Multiliteracies in ELA Classrooms

Technology is advancing and the use of multiliteracies in classrooms are increasing. Adolescents (and adults, for that matter) spend more time in front of a computer screen than in front of a printed book, especially since Web 2.0 and Web 3.0 have surfaced. Throughout history, there’s been anxiety around issues surrounding literacy, particularly when focusing on adolescents. When television came into existence, society assumed that adolescent’s literacy levels would decrease. The same anxiety appeared with the invention of computers, laptops, cellphones, etc…. I argue that such anxiety is present because society generally thinks of literacy as reading and writing only. All forms of literacy—whether visual, digital, etc…—are important, and to have students literate in multiple forms of literacies should be paid attention to within a classroom setting.

In terms of literacy as reading, why does it matter what one is reading? Whether one is reading young adult literature, e-books, signs, text messages, or labels, one’s literacy is developing, is it not?  I would argue that reading anything is better than reading nothing at all. The same argument can be applied to writing. However, this does not mean that I am suggesting that students write and read at a lower level; instead, I am saying that placing the blame on the internet is unnecessary. For example, many argue that plagiarism has increased because of the internet. Rather than blaming the internet, wouldn’t it be more effective to instruct students on plagiarism? And, rather than dismissing Wikipedia, wouldn’t it be more effective if we taught students to use it as a starting point? Wikipedia is a great resource/tool but should not be privileged over academic articles, and this should be further reinforced by the teacher. 

Moreover, I strongly believe that adolescents are more aware/educated now than they were a few centuries ago. The world of knowledge is at their fingertips. Nowadays, there’s a “how to” video on almost every subject/topic on YouTube, which I find phenomenal. Furthermore, to say that adolescents are not intelligent to use register is discriminatory towards a group of people. Being able to switch back and forth between standard English and informal speech is a skill. The same logic applies to texting; “Textspeak” must also be valued because it too is a particular skill. Again, the role of the teacher is important here. Teachers should teach their students to be able to write both formally and informally rather than value one over the other. 

This is a thought provoking article in which any number of elements could be explored in 400 – 500 words. One critique is that some of his terms could be more explicit. For example, even the term ‘visual literacy’ is limiting. ‘Media Literacy’ or ‘Critical Media Literacy’ is more accessible and encompassing of what he’s writing about. Similarly, ‘semantic and syntactic properties of language’ is somewhat opaque. Perhaps ‘content and form’ is clearer, and would certainly be clearer conveying to high school students.

I also thought he could have expanded on what drives the structure and production of visual literacy. The producers of such texts are concerned with persuasion and power: to influence how we think, what we believe, what we buy, and how we act. Granted, Messaris’ focus is on the visual and so this critique may be beyond the scope of his paper, but I’m not sure how we can separate the use of language, color, and choice of diegetic and no-diegetic sounds in any discussion of visual literacy. There is invariably a crafted synergy among them to achieve an intended effect in order to persuade the target audience, a technique known as ‘clustering’ (Allison & Chanen, 2011, p. 172). Non-diegetic sounds work in tandem with how images are sequenced (Consider the music that plays when Darth Vader enters the room, for example). While the manipulation of sound is not visual with paraproxemic elements it does follow a “well-developed, fixed set of rules” (Messaris, 1998, p. 75) that contribute to meaning.

An interesting feature of his article is the use of camera angles to objectify women in movies. This reminded me of the work of the sociologist Ernest Goffman (genderdisplays, 2014) who argued that in the field of advertising, the women portrayed are often dismembered (with only parts of their body showing), in which the men are shown in positions of dominance over women. Invariably the woman (or women) also gazes longingly at the man as he stares imperiously or indifferently into the camera or beyond. In real life, of course, most men are not nonchalant while having supermodels draped over them, but I believe Goffman’s issue is how women are represented in advertising, and for what ends. That’s for another essay.

I’m taught a course in Language, Culture, and Mass Communication in the high school IB program and am more familiar in approaching this from a semiotic perspective that considers aspects of Structuralism, Post-Structuralism and the role of the audiences of media texts.  In this regard it seems as if Messaris considers a more Structuralism view, in that we as media consumers are potential victims in interpreting and responding to visual texts the way the producers of these texts intend us to. In suggesting that the role of education is to “’denaturalize’ the ads’ visual syntax” (Messaris, p. 77) he is urging that we as educators teach students how to deconstruct visual texts so that students are more aware of the producers’ agenda.

Works Cited

Allison, R. & Chanen, B. (2011). English A: Language and Literature Course  Companion. Oxford, UK: Oxford University Press.

genderdisplays. (2014). Goffman: Gender Advertisements. Retrieved from http://genderdisplays.wordpress.com/theory/

 Messaris, P. (1998). Visual Aspects of Media Literacy. Journal of Communication, 48, 70-80. (UBC Electronic Holdings)

PLEASE NOTE: This website’s format altered the indent of each Works Cited entry and I can’t correct it.

First Weblog Entry – Word count: 445

Lesley S. J. Farmer’s article “I See, I Do: Persuasive Messages and Visual Literacy” emphasizes the importance of raising students’ awareness of how visual literacy and persuasive messages are created and structured for viewer consumption. Farmer argues that “while persuasive images surround students daily, young people often overlook the subliminal impact of those messages” (P. 33). They merely absorb every media outlet they encounter without thinking twice about what implications these visuals have. Advertisements, photos, and other types of visual sources are filled with elements that cater to our interests. Visual elements such as colours and shapes are used strategically to peak or maintain interests yet are so entrenched in our lives that we do not give them a second thought. By providing students with methods they can use to properly analyze the persuasive messages and other forms of visual literacies that they are being exposed to every day, students will gain more knowledge about the world around them. They will understand why certain visual codes change our perceptions and how we can use this knowledge to our advantage. Teachers can also provide students with information regarding how visual codes can be received differently depending on a persons’ background or previous knowledge. Messages within images can be complex and multi-faceted as different people can interpret images in vastly different ways.

It is also greatly important that students learn how to both create and deconstruct various kinds of visual literacies so they can more critically process whatever they encounter. Teachers can get students to use editing programs or other kinds of technology so that they more deeply explore visual literacies on a more personal level. Students will learn even more about how visual literacies and media affect them through creating their own images. To further the effectiveness of this practice, students can even break down the choices they make in the creation of their images and analyze how their peers respond to them. Farmer states that “digital tools … make it much easier to manipulate images in order to convince and persuade viewers” (P. 32). As technology advances, the ways that people can modify images and implement their messages increases dramatically. This can be both beneficial and detrimental to society. People can create more complex messages that challenge viewers to think more deeply about the content of the image and all social or cultural ideas behind it. However, people can also more easily hide negative subversive messages in images that trick people into subscribing to what they want. The best way to help students interact with visual literacies is to empower them with the knowledge to understand and break down the images constantly circling around them.

Question for the Seminar Lead Project:

What are the most important aspects teachers should be aware of when creating technology rich activities for students to explore visual images?

Work Cited

Farmer, Lesley S.J. (2007). I See, I Do: Persuasive Messages and Visual Literacy. Internet @ schools, 14(4), p. 30-33.

The use of alternative genres in the classroom can be a powerful tool for students to develop their literacy skills.  Texts such as graphic novels are motivating to read for reluctant readers, providing manageable amounts of texts while at the same time presenting complex issues and ideas.  Graphic novels contain many of the same literary elements as their written counterparts.  In addition, the analytic skills that students develop in thinking critically about the visuals in the text can be applied across all disciplines.  Gene Yang, the author of American Born Chinese also explains that since most students are immersed in visual media in their day-to-day lives, visual texts resonate more strongly with them.  Graphic novels, then, serve as a way to “bridge the gap between the media we watch and the media we read” (Yang 187).  It is an effective way to connect readers with a text while developing literacy skills.

While there seems to be an increase in the use of alternative genres in the classroom, it still often feels as though visual texts such as films and graphic novels are often overlooked in the curriculum in favour of written texts.  Perhaps there is still a stigma attached to genres such as the graphic novel, which may appear to some as merely a comic book with inherently less value than a traditional novel.  Particularly when an iconic, classic work of literature has a graphic novel equivalent, some tend to still place a higher value on the written form.  I think that these different versions of the same text offer an opportunity for effective differentiation.  I remember teaching Romeo and Juliet to a class comprised of English Language Learners, and using the graphic novel version of the play was an effective way of teaching many of the same concepts while at the same time exploring the interplay between text and image, and how the images supported the text and conveyed meaning.  When the students felt like the text was manageable, they were much more motivated and engaged with it.

Works such as Shaun Tan’s “The Rabbits” is also refreshing in that it provides students with a complex idea and presents it in the form of a beautifully illustrated text.  Introducing students to different forms of representation is a key aspect of literacy and encourages greater creativity.  I think that challenging students to use the same analytic skills used in reading novels and applying them to different genres of texts creates a more well-rounded literacy program.

In conclusion, visual literacy is a powerful skill that encourages critical thinking and deep analysis.  As an educator, I would definitely like to continue to learn how to incorporate a wide range of visual texts in a meaningful way in the classroom to promote literacy.

Adrienne Law

Questions for discussion

1. How have you or might you use graphic novels in the classroom?  Consider also texts that have a graphic novel counterpart.  What are the benefits, and what might be some potential challenges?
2. What skills would students develop with visual texts that would help them to succeed with other forms of literature?

Works Cited

Frey, Nancy. and Fisher, Douglas.  ” Using Graphic Novels, Anime, and the Internet in an Urban High School.”  The English Journal.  93.3 (2004).

Yang, Gene.  “Graphic Novels in the Classroom.” Language Arts.  85.3 (2008).

For our Media Project 1 on visual literacy, we chose to create a hyperlinked version of the spoken word poem “Hiroshima” by Sarah Kay. Our rationale for this can be found here: Media Project 1 – Ashley and Co. And our rubric for assessment can be found here: Media Project #1 Rubric – Ashley and Co.

Here is our product:

Hiroshima

I.

When they bombed Hiroshima, the explosion formed a mini

supernova, so every living animal, human or plant that received

direct contact with the rays from that sun was instantly turned to ash.

What was left of the city soon followed.
The long-lasting damage of nuclear radiation

caused an entire city and its population to turn into powder.
II.

When I was born, my mom says I looked around the whole hospital room

with a stare that said, This? I’ve done this before.

She says that I have old eyes. When my Grandpa Genji died

I was only five years old, but I took my mom by the hand

and told her, Don’t worry, he’ll come back as a baby.

And yet, for someone who has apparently done this already,

I still haven’t figured anything out yet.

My knees still buckle every time I get onstage.

My self-confidence can be measured out in teaspoons,

mixed into my poetry, and it still always tastes funny in my mouth.

But in Hiroshima, some people were wiped clean away leaving only

a wristwatch, a diary page, the mudflap from a bicycle.

So no matter that I have inhibitions to fill all my pockets,

I keep trying, hoping that one day I’ll write the poem I will be

proud to let sit in a museum exhibit as the only proof I existed.
III.

My parents named me Sarah, which is a biblical name.

In the original story, God told Sarah she could do something

impossible and she laughed. Because the first Sarah?
She didn’t know what to do with Impossible.

And me? Well, neither do I. But I see the impossible every day.

Impossible is trying to connect in this world; trying to

hold on to others while things are blowing up around you; knowing

that while you are speaking, they aren’t just waiting

for their turn to talk. They hear you.

They feel exactly what you feel at the same time that you feel it.

It’s what I strive for every time I open my mouth:

That impossible connection.
IV.

There is a piece of wall in Hiroshima that was burnt black by the

radiation. But on the first step, a person blocked the rays from hitting

the stone. The only thing left is a permanent shadow of positive light.

After the A-bomb, specialists said it would take seventy-five years for

the radiation-damaged soil of Hiroshima to ever grow anything again.

But that spring, there were new buds popping up from the earth.

When I meet you, in that moment,

I am no longer a part of your future.

I start quickly becoming part of your past.

But in that instant, I get to share a part of your present.

And you get to share a part of  mine.

And that is the greatest present of all.

So if you tell me I can do the impossible, I will probably laugh at you.

I don’t know if I can change the world. Yet.

Because I don’t know that much about it.

And I don’t know that much about reincarnation either,

but if you make me laugh hard enough,

sometimes I forget what century I’m in.

This isn’t my first time here. This isn’t my last time here.

These aren’t the last words I’ll share. But just in case,

I’m trying my hardest to get it right this time around.

American author Jonathan Safran Foer recently published his own interpretation of one his favourite novels. He took The Street of Crocodiles (originally written in Polish, translated into English) by Bruno Schulz  and completely gutted it by die-cutting out the majority of the text. It is basically impossible to read but it is visually stunning and shows us how we can adapt the written text into an interactive art piece.

It is not graphic in the standard sense but it is still visually arresting for the reader/viewer.

There is a especially fascinating video (the bottom video) showing the production of the work, something we take for granted or do not always consider.

Take a closer look at this fascinating piece of work:

http://www.visual-editions.com/our-books/tree-of-codes

-George Frankson

To begin our discussion on the blog I’d like to resurrect a post I made a year ago today, on 3 July 2013. I hope my observations below will serve as a catalyst for discussion of our readings, and I encourage you to join the conversation in this collaborative writing space by commenting or posting yourself.

—
The New London Group is a collective of 10 researchers who met in 1994 to discuss what they perceived to be a fundamental societal problem:

that the disparities in educational outcomes did not seem to be improving. We agreed that we should get back to the broad question of the social outcomes of language learning, and that we should, on this basis, rethink the fundamental premises of literacy pedagogy in order to influence practices that will give students the skills and knowledge they need to achieve their aspirations. (NLG, 1996)

In their “programmatic manifesto,” they outline a number of changes that demand corresponding changes in instructional methodologies. These include the following:

– Changes in Technology for Knowledge Mobilization
– Changes in Workplace (e.g., PostFordism and Fast Capitalism)
– Changes in Public Lives (e.g., privatization, deregulation, corporatization of education — market logic)
– Changes in Political Logic (e.g., Old World [standardization] / New World [assimilation] logic)
– Shifts in cultural and linguistic diversity

In contemplating how to move forward, they introduce the notion of design, which “recognizes the iterative nature of meaning-making, drawing on Available Designs to create patterns of meaning that are more or less predictable in their contexts” (NLG, 1996). Designing, they argue, “always involves the transformation of Available Designs; it always involves making new use of old materials” (NLG, 1996). They also note that Available Designs are varied, identifying the following: Linguistic Design, Visual Design, Audio Design, Gestural Design, Spatial Design, and Multimodal Design. For students to be successful, they argue, they invariably require a metalanguage to describe and reflect on their design process.

Finally, the New London Group observes

pedagogy is a complex integration of four factors: Situated Practice based on the world of learners’ Designed and Designing experiences; Overt Instruction through which students shape for themselves an explicit metalanguage of Design; Critical Framing, which relates meanings to their social contexts and purposes; and Transformed Practice in which students transfer and re-create Designs of meaning from one context to another. (NLG, 1996; bold added)

The above-summarized document is one of the most cited in contemporary literacy research. Although the authors describe it as “open and tentative,” and welcome debate and elaboration, there has been little critique of the ideas espoused. Rather, as Leander and Boldt (2013) observe, “More than any other document, ‘A Pedagogy of Multiliteracies’ streams powerfully through doctoral programs, edited volumes, books, journal reviews, and calls for conference papers, as the central manifesto of the new literacies movement,” and is the dominant conceptual paradigm in new literacy studies. A design paradigm, they posit, is not the only way to conceptualize literacy studies and has some key limitations.

Contemplating the NLG article and the above discussion, here are some questions for your consideration:

1. What appears to be the premise, or purpose, of education in the NLG’s view? Are there other valid purposes of education that might productively be considered?

2. In 1994 the NLG were concerned that “the disparities in educational outcomes did not seem to be improving.” In your estimation has there been any advancement in terms of erosion of such disparities? If not, why not?

3. To what extent are students availing themselves of the gamut of “Available Designs”? If they are not doing so, what might be the main barriers?

4. Look up the definition and etymology of design in multiple sources, including the OED. Do you feel the paradigm introduced — learning as design — is a useful one? Are you able to propose any other productive approaches?

5. The NLG notes that they are from disparate parts of the world; however, the ten researchers represent only 3 countries: Australia, Britain and the United States. Expanding on question 3, what approaches might have emerged in a meeting of a more diverse group of researchers?

6. A key challenge identified in education is that young people appear to shift from an innate desire to learn in preschool and non-formal settings to recalcitrance in formal settings. Some claim, in keeping with the NLG manifesto, that this is because content and instructional approaches are too far removed from students’ diverse experiences and interests. Would you agree and, if so, is the approach identified by the NLG one way to ameliorate this challenge?

7. Finally, contemplate the two images at the bottom of this post. These images, as you likely know, are “Wordles,” essentially simple visualizations of the word frequency in two different documents, where larger words represent greater instance of that term in the document (“stop words” — common English words — are omitted here so that the focus can be on “content” words). The texts visualized are the NLG article (1994) and Leander and Boldt’s response (2013). Which is which? Can anything be gleaned about the nature or focus of these texts from simply examining word frequency in these two documents?

If possible, upload your group’s thoughts on these questions as a comment to this post.

__________
References

Leander, K., & Boldt, G. (2013). Rereading “A Pedagogy of Multiliteracies” Bodies, Texts, and Emergence. Journal of Literacy Research, 45(1), 22-46. (UBC Electronic Holdings)

New London Group. (1996). A pedagogy of multiliteracies: Designing social futures. Harvard Educational Review, 66(1), 60-92.

First of all, I believe that this a great article to end this class with as it speaks to our efforts to improve the curriculum by incorporating multiliteracies  in our ELA  classrooms. Hannah Arendt, a well spoken political theorist, once said,“…we are all the same, that is, human, in such a way that nobody is ever the same as anyone else who ever lived, lives, or will live.” We need to realize the uniqueness not only of students and ourselves, but also the uniqueness of the era we live in.

Kress (2000) argues that our current educational system is in a stagnant state in that it is entrenched in educating a 19^th century audience for the stability of the times, rather than catering to our 21^st century students with, “an education for fluidity, for instability” (139). I believe that one needs to adopt a growth mindset in order to contend and take into consideration the claims expressed within the contents of this article. Kress notes that we live in a pluralistic society and I consider this characteristic as a requirement for change as action often comes from the plurality of society. It is within these societies that individuals collaborate to exchange views and build something new, something that is reflective of our current state. In addition, I would like to believe that educators always want to improve not only their lessons, but also more importantly, their approach to meet the needs of today’s students.  We undoubtedly belong to a profession that consists of lifelong learners. However, in all fairness, it is important to note that it may take anywhere between 20-30 or even 40 years before meaningful change takes place with regard to establishing a new and successful literary approach in our schools (Mackey, 2012). Nevertheless, we need to consider ourselves as designers who not only shape the leaders of tomorrow, but who continually design as, “designs speak of choices: choices which reflect the interests of their designer…”(143). Let then our interests lie in adapting our work, in whatever role we find ourselves, so that our pedagogy is consistent with the demands of today’s world.

In continuation on the theme of change, Kress notes that, “ ‘To learn’ was not supposed to mean ‘to change’” (140). We as educators are privileged with the role of educating the leaders of tomorrow, people who will implement change, if necessary, wherever they may find themselves. It is also our responsibility to act as role models so in a sense, we ourselves should not be afraid to seek and speak of change, if not implement change within our practice. It may be argued, that teachers are not administrators or that first year teachers should “go with the flow,” but as we become more experienced and develop our networks, we too may be in a position to if not directly implement change, to influence the process of change. Over time we may develop the courage to speak with our department heads and/or administrators about particular approaches, programs or even the selection of available books and resources.

Kress, Gunther. “A curriculum for the future.” Cambridge journal of education 30.1 (2000): 133-145.

Mackey, M. (2012). Mixing Media. In James, K., Dobson, T.M., Leggo, C., Eds. English in Middle and Secondary Classrooms: Creative and Critical Advice from Canada’s Teacher Educators. Toronto: Pearson.

(I apologize if some of you have seen my post on E-Literature before, but I cannot find it on our blog. I am re-posting it below….)

In retrospect when looking back at my educational experiences, I find that electronic literature may not only be a literary genre that is underrepresented, but it may also be underestimated in our 21^st century learning environments. English Language Arts (ELA) education has and continues to revolve around canonical texts, texts that have many available resources and recognition in our schools. Educators in ELA should be exposed to the electronic literature genre by means of workshops during professional development days or speakers who speak to the skilful elements within these stories during teacher education programs. I strongly believe e-literature is a unique literary genre as it allows the reader to engage with the text at a different level due to the represented multimodalities of electronic writing. When reading in this genre, the reader will encounter multimedia content, animation, links and many other fascinating aspects. Educators should familiarize themselves with this genre, because incorporating such non-traditional, interactive fiction may actually make the study of literature more appealing to our students. Implementing electronic literature may simply bring us closer to our students in that we make an effort to relate our content knowledge to their world in this digital era.

The Electronic Literature Organization has published two volumes of E-Literature and it is crucial to remember that some of the stories found within these collections, may be underdeveloped as they come from the early stages of this genre. Prior to this presentation in this multimedia class, I was not aware of electronic literature or the notion that it is informed by computer games, animations and graphic design.  I believe that all educators, regardless of their speciality and core/elective courses, should see as many examples as possible of this genre to merit further investigation and implementation. Once some examples are found, educators may also be hesitant to incorporate these into the curriculum due to the fact that these books are read on a computer. Fortunately as part of my inquiry into this genre, I encountered an essay by Chris Mott that teases out some of the questions educators may pose. Here is a list of the questions that he addresses in the course of his work:

1. Why should I teach electronic literature?
2. How can I hep my students whoa re frustrated or confused by electronic literature?
3. How do I help my students profit from the similarities and difference between print and electronic literature?
4. How do we discuss a text that is not the same fro everyone?
5. How do I assign reading?
6. What sorts of assignments and exercises (intellectual tasks) are most relevant and effective?
7. How do I teach in a medium/material I have not mastered?
8. Which pieces should I teach?
9. What resources are available to help me teach electronic literature?

I will be addressing many of the practical suggestions Mr. Mott offers in respect to these questions during the E-Literature presentation. Here is a link to the essay  http://newhorizons.eliterature.org/essay.php@id=3.html

Also, it is worthwhile to mention that there are many other essays on the Electronic Literature: New Horizons For the Literary website that may help inform your understanding of electronic literature.

http://newhorizons.eliterature.org/essay.php.html

A showcase of electronic literature can be found at http://eliterature.org/news/showcase/

Hayles, N. K. (n.d.).       Electronic Literature: What is it?    . Electronic Literature Organization. Retrieved July 2, 2013, from http://eliterature.org/pad/elp.html

Mott, C. (n.d.). Electronic Literature: New Horizons For The Literary :: Essays. Electronic Literature: New Horizons For The Literary . Retrieved July 4, 2013, from http://newhorizons.eliterature.org/essay.php@id=3.html

In his article “A Curriculum for the Future”, Gunther Kress makes a strong case for the notion of “changing with the times”. The idea of prioritising and rethinking current curriculum is incredibly important in my opinion, as it is foolish to assume that the present system is without fault. Kress’ statement about “the coming era demand[ing] an education for instability” (133) is so incredibly profound. I did my seminar presentation on e-literature, and one important aspect of that subject was the notion of thinking about and preparing for the future, as change has become so rapid today. Putting these readings together really emphasizes the notion that nothing is constant, and this definitely makes me think critically about how I will deal with curriculum in my future classroom.

At its very core, the goals of education have changed (Kress 134), and I strongly feel that we must also follow suit. What the norm was even 10 years ago is not necessarily a reality today. During my practicum, I encountered many teachers who seemed to be comfortable and settled in their methods of teaching. By this, I mean that many of them refused – and frankly didn’t see the point – of trying new, innovative ways of teaching. When talking to a teacher about wanting to utilize different forms of technology in the classroom, I was told on more than one occasion to stick to “what works”, which in this case meant giving students notes and worksheets. This, to me, seemed like such a primitive way of communicating with my students, but looking back on it now, I see why a newer way of reaching students can seem fearful to some teachers.

Changing how one has always done something, especially when the ‘newer’ way of doing it can seem daunting, is reason enough to deter one from making modifications to their instruction. To be honest, I do not do well with change, but when it comes to teaching, what makes me more willing to try new things is the idea of reaching my students on a greater level. The potential of providing my students with a deeper connection to school content is so incredibly exciting to me that the fear that comes with change disappears. I truly believe that there is so much room for improvement when it pertains to school curriculum, and the only way that this development can take place is if we make it a priority to plan not only for now, but the future. Nothing in life is stable – especially teaching – and to become comfortable with a primitive mode of doing things would be an incredible disservice to our students.

Works Cited