Literary English and the challenge of multimodality

How to understand and argue for the nature and place of literary texts and experience in contemporary English curriculum has been and continues to be the subject of much debate. While literature as traditionally conceptualised remains an important presence in much English curriculum, the notion of what 'literature' is, or what the category of 'literary' texts and cultural forms might encompass, in a context where literacy is understood as multimodal and English and literacy curriculum addresses multimodal literacies accordingly, is less clear. This paper addresses two areas with respect to literature and literature teaching in the digital age: first, issues surrounding the ways in which national curriculum guidelines in England and Australia envisage the teaching of literature, in principle and in practice; and second, the challenges presented to print-based conceptions of literature and literature teaching within English by significantly broader conceptualisations of literature encompassing a range of aesthetic multimodal texts and forms. The kinds of insights, experience and understandings generated through the study and creation of literary and aesthetic texts in English, it is argued, are now needed more than ever. However, as literary experience becomes increasingly transmodal, how English seeks to manage media shift to encompass both print and digital forms remains a challenging issue.

Editorial: English afloat on a digital sea

In the 21st Century, new technologies, in particular interactive multimedia and the internet, challenge many aspects of our teaching practice and assumptions. What counts as knowledge, what counts as literacy, the ways we teach, and even the relationships we form are coloured and reshaped by changing cultural and social practices, such as global commerce and ICTs. These issues, and the relationships between them, need to be considered anew. Two current frames of reference for thinking about these changes and their implications for subject English are the notion of an "information revolution" (Castells 1996) and the changing nature of literacy, with its shift towards multiliteracies, or thinking of literacy as design (New London Group, 2000). Both frames have significant implications for how we conceptualise English curriculum (for example, literacy, texts and assessment), for how we re-imagine English teaching, and for the ways in which we ask students to work with and within digital culture and new media.

Reading stories

What expectations do readers have of stories? Where do readers’ expectations come from? Do certain kinds of readings serve to support particular beliefs and assumptions? These and other questions are raised in Reading Stories, a collection of eleven short stories that have been very popular with Year 10 classes and above, accompanied by activities for talk and writing that encourage students to reflect on stories and their reading of them. Reading Stories aims to make recent literary theory accessible to students through a range of practical activities that work well in the classroom. Each story’s accompanying activities are designed to give students not only the opportunity but also the support they might need to construct and analyse possible readings of the text. There are five chapters - offering a cumulative learning experience - that consider such areas as readers’ expectations, how and why readings change, what is at stake in the disagreements between readings, and reading for gender, race and class. The approaches used begin with students’ familiarity with stories and then work to make available for analysis aspects of reading and ‘interpretation’ that are often taken for granted. While the concepts addressed are complex, the book aims to encourage participation from all students.

Investigating Texts

The first chapter called 'Investigating texts' asks students to investigate the concept of text and what it might mean to 'behave like a reader'. After reading and comparing two short stories, the question, 'what is a story?' is posed. Students are then asked to distinguish a fiction text from a number of non-fiction texts and to identify the sources of the latter. It is suggested that although it is quite easy to perform these tasks, it is not so easy to describe texts in terms only of their features or ingredients; that it is necessary to talk about how texts are read, and what is more, how they are read on particular occasions. 'Making texts', the second chapter, asks students via a series of activities to consider what they expect of texts, and to investigate the conventions of fiction and non-fiction. They are given the opportunity to manipulate the 'ingredients' of texts, to read in terms of commonalities and to speculate about the rules by which both the composition and consumption of texts are organised. The ways in which particular kinds of reading and writing activities assume the text as a certain kind of object - as a model, for example, or as an object of criticism or as an occasion for self-questioning - is made explicit, and students are encouraged to investigate a range of uses of texts and the implications of these for reading and writing. Chapter three, 'Changing texts' asks students to consider, through a number of fascinating examples, how both fiction and non-fiction texts have changed over time, and how the ways in which readers read texts can change too. The 'retelling' of texts in terms of changing norms is considered via an 'updated' version of 'Scheherazade'; a student's feminist adaptation of her own text (initially written using a romance as a model), and an encyclopedia entry. 'Reading practices', the fourth chapter, poses further questions about different ways of reading. Through reading a number of didactic texts alongside three stories from a genre that is not usually read for morally improving lessons, students are asked to consider how different their reading practices can be.

A beginning teachers’ wish list for professional development

Voluntary professional associations such as ETAQ exist to develop and assist English teachers in their professional renewal. This paper offers the combined perspectives of an experienced teacher educator, the research data from a project on new teachers and PD and a beginning teacher about the PD needs of beginning teachers.

Producing readings : freedom versus normativity?

The subject known as English has been framed in terms of a number of models which can be broadly defined through the literature as cultural heritage (associated with Matthew Arnold and F.R. Leavis), personal growth (associated with John Dixon and James Britton) and cultural studies (associated with Raymond Williams and Roland Barthes). Traditionally these models have been assumed to reflect different theories of English, each one being hailed as a radical break with the previous model. Taking the reading lesson as an example, the paper attempts to trouble the idea that the models of English are radically different, first by identifying an unhelpful dialectic that historically informs discussions of literature teaching and English and second, by exploring a circularity that characterises arguments used to justify the radical nature of cultural studies English.

Creativity is as important as literacy : making a film trailer responding to literature

The first part of the title is from Sir Ken Robinson (Robinson, 2009), the esteemed educator and champion of creativity in schools. Sometimes in the face of meeting the demands of time, timetabling, demanding administration tasks and teaching for high stakes testing accountability, we can find ourselves desperate for time to remember that English has always been one of the places in schools where creativity can flourish. English is a place for the play of the imagination. English teachers are the purveyors of narrative; the keepers and teachers of stories. The new Australian Curriculum: English, (Australian Curriculum and Assessment Reporting Authority (ACARA), 2012) asks us to be using ICT technologies in creative ways to tell those stories. The curriculum asks students to access texts receptively and to then speak about, write and create texts productively. There are so many interesting things to do with texts beyond word processing of print based resources. Responding to literature through media is always an alternative option to writing or simply speaking about it. In this paper my QUT pre-service student Chrystal Armitage describes how she made a mini story via a film trailer in response to a short story, ‘Turned’ (Gilman, 1987) in the unit, Literature in Secondary Teaching.

Media Literacy through Arts Education in Australia

Media arts has been included as one of five Arts subjects for the new Australian Curriculum and will become mandatory learning for all Australian children from pre-school to year six, and elective for children in years seven to twelve. While media education has historically been associated with English curriculum in Australia, it has also occurred through the Arts since at least the 1960s and creative practice has almost always been included as an aspect of official media curricula. This chapter investigates the possibilities for creative and critical learning enabled through media arts by discussing the media learning of one primary school student. This chapter investigates the possibilities for creative and critical learning enabled through the inclusion of media arts in the curriculum. Media arts has been included as one of five Arts subjects for the new Australian Curriculum and will become mandatory learning for all Australian children from pre-school to year six, and elective for children in years seven to twelve. Media education has historically been associated with English curriculum in Australia due to its development through the critical reading tradition. However, media literacy education in secondary schools has also occurred through the Arts since at least the 1960s and creative practice has almost always been included as an aspect of official media curricula. This chapter investigates the media learning of one primary school student, to consider the nature of creative learning and how this relates to the ‘critical’ aspects of media arts curriculum. We undertook this work as part of a large research project that has been investigating the relationship between digital media and traditional literacy outcomes in a primary school.

Chinese EFL students' response to an assessment policy change

In light of its documented potential for enhancing learning, formative assessment has been adopted across a range of educational contexts to improve the quality of education. The assessment innovation that the Chinese Ministry of Education (CMoE) proposed to College English in 2007 via the College English Curriculum Requirements (CECR) (CMoE, 2007), is an initiative of this kind. Considering the acknowledged influence of assessment on students’ learning, it is instructive to explore the ways in which Chinese university students respond to an assessment policy change of this magnitude, particularly as it positions them as more active learners, having the potential for increased agency and engagement in their English language learning and assessment practices. In order to explore the response of students to this assessment initiative, a case study was conducted in the context of a College English classroom. Data included an interview with a College English teacher and four students from her classes, and classroom observations and a survey of her two classes of 100 students. Analysis of the data reveals that Chinese students’ responses to the assessment policy change are influenced by a variety of sociocultural factors, including their previous English language learning and assessment experience and the extent to which they are willing to play the ‘assessment game’. These findings have implications for policy and practice.

Picture Books and Beyond

Picture books and beyond examines a wide selection of picture books, graphics novels, films, e-picture books and apps that reflects the diversity of these evolving cultural artefacts, and their opportunities for education and delight. Picture books and beyond aligns closely with the goals and directions of the Australian Curriculum: English, and considers the potential of texts for enabling students to respond critically and creatively. It also highlights links to other curricula, general capabilities, and cross-curriculum priorities.

Children as Storytellers

Stories are meant to be told and share as a vital part of our cultural heritage. Children today are perhaps better read, and read to more, than previous generations. Yet schools have tended to neglect the oral tradition in favour of the written text. This book explores the place of storytelling in the classroom.

Afterschool MediaClub: Critical literacy in a high diversity, high poverty urban setting

In this chapter we present analyses of data produced with young people in an afterschool digital literacy program for 9 – 12 year olds. The young people were students at a high diversity, high poverty outer suburban elementary school in Queensland, Australia. The club was part of the URLearning research project (2010-14). In the classroom-based component of the project we worked with teachers to develop intellectually substantive and critical digital literacy practice. MediaClub was in some ways complementary to the classroom component; it was designed to skill up interested kids as digital media experts not only for their families and communities, but also for the classroom. Given the critical literacy traditions established in Australian schools, we approached MediaClub with certain critical expectations. In this chapter we look at what ensued, highlighting unanticipated critical outcomes at a time of heightened struggle over English curriculum. Critical literacy has been part of official English curriculum in Queensland since the early 1990s. The approach has been primarily text analytic, concerned with giving students access to genres of power and tools for understanding the ideological work of language through text. Many ideas for translating this normative critical project into classroom practice have been developed for use from the earliest elementary grades onwards. However, curricular space for critical literacy is under pressure. Amongst other things, this reflects both the development of Australia’s first national curriculum and the construction of a regimen of national literacy testing. At MediaClub we found a certain resistance to learning activities which were “too much like school”. However, in a context of increased control of teachers’ and students’ work in the classroom, MediaClub evolved as a learning space that can be understood in critical terms. Our experience in this regard might be of interest to teachers and researchers in high diversity high poverty settings that are strongly controlled through increasingly prescriptive – even scripted – pedagogies.

Critically deconstructing race through a multimodal analysis of iPad Tellagami videos

Drawing on multimodal texts produced by an Indigenous school community in Australia, I apply critical race theory and multimodal analysis (Jewitt, 2011) to decolonise digital heritage practices for Indigenous students. This study focuses on the particular ways in which students’ counter-narratives about race were embedded in multimodal and digital design in the development of a digital cultural heritage (Giaccardi, 2012). Data analysis involved applying multimodal analysis to the students’ Gamis, following social semiotic categories and principles theorised by Kress and Bezemer (2008), and Jewitt (2006, 2011). This includes attending to the following semiotic elements: visual design, movement and gesture, gaze, and recorded speech, and their interrelationships. The analysis also draws on critical race theory to interpret the students’ representations of race. In particular, the multimodal texts were analysed as a site for students’ views of Indigenous oppression in relation to the colonial powers and ownership of the land in Australian history (Ladson-Billings, 2009). Pedagogies that explore counter-narratives of cultural heritage in the official curriculum can encourage students to reframe their own racial identity, while challenging dominant white, historical narratives of colonial conquest, race, and power (Gutierrez, 2008). The children’s multimodal “Gami” videos, created with the iPad application, Tellagami, enabled the students to imagine hybrid, digital social identities and perspectives of Australian history that were tied to their Indigenous cultural heritage (Kamberelis, 2001).

Challenging notions of gendered game play: teenagers playing `The Sims`

This paper challenges notions of gendered game playing practice implicit in much research into young women's involvement with the computer gaming culture. It draws on a study of Australian teenagers playing The Sims Deluxe as part of an English curriculum unit and insights from feminist media studies to explore relationships between gender and game playing practices. Departing from a reliance on predetermined notions of “gender”, “domestic space”, and “successful game play”, it conceptualizes The Sims as a game in which the boundaries between gender and domestic space are disturbed. It argues that observing students' constructions of gender and domestic space through the act of game play itself provides a more productive insight into the gendered dimensions of game play for educators wishing to work computer games such as The Sims into curriculum development.

Pretty good for a girl: gender, identity and computer games

Young people’s participation in online digital culture is one of the most efficient means by which they become proficient in the management of Information and Communications Technologies and the new literacies emerging there. This paper reports on a small project investigating the
gendered dimensions of teenagers’ engagement in and out of school with stand-alone and multiplayer computer games. The study explored the game playing practices of a group of students in an English curriculum unit and the social and game playing practices of a group of young women of South East Asian backgrounds in a LAN café who had formed their own Counterstrike clan. It found that expertise is not just a matter of specific skills, strategies and familiarity, but is more broadly located within the complex dynamics of in- and out-of-school discourses and contexts that need to be factored in to the construction of gender-equitable pedagogy and curriculum.