
  3. Literature’s  greatest value is from the discussion that it stimulates (Allington & Gabriel, 2012). 
    1. Student learning outcomes are around a shared reading experience (Fisher & Frey, 2018). 
  4. Genre variety is important as it increases discourse and efficacy in understanding nuances within literature (Tobin, 2012).  

    1. Afterall, how can we expect students to understand the differences between memoirs and biographies, expository texts to essays or picture books and graphic novels if they are not exposed to them? 

  5. We need to equip our students with the skills and strategies for navigating and analysing hypertext and multimodal literature in our classroom practice (Rowberry, 2018).  Their ability to be active citizens in the 21st century depends on those decoding and analysis skills to utilise literature in all its formats – digital, audio, graphic novel, and picture books.  

So what does this mean for my understanding of Literary learning?

Literary learning (as I discovered after wading through

module readings, packets of choccie biscuits and journal articles) is the pedagogical practice of using literature in a social context to teach the curriculum (Derewianka, 2015).

It requires: 

  1. Good quality literature with strong curriculum links in a variety of genres and formats (Derewianka, 2015)
  2. Age appropriate reader response strategies: 
    1. Book Bentos,
    2. Book Trailers 
    3. Literature circles
    4. Story mapping
    5. Word clouds

 (Derouet, 2020)

 

 

I did not know which ones to do…

so I asked for help (and I wrote a gazillion blog posts. Check them out!)

 

  1. Murphy (2020) pointed out that literature circles are ideally suited to the history curriculum in his forum post.
  2. Thurling (2020) argued that the social aspect of literature circles is often undervalued. 
  3. Armstrong (2020) suggested that book trailers suit visual learners and embeds technology effectively into learning in her blog.  
  4. My work colleague advised that teachers could incorporate both strategies together as part of a guided inquiry unit. 

I realised that it was all correct!

  1. Students participate in a Literature circle to analyse the text, 
  2. And then use that analysis to make a book trailer (or another creative piece), to show their understanding of the topic whilst using technology.  WINNING!

  Now that I have had my revelation about the value of discourse…… I wonder, what does that mean for my role as a teacher librarian?  It is clearly obvious that my role is no longer just the promotion of reading, and but has now morphed into the advocacy of literature in classroom practice to promote READING to LEARN !

This means I need to:

Work with classroom teachers to plan their units of work with literature at its core.
2.     Collaborating with colleagues to embed literature throughout the curriculum.
3.     Be willing to team teach using digital literature and digital technologies.

Why?

After all, you cannot have literacy without literature.  Its just ‘racy otherwise.  

Get it??

stux / Pixabay

 

 

 

 

 

References:

Allington, R., & Gabriel, R. (2014). Every child, every day. Educational Leadership, 69 (6).  pp.10-15. Retrieved from http://web.a.ebscohost.com.ezproxy.csu.edu.au/ehost/detail/detail?vid=0&sid=af8a4fab-9b19-447e-835f-78f39f145c0b%40sdc-v-sessmgr02&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#AN=73183256&db=ehh

Anstey, M., & Bull, G. (2006). Teaching and learning multiliteracies: Changing times, changing literacies . Newark, Del.: International Reading Association.

Armstrong, K. (2020). Book Trailers – Promotion tool or pedagogical tool for literary learning.  Musing and Meanderings. CSU Thinkspace. Retrieved from https://thinkspace.csu.edu.au/karenjarmstrong/2020/05/12/book-trailers-promotion-tool-or-pedagogical-tool-for-literary-learning/

Derewianka, B. (2015). The contribution of genre theory to literacy education in Australia. In J. Turbill, G. Barton & C. Brock (Eds.), Teaching Writing in Today’s Classrooms: Looking back to looking forward (pp. 69-86). Norwood, Australia: Australian Literary Educators’ Association. Retrieved from https://ro.uow.edu.au/cgi/viewcontent.cgi?article=2620&context=sspapers

Derouet, E. (2020). Assignment 2 Questions : Examples of literature response strategies. ETL402 Discussion Forum. Retrieved from https://interact2.csu.edu.au/webapps/discussionboard/do/message?action=list_messages&course_id=_44234_1&nav=discussion_board_entry&conf_id=_88815_1&forum_id=_181934_1&message_id=_2891282_1

Fisher, D. & Frey, N. (2018). Raise reading volume through access, choice, discussion, and book talks. Reading Teacher, 72(1), 89-97. doi: 10.1002/trtr.1691

McDonald, L. (2013). A literature companion for teachers. Marrickville, NSW: Primary English Teaching Association PETA.

Murphy, D. (2020). Thread 6.3 Literature circles in history. ETL402 Discussion Forum. CSU. Retrieved from https://interact2.csu.edu.au/webapps/discussionboard/do/message?action=list_messages&course_id=_44234_1&nav=discussion_board_entry&conf_id=_88815_1&forum_id=_181940_1&message_id=_2937474_1

Rowberry, S. P., (2018). Continuous, not discrete: The mutual influence of digital and physical literature. Convergence: The International Journal of Research into New Media Technologies. pp.1-11 DOI: 10.1177/1354856518755049

Thurling, D. (2020). RE: 6.3 Literature circles in history. ETL402 Discussion Forum. CSU. Retrieved from https://interact2.csu.edu.au/webapps/discussionboard/do/message?action=list_messages&course_id=_44234_1&nav=discussion_board_entry&conf_id=_88815_1&forum_id=_181940_1&message_id=_2937474_1

Tobin, M. (2012). Digital storytelling: Reinventing literature circles. Fischer College of Education. 12. NSU. Retrieved from https://nsuworks.nova.edu/cgi/viewcontent.cgi?article=1000&context=fse_facarticles

Literary Circles – Learning through literature

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Society has always approved of vigorous discussion regarding books.  Book clubs, reading circles and literature groups, are places where people, mostly adults, meet to discuss classic novels or the latest best seller.   These discussions facilitate a shared understanding of the text, which increases comprehension, pleasure and aesthetic motivation (Woodruff & Griffin, 2017, p.108).  Known as a reader response method, literacy circles seek to challenge the reader to interpret the text through their own lens, such as their perspectives, knowledge and viewpoints, to make meaning from what they are reading (Woodruff & Griffin, 2017, p.108).  As a response strategy to literature, literature circles require the reader to critically analyse the text and justify their reasoning (Woodruff & Griffin, 2017, p.108).  

Whilst discourse does occur in disciplines that participate in research and further study, it is rare for the general public to meet and discuss information texts or nonfiction.  This can prove to be detrimental as much of life involves the interpretation or making meaning from texts (Daniels, 2002; Woodruff & Griffin, 2017, p.108).   There are two main benefits for including literature circles within a high school classroom.  The first and main benefit is that it is an excellent literary strategy that captures how a reader responds to a text.  The other main reason is that it fosters collaborative learning (Bedel, 2016).

High school literature circles (LC) are structured similarly to adult book clubs.  They consist of small groups of students sharing discourse about a specific text (Daniels, 2002).  Bedel (2016) describes literature circles as places where students are able to practice their communications skills and improve their reading strategies (p.96).  Predominantly used as a tool to investigate fiction, LC can also be used to investigate narrative nonfiction, news articles, journals, reports, essays, exposes, memoirs and information books across all disciplines (Daniels, 2002, p.7).  Daniels (2002) cautions the use of reference books and school textbooks within LC as they are not suitable (p.10).  Their prescriptive nature means that they forgo narrative and literary features, and are overloaded with content (Soiferman & Straw, 2016, p.10 ).  This means that the minimum requirements for a text to be included in a high school LC are that it is engaging, of good quality and provokes vigorous discourse (Daniels, 2002, p.8). Since most high school students find their school textbooks of little interest, they can be excluded quite easily by those benchmarks.  After all, who gets emotive over a review of differentiating quadratics?  

Literature circles are based upon Rosenblatt’s reader response strategy.  It acknowledges that readers make meaning from text with their own background acting like a lens and that every reader will have a different interpretation (Woodruff & Griffin, 2017, p.110). Its constructivist approach is why LC are so effective in classroom practice.  It appreciates each student’s input as a valid contribution to collaborative learning, and makes the students active agents in their learning, rather than passively absorbing the teacher’s response as gospel (Woodruff & Griffin, 2017, p.110). There is also an increased immersion in the text when students are reading aesthetically, as LC requires the students to consider diverse reasons and perspectives, and utilise background knowledge or experience (Woodruff & Griffin, 2017, p.111).   Recall why LC do not work with information texts such as textbooks and reference books? It is impossible to breathe life into reference encyclicals (Woodruff & Griffin, 2017, p.111)!

One of the greatest benefits of literature circles from a classroom teacher’s perspective is that it is an appropriate reader response strategy for a diverse classroom.  LC is able to meet the cognitive and developmental needs of the differently able learners, as all contributions and interpretations of literary works are welcomed equally (Woodruff & Griffin, 2017, p.109).  LC also have low technological requirements.  Whilst some teachers can choose to use digital technology such as wikis and forums to conduct their literature circles, it is not required.  LC can be run in a classroom, an oval, a garden or online.  All this reader response strategy requires is an engaging text that meets literary standards and a group of students willing to participate.    

Literature circles are adaptable for all levels of high school, and across all key subject areas as all they require for effective practice is that members of a group have to read the text.  This can prove problematic for a few reasons.  Firstly, that it may be financially nonviable to purchase multiple copies of the same book (Daniels, 2002, p.11).  Whilst some schools have a book hire scheme in place, they may not include the titles required.  A suggestion is to locate an online version that students can access on their devices.  Another reason is that some students may baulk at the idea of reading a whole book.  This is a very common occurrence in high schools and some teachers seek audiobooks as a suitable alternative.  Finally, some students lack the ability to read due to illiteracy, learning difficulties or have another first language.  But both Cornett (2014) and Bedel (2016) disagree and state that literature based learning has higher success rates in students with low literacy than when it is not at the core of learning.  Journal articles, essays and book extracts are suitable alternatives to large novels, but picture books, either fiction or nonfiction, have a high success rate due to their engaging format and brevity.  There is a plethora of sophisticated picture books available for most subject areas.  

 Efficacy within literature groups is dependent on the functionality of the group of students working together to achieve a collaborative goal (Bedel, 2016, p.97).  Due to the student driven nature of LC, participants in LC must be willing to share their individual connections to the text as well as any feelings or judgments they have in order to make meaning from the text (Daniels, 2002, p.13).  Efficacy within groups is measured by equal participation in discourse, ability to reflect upon the author’s intent and purpose, as well as identifying the effectiveness of the literary devices used within the text (Daniels, 2002, p.13).  As a valid reader response strategy in high schools, LC increases the comprehension and connections a student makes between themselves, the text and the world.

Reader response strategies like literature circles, book bento boxes and book trailers, all require the teacher to be a facilitator of learning rather than an instructor (Woodruff & Griffin, p.109).  This means the role of the teacher is there to support and guide students as they understand the text and derive the author’s intent (Woodruff & Griffin, 2017, p.111).  Sometimes a teacher may need to intervene if students need redirecting, or encouraging if the students persist in viewing the text from a single perspective (Woodruff & Griffin, 2017, p.111).  The other task of the teacher is to possibly assign roles within the literature groups.  In traditional LC, each student has a specific task that increases the effectiveness of the collaborative learning group (Woodruff & Griffin, 2017, p.112).  

Literature based learning has proven educational benefits for students of all ages but specifically for high school students.  Unfortunately, the persisting trend towards nationwide standardised tests is making it difficult for teachers to use literature based learning in their classrooms.   But why is there such a disinclination from state education department heads to embed literature across the curriculum?  Teachers are often dealt with the short end of the stick as they are forced to teach using dry and content overloaded texts to students that are disengaged and disinclined.  They are continuously looking for ways to make their practice more engaging and relatable to the students but are hampered by education boards that fail to realise that it is not how students are taught but what they are given to read that makes the difference.  By embedding literature across the curriculum and utilising reader response strategies like literature circles, student’s learning is fostered, as is their ability to work effectively with their peers.  Teachers should be encouraged to use literature circles as a method of investigating and analysing texts across all disciplines, as it meets the needs of the student and promotes a life long love of reading.  

REFERENCES.

Bedel, O. (2016). Collaborative learning through literature circles in EFL. European Journal of Language and Literature Studies. 2(3). Retrieved from http://journals.euser.org/files/articles/ejls_sep_dec_16/osman.pdf

Cornett, C. E. (2014). Integrating the literary arts throughout the curriculum. In Creating meaning through literature and the arts: arts integration for Classroom teachers (5th ed,) (pp144-193) USA

Daniels, H. (2002). Expository text in literature circles, Views from the Middle. 9(4). Retrieved from http://oldmoodle.escco.org/file.php/1/READING/expository_text.pdf

 

Soiferman, L., & Straw, S. (2016). Reader Response to Literature in Early, Middle, and Senior High Classrooms. ERIC ED569175. Retrieved from https://files.eric.ed.gov/fulltext/ED569175.pdf

 

Woodruff, A., & Griffin, R. (2017). Reader response in secondary settings: Increasing comprehension through meaningful interactions with literary texts. Texas Journal of Literacy Education (5) 2 pp.108-116. Retrieved from https://files.eric.ed.gov/fulltext/EJ1162670.pdf

 

 

Book Bento – Kokoda by Peter Fitzsimons.

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Interactive Images:

I have already completed my review of Peter Fitzsimons’ masterpiece “Kokoda”.  But whilst I was drifting across social media I came upon the idea of Book Bento Boxes.  Now these are quite fascinating so I had a play creating one using  Powerpoint and Thinglink.

I am pleasantly surprised… stay tuned for a more comprehensive analysis of book bentos and their application in teaching and learning.

 

 

Literary Learning

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Language and literature has always been part of educational practices. 

This is because language is central to cognition and therefore needs to be implemented in all areas of thinking and learning.  Literary learning is the use of literature across the curriculum.  It is based upon genre theory as language is learned in context and a variety of genres and formats should be made available for all students to (Derewianka, 2015).  Whilst the emotive and behavioural benefits of literature are well documented, some teachers may believe that a variety of genres in teaching and learning are unnecessary.  Cornett (2014) points out the many cognitive values of literary arts in the curriculum such as promoting literacy, supporting active meaning construction and provoking inquiry, lifelong learning, problem solving and increasing critical thinking skills.  The  role of the teacher librarian and educator is to increase the implementation of the various forms of literature, such as narratives, expositions, discussions and recounts, in order to increase student exposure to the heterogeneity of discourses available in their subject area.  

Literacy for learning is when a student moves from simply being codebreakers and text participants, to using text for learning and analysing.  The basis of literary learning is genre theory and programs such as ‘reading to learn’ places an emphasis on students using a variety of literature formats in schooling (Derewianka, 2015).  Genre theory has had a great influence on education practices in Australia.  It is an extension of Vygotsky’s and Halliday’s theory of language development occurring in social contexts (Derewianka, 2015).  The extension is based upon the view that students need access to a variety of genres within their subject matter in order to be able to engage in discourse (Derewianka, 2015).  Since each genre has its own identifiable format, it is important that educators offer a variety of genres to maintain equity (Derewianka, 2015).  Derewianka (2015) also elucidates the pertinent fact that each key learning area has a particular vocabulary, and that students need to understand and develop experience with this specific language and various formats in order to achieve academic success. 

ACARA places great emphasis on literacy, language and literature in the curriculum.  It requires students to use language as a method of participating in the learning process (Derewianka, 2015).  I have previously elucidated on the importance of literacy, so I will not go into any more detail about that now.  But within the General capabilities curriculum, there is a requirement for students to be able to make meaning and critically analyse.  Therefore, the use of a variety of genres within teaching and learning practices ensures students are able to meet the learning outcomes set by the standards within the curriculum.  

From a pedagogical perspective, literary learning is a child centred approach to teaching and learning. Derewianka (2015) points out that the shift from teacher to child centric pedagogy requires student’s engagement in order for them to participate in the learning.  Literature can be used as a method to learn about subject matter as it provides a increased engagement for students and also has a higher recall compared to expository texts (Cornett, 2014, p. 151).  Besides being a mode of conveying information, the use of good quality literature has been proven to support construction of meaning, deepen understanding of complex social issues and meet the aesthetic needs of students (Cornett, 2014, p. 151).  The latter is very important as motivation is a commitment to extend the reader’s aesthetic experience (Cornett, 2014).  

 There are some educators that are skeptical of the need to implement literature across the curriculum, even though the implementation of language, literature and literacy across key learning areas has been part of teaching practice for the last few decades.  One of the arguments against the implementation of literature, is that some students would struggle against having to negotiate meaning from the text.  Students with low literacy and those who speak a second language could find some genres more problematic than others.  But Cornett (2014) refuted this argument by determining that literature based learning is beneficial to students combating aliteracy or illiteracy.  This is because students that have literature at the core of their learning improve their overall reading levels in comparison to those that do not  (Cornett, 2014).  Ironically, the use of  standarised tests have been proven to have no benefit in improving literacy outcomes but they still happen at regular intervals (Cornett, 2014).  But whilst literature have been proven to address  cognitive, emotional and developmental needs, not all students (and teachers) like  all aspects such as narrative literature.  Since choice is an essential aspect of engagement and motivation, it is important to implement a variety of genres and resources in educational practices when planning a unit of work.  Astute educators will know that it makes sense to balance pragmatism with literature.  

Literary learning is the implementation of literature across the curriculum.  By using literature as a method of conveying subject specific information, teachers are improving the learning outcomes of the students.  From an evidence based perspective, literature based learning is the better option for students as it allows students to construct their own bank of knowledge from information which is more easily read, understood and comprehended.  It allows students to put into context the subject specific vocabulary they have learned and use correctly the variety of formats and genres that are applicable to their discipline.  Students no longer just learn to read… they read so that they can learn. 

 

References: 

Cornett, C. E. (2014). Integrating the literary arts throughout the curriculum. In Creating meaning through literature and the arts: arts integration for Classroom teachers (5th ed,) (pp144-193) USA

Derewianka, B. (2015). The contribution of genre theory to literacy education in Australia. In J. Turbill, G. Barton & C. Brock (Eds.), Teaching Writing in Today’s Classrooms: Looking back to looking forward (pp. 69-86). Norwood, Australia: Australian Literary Educators’ Association. Retrieved from https://ro.uow.edu.au/cgi/viewcontent.cgi?article=2620&context=sspapers

 

Graphic novels in the curriculum

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In days gone by, graphic novels were regarded little more than entertainment for children and young adults.  They were regarded as shallow and of no value as literature. I have previously discussed the popularity of graphic novels in my school library, but I have not expounded upon their value to the collection as a source of literature.

A good graphic novel as described by Gonzales (2016) is a literary text in a comic strip format. It should have the same literary features of a prose novel, such as an overarching theme, depth of plot, character development, as well as the standard literary devices of any other piece of literature (Gonzales, 2016).  But the added strength of graphic novels is the illustrations. These illustrations support the storyline and seek to enhance the plot for the reader by providing context and additional visual clues.

ACARA (n.d.a) defines a text as a conveyance of communication.  It does not discriminate if the text is written, spoken or multi-modal in nature, but rather emphasises the importance in its ability to transmit information.  Therefore, as per ACARA (n.d.a), it is perfectly reasonable for graphic novels to be used as part of curriculum literature as well as part of general wide reading. The multi-modal format of graphic novels is suitable for both fiction and non fiction subject matter, and engages students across year levels and contributes to the development of various literacies and higher order thinking skills.

The format of graphic novels strongly promotes literacy; which includes but is not limited to language and visual development as well as critical and cultural literacy (Laycock, 2019).  As ACARA (n.d.b) illustrates, the literacy continuum allows for active teaching of graphic novels in the visual knowledge element as well as the comprehension of text elements. These elements clearly indicate that the focus of literature is no longer restricted to prose in print; but that the concept of text has greatly evolved.

Graphic novels have several features that lend itself to teaching and learning practice.  Firstly, the transition that is needed between frames makes it necessary for the reader to predict the next action (Botzakis, 2018).  This prediction requires the student to utilise higher order thinking skills before they can arrive at that point, using the contextual information present in the imagery.  The context of a graphic novel has multiple uses in an educational setting.  Besides assisting low literacy and ESL students improving their ability to decode; discordance between images and text can also be used to provoke spirited discussions and analysis (Botzakis, 2018).  Lamentably, most students fail to understand such nuances intuitively, therefore explicit pedagogical practice is required to equip students with the necessary skills (Laycock, 2019). Lastly, graphic novels have visual permanence (Botzakis, 2018). This visual permanence means that the reader is able to set their own reading pace and allows for re-reading and further clarification.

In recent years, many classical texts have been reprinted as graphic novels due to their popularity.  Complex texts such as Homer’s “Iliad” and Harper Lee’s “To kill a mockingbird” adaptations allow the reader to engage with class texts in a format that they can access more easily.  Even popular titles such as “Anne Frank’s Diary” and “Wrinkle in Time”have proven more competitive in a graphic format than the traditional text version with high school students.  Laycock (2019) points out that graphic novels increase the literacy alphabet in poor readers as well as offer an additional method in which content can be delivered. The evidence does indicate that as a format, graphic novels have great potential in a classroom setting.

Unfortunately many teachers falter when challenged to use graphic novels in their teaching practice.  This is due to a lack of confidence with this format. Authority in explicitly teaching literacy using graphic novels requires the teacher to be familiar with a variety of graphic texts (Gonzales, 2016).  Gonzales (2016) suggests that knowledge in film techniques would be useful in analysing the illustrations, as they use frames, colours, angles and word bubbles to convey the covert message; in comparison to the the text, which speaks the overt message.  Comprehension is further enhanced by clear teaching of artistic elements such as line, shade, colour, form and depth. Some graphic novels aid comprehension further by the inclusion of character mapping which aids in memory recall (Botzakis, 2018).

The largest benefit to the inclusion of graphic novels in a high school library collection is that reading graphic novels tends to lead to an increased satisfaction with reading, which in turn leads to increased wide reading (Gonzales, 2016; Laycock, 2019).  Graphic novels also give poor and reluctant readers a sense of accomplishment due to the increased decoding assistance from the visual clues (Botzakis, 2018).

Regrettably many parents and teachers still believe that graphic novels are unsuitable for classrooms and wide reading due to ingrained prejudices and their own distant memories (Gonzales, 2016; Laycock, 2019).  There is an assumption that vintage comics are in the same league as a modern graphic novel. But this thesis would be incorrect. Comics are to graphic novels as Mills & Boon are to traditional literature (Botzakis, 2018). It would be a great miscalculation to designate all graphic novels as entertainment, when one can clearly see their practicality in the classroom and links to the curriculum. Another point to consider is that there is a disconnect between what students want to read and what the curriculum dictates they have to read.  This dichotomy cripples literacy development. When school literacy programs prefer only monomodal texts, it creates pedagogical tension for teachers. Adding graphic novels to class literature shifts the voice in the classroom from teacher to the student which leads to higher student engagement.

Graphic novels sales are trending across the literary world.  The first graphic novel to win a Pulitzer Prize was “Maus” by Spiegelman in 1992, followed by Aydin’s “March” series that won the National Book Award in 2016.  Traditionally favoured with the tween and teen males, graphic novels have become increasingly popular with teenage girls (Gonzales, 2016; Botzakis, 2018). This popularity has led to a sharp increase in the occurrence of female protagonists within this genre (Gonzales, 2016).  One could argue that graphic novels are indeed texts of the 21st century as they engage the reader on multiple levels, promoting multiple literacies in a multi-modal world.

References

ACARA, (n.d.a) English – Key Ideas. Retrieved from  https://australiancurriculum.edu.au/f-10-curriculum/english/key-ideas/

ACARA, (n.d.b) Literacy Learning continuum.  Retrieved from https://www.australiancurriculum.edu.au/media/3596/general-capabilities-literacy-learning-continuum.pdf

Botzakis, S. (2018). Comics in the classroom: Using graphic novels for content learning. In D. Wooten, B. Cullinan, L. Liang & R. Allington (Eds).  Children’s literature in the reading program: Engaging young readers in the 21st century, (5th ed., pp. 140-152). Retrieved from Proquest Ebook Central.

Goldsmith, F. (2010). The readers’ advisory guide to graphic novels. Retrieved from Proquest Ebook Central.

Karp, J. (2012). Graphic novels in your school library. Retrieved from Proquest Ebook Central. 

Laycock, D. (2019) Pilgrims in a foreign land: Teachers using graphic novels as classroom texts. SCAN, 38.  https://education.nsw.gov.au/teaching-and-learning/professional-learning/scan/past-issues/vol-38,-2019/pilgrims-in-a-foreign-land-teachers-using-graphic-novels-as-classroom-texts