Matching Items (3)
Filtering by
- Creators: Serafini, Frank
Description
Among researchers, educators, and other stakeholders in literacy education, there has been a growing emphasis on developing literacy pedagogies that are more responsive to the ways young people experience literacy in their everyday lives, which often make use of digital media and other technologies for exchanging meaning. This dissertation project sought to explore the nature of these digital-age literacies in the context of children learning through and about new technologies. Conducting a year-long, multimethod observational study of an out-of-school library-based program designed to engage students in self-directed learning around the domain of computer programming, this project was framed around an analysis of digital-age literacies in design, discourse, and practice. To address each of these areas, the project developed a methodology grounded in interpretive, naturalistic, and participant-observation methodologies in collaboration with a local library Code Club in a metropolitan area of the Southwestern U.S between September 2016 and December 2017. Participants in the project included a total of 47 students aged 8-14, 3 librarians, and 3 parents. Data sources for the project included (1) artifactual data, such as the designed interfaces of the online platforms students regularly engaged with, (2) observational data such as protocol-based field notes taken during and after each Code Club meeting, and (3) interview data, collected during qualitative interviews with students, parents, and library facilitators outside the program. These data sources were analyzed through a multi-method interpretive framework, including the multimodal analysis of digital artifacts, qualitative coding, and discourse analysis. The findings of the project illustrate the multidimensional nature of digital-age literacy experiences as they are rendered “on the screen” at the content level, “behind the screen” at the procedural level, and “beyond the screen” at the contextual level. The project contributes to the literature on literacy education by taking an multi-method, interdisciplinary approach to expand analytical perspectives on digital media and literacy in a digital age, while also providing an empirical account of this approach in a community-embedded context of implementation.
ContributorsAguilera, Earl (Author) / Gee, Elisabeth R (Thesis advisor) / Gee, James P (Committee member) / Serafini, Frank (Committee member) / Arizona State University (Publisher)
Created2018
Description
This dissertation explored how a teacher learned to teach with and about unfamiliar (to her) media texts in her high school English classroom. This study also examined my role as the researcher/mentor in the teacher’s learning and development process. Through situated learning theories (Lave & Wenger, 1991) and discourse through identities (Gee, 2001; 2014a) theoretical frameworks, this study explored the ways the teacher accepted, resisted, and enacted her figured worlds and identities as an English teacher. Historically, texts in the English classroom consist of novels, poems, plays, and the occasional nonfiction book or essay, and English teacher education and development often keeps these texts at the center of English teachers’ content knowledge. However, research exploring students’ use of multiliteracies in out-of-classroom contexts advocates for a multiliteracies perspective within classrooms. Still, there is a lack of professional development opportunities for teachers to support multiliteracies practices in their classrooms. Further, teachers’ professional development is often provided in stand-alone experiences where teachers learn outside of their classroom teaching contexts. Taking place over a six-month time frame, this study is situated as one-on-one professional development mentoring and included researcher and teacher collaboration in multiple contexts including planning, teaching, and reflection. This qualitative case study (Merriam, 1998) sought to address a gap in the literature in how the collaboration of teachers and researchers impacted teacher learning. Using interpretive analysis (Erickson, 1986) and discourse analysis (Gee, 2014a; 2014b) I developed two assertions: (1) The process the teacher underwent from finding resources to teaching and reflection was complex and filled with many phases and challenges, and (2) I, as the researcher/mentor, served as a sounding board and resource for the teacher/learner throughout her process of learning about, teaching with, and reflecting on unfamiliar texts. Findings of this study indicate the teacher’s identities and figured worlds impacted both how she learned about and taught with unfamiliar texts, and how I approached my role as a researcher/mentor in the study. Further, findings also indicate collaborative, practice-based research models (Hinchman & Appleman, 2017) offer opportunities to provide teachers meaningful and impactful professional development experiences situated in classroom contexts.
ContributorsGoff, Maria Hernandez (Author) / Marsh, Josephine P (Thesis advisor) / Blasingame, James (Committee member) / Serafini, Frank (Committee member) / Moses, Lindsey (Committee member) / Arizona State University (Publisher)
Created2017
Description
While the African American civil rights movement of the 1950s and 60s is one of the most famous and celebrated parts of American history, rhetoric scholars have illuminated the ways this subversive movement has been manipulated beyond recognition over time. These narrative constructions play a role in preserving what Maegan Parker Brooks calls the "conservative master narrative of civil rights history," a narrative that diminishes the work of activists while simultaneously promoting complacency to prevent any challenge to the white supremacist hegemony. This dissertation argues that the graphic memoir trilogy March by John Lewis, Andrew Aydin, and Nate Powell challenges this conservative master narrative through visual rhetoric, in particular through the comics techniques "braiding" and "weaving."
Braiding occurs when authors create "webs of interrelation" (Miodrag 134) by repeating a technique throughout the text, which can sometimes involve a secondary narrative (Groensteen). Braids are associations in the network of panels of the comic that go beyond the parameters of strictly linear storytelling as panels echo those the reader has encountered before. The braids in March compare the past and present through a direct juxtaposition of January 20, 2009—the inauguration day of Barack Obama—with John Lewis' activism from 1959 to 1965. While this juxtaposition risks reinforcing a progress narrative that suggests racism is in the past, in fact, the braided inauguration scenes help the reader connect the moments of the past with their present, calling to mind the ways white supremacy endures in contemporary America. Weaving refers to the reader’s action of moving back and forth in the comics narrative to create meaning, and artists use techniques that facilitate this behavior, such as leaving out or minimizing significant cues and creating a sense of ambiguity that leads the reader to become curious about the events in the sequence. Weaving can disrupt an easy linear narrative of depicted events—such as Fannie Lou Hamer's testimony at the Democratic National Convention—as artists present several opportunities for the reader to interpret these stories in ways that challenge a conservative master narrative of the events in the trilogy.
Braiding occurs when authors create "webs of interrelation" (Miodrag 134) by repeating a technique throughout the text, which can sometimes involve a secondary narrative (Groensteen). Braids are associations in the network of panels of the comic that go beyond the parameters of strictly linear storytelling as panels echo those the reader has encountered before. The braids in March compare the past and present through a direct juxtaposition of January 20, 2009—the inauguration day of Barack Obama—with John Lewis' activism from 1959 to 1965. While this juxtaposition risks reinforcing a progress narrative that suggests racism is in the past, in fact, the braided inauguration scenes help the reader connect the moments of the past with their present, calling to mind the ways white supremacy endures in contemporary America. Weaving refers to the reader’s action of moving back and forth in the comics narrative to create meaning, and artists use techniques that facilitate this behavior, such as leaving out or minimizing significant cues and creating a sense of ambiguity that leads the reader to become curious about the events in the sequence. Weaving can disrupt an easy linear narrative of depicted events—such as Fannie Lou Hamer's testimony at the Democratic National Convention—as artists present several opportunities for the reader to interpret these stories in ways that challenge a conservative master narrative of the events in the trilogy.
ContributorsBoykin, Jessica (Author) / Miller, Keith D. (Thesis advisor) / Lamp-Fortuno, Kathleen (Committee member) / Ore, Ersula J. (Committee member) / Serafini, Frank (Committee member) / Arizona State University (Publisher)
Created2019