Naming is a curious practice. It entails rudiments, now mostly taken for granted, that serve to categorize everyday literacy practices across fields as diverse as cultural anthropology and the management of multiple Git profiles. As a term unto itself, adolescent literacies is not immune to the vagaries of naming. In fact, it serves as an excellent example of how commonly named concepts in education embed the field’s histories, debates, pedagogies, and policies writ large. Conceptualizing literacy in its plural form raised eyebrows among academics, researchers, practitioners, publishers, and indexers concerned with the noun–verb agreement in phrases such as “adolescent literacies is a subfield” of adolescence. For some, the very notion of literacy extending beyond reading and writing is still debatable. With each passing day, however, it becomes noticeably more evident that multimodal forms of communication—images, sounds, bodily performances, to name but a few ways of expressing oneself—are competing quite well in the marketplace of ideas that flow globally with or without a linguistic component attached to them. Aside from the naming process and its attendant political overtones, the practice of treating youth between roughly the ages of 12 and 17 as a monolithic group has been common in the United States. Largely traceable to a time in which developmental psychology dominated the field of literacy instruction (in the early to late 20th century), designating youth as adolescents equated to viewing them as some a normative group devoid of racial, class, gender, and any number of other identity markers. Even with the sociocultural turn in early 21st century and its abundance of studies reifying the socially constructed nature of adolescents, the term persists. Its adhesive-like attraction to literacies, however, may be weakening in light of research that points to youth who are agentic and dynamic game changers when it comes to participating in a world grown more attuned to the need for collaboration based not on hierarchical standing but instead on working through commonplace tensions too complex for any one solution.
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Adolescent Literacies
Donna E. Alvermann and William Terrell Wright
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Critical Discourse Analysis and Information and Communication Technology in Education
Cheryl Brown
Critical discourse analysis (CDA) is a cross-disciplinary methodological and theoretical approach. At its core CDA explores the intersections between discourse, critique, power, and ideology which hold particular values for those teaching in developing contexts. CDA has emerged as a valuable methodological approach in cultural and media studies and has increased in prominence since the 2010s in education research where it is drawn on to explore educational policy, literacy education, and identity. This research has intersected with the field of information systems which has explored the dominant discourses and discursive practice of how information and communication technologies (ICTs) are viewed in policy and the contradictions between rhetoric and reality. It has also been drawn on in research in developing contexts to critique the role of ICTs in education. A brief historical background to CDA and overview of the key components of the approach will be provided. How CDA has been drawn on in educational studies will be examined and research on CDA will be highlighted to explore discursive practices of students and the influence of students’ digital identities on their engagement with and experience of online learning. By focusing on four key constructs of CDA—namely meaning, context, identity, and power—the potential of CDA to critically investigate how students’ are constructing their technological identity in an increasingly digital world will be demonstrated, particularly as examples of research emanating from developing contexts will be drawn.
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Digital Game-Based Learning: Foundations, Applications, and Critical Issues
Earl Aguilera and Roberto de Roock
As contemporary societies continue to integrate digital technologies into varying aspects of everyday life—including work, schooling, and play—the concept of digital game-based learning (DGBL) has become increasingly influential. The term DGBL is often used to characterize the relationship of computer-based games (including games played on dedicated gaming consoles and mobile devices) to various learning processes or outcomes. The concept of DGBL has its origins in interdisciplinary research across the computational and social sciences, as well as the humanities. As interest in computer games and learning within the field of education began to expand in the late 20th century, DGBL became somewhat of a contested term. Even foundational concepts such as the definition of games (as well as their relationship to simulations and similar artifacts), the affordances of digital modalities, and the question of what “counts” as learning continue to spark debate among positivist, interpretivist, and critical framings of DGBL. Other contested areas include the ways that DGBL should be assessed, the role of motivation in DGBL, and the specific frameworks that should inform the design of games for learning.
Scholarship representing a more positivist view of DGBL typically explores the potential of digital games as motivators and influencers of human behavior, leading to the development of concepts such as gamification and other uses of games for achieving specified outcomes, such as increasing academic measures of performance, or as a form of behavioral modification. Other researchers have taken a more interpretive view of DGBL, framing it as a way to understand learning, meaning-making, and play as social practices embedded within broader contexts, both local and historical. Still others approach DGBL through a more critical paradigm, interrogating issues of power, agency, and ideology within and across applications of DGBL. Within classrooms and formal settings, educators have adopted four broad approaches to applying DGBL: (a) integrating commercial games into classroom learning; (b) developing games expressly for the purpose of teaching educational content; (c) involving students in the creation of digital games as a vehicle for learning; and (d) integrating elements such as scoreboards, feedback loops, and reward systems derived from digital games into non-game contexts—also referred to as gamification. Scholarship on DGBL focusing on informal settings has alternatively highlighted the socially situated, interpretive practices of gamers; the role of affinity spaces and participatory cultures; and the intersection of gaming practices with the lifeworlds of game players.
As DGBL has continued to demonstrate influence on a variety of fields, it has also attracted criticism. Among these critiques are the question of the relative effectiveness of DGBL for achieving educational outcomes. Critiques of the quality and design of educational games have also been raised by educators, designers, and gamers alike. Interpretive scholars have tended to question the primacy of institutionally defined approaches to DGBL, highlighting instead the importance of understanding how people make meaning through and with games beyond formal schooling. Critical scholars have also identified issues in the ethics of DGBL in general and gamification in particular as a form of behavior modification and social control. These critiques often intersect and overlap with criticism of video games in general, including issues of commercialism, antisocial behaviors, misogyny, addiction, and the promotion of violence. Despite these criticisms, research and applications of DGBL continue to expand within and beyond the field of education, and evolving technologies, social practices, and cultural developments continue to open new avenues of exploration in the area.
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Multiliteracies in Classrooms
Robyn Seglem and Antero Garcia
Multiliteracies were first conceptualized in 1994 by the New London Group (NLG), a group of global scholars who specialized in different aspects of literacy instruction including classroom discourse, multilingual teaching and learning, new technologies, critical discourse and literacy, linguistics, cultural and social educations, semiotics, and visual literacy. Published in 1996, the NLG focused on equalizing the power dynamics within education by moving away from traditional print-based literacies that privilege the cultural majority who hold the most wealth and power in the world. Their work seeks to elevate those who are traditionally marginalized by embracing literacies that leverage multiple languages, discourses, and texts. Multiliteracies have been widely adopted, expanded upon, and contested in academia, but classroom teachers have been much slower in adopting them. Although systems of accountability and standardization contribute to a slow adoption of multiliteracies practices, teachers have found ways to integrate multiliteracies into instruction. In doing so, students are provided with more linguistic capital and a deeper understanding of how meaning is made across multiple contexts.
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Multiliteracies in Professional Education
Kathryn Hibbert, Mary Ott, Christopher Eaton, and Lin Sun
Multiliteracies theory is part of a growing and evolving body of research tangled up with multiple, intersecting fields: literacies, technologies, pedagogies, socio-materiality, and semiotics, to name a few. It is a theory that has been taken up largely in the professional practice of teacher education but is rapidly emerging as a useful way to think through the complexities of practice in multiple professions such as medical education, or engineering. As learning has come to be understood and framed in ways that acknowledge the temporal, spatial, material, and embodied layers of understanding, practice-based professions are finding ways to investigate and support knowing in practice.
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Multimodal Literacy
Kathy A. Mills and Len Unsworth
Multimodal literacy is a term that originates in social semiotics, and refers to the study of language that combines two or more modes of meaning. The related term, multimodality, refers to the constitution of multiple modes in semiosis or meaning making. Modes are defined differently across schools of thought, and the classification of modes is somewhat contested. However, from a social semiotic approach, modes are the socially and culturally shaped resources or semiotic structure for making meaning. Specific examples of modes from a social semiotic perspective include speech, gesture, written language, music, mathematical notation, drawings, photographic images, or moving digital images.
Language and literacy practices have always been multimodal, because communication requires attending to diverse kinds of meanings, whether of spoken or written words, visual images, gestures, posture, movement, sound, or silence. Yet, undeniably, the affordances of people-driven digital media and textual production have given rise to an exponential increase in the circulation of multimodal texts in networked digital environments. Multimodal text production has become a central part of everyday life for many people throughout the life course, and across cultures and societies. This has been enabled by the ease of producing and sharing digital images, music, video games, apps, and other digital media via the Internet and mobile technologies.
The increasing significance of multimodal literacy for communication has led to a growing body of research and theory to address the differing potentials of modes and their intermodality for making meaning. The study of multimodal literacy learning in schools and society is an emergent field of research, which begins with the important recognition that reading and writing are rarely practiced as discrete skills, but are intimately connected to the use of multimodal texts, often in digital contexts of use. The implications of multimodal literacy for pedagogy, curriculum, and assessment in education is an expanding field of multimodal research. In addition, there is a growing attention to multimodal literacy practices that are practiced in informal social contexts, from early childhood to adolescence and adulthood, such as in homes, recreational sites, communities, and workplaces.
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Teaching Writing in the Digital Era
Linda Laidlaw
In the digital era, written communication for children and youth is changing. As texts and media include complex intersections of print, image, sound, and other modalities, the ways in which writing is conceived is shifting. The evolution and impact of digital technologies follow a long history of invention, innovation, and change in written communication, with critiques of writing and communication technologies present in both historical and contemporary contexts. A new development in contemporary digital culture is the significant and widespread participation of children and youth in digital media and communication due to the ubiquity, affordances, and appeal of mobile digital devices. In the history of writing instruction, pedagogical approaches and perspectives have continued to evolve, with the teaching of writing at times positioned as subordinate to the teaching of reading, a pattern that has repeated into the digital era in which an emphasis on digital writing production and text creation has been similarly less of a focus than receptive consumption of media. Shifts in digital practice and the emergence of new devices for writing present both challenges and opportunities for the teaching of writing and the creation of texts in schools, with issues of digital resource provision and access to technology presenting hurdles for some teachers. Teacher awareness of the digital worlds, practices, and “funds of knowledge” that students are bringing to the writing classroom is vital to reimagining the writing classroom within contemporary digital culture. In the 21st century, writing instruction needs to be inclusive of the operational demands of writing as well as sociocultural and critical requirements, in addition to responding to fluid technoliteracy contexts and consideration of how “writing” itself is changing.
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Writing
Danielle S. McNamara, Laura K. Allen, and Andrew Potter
Writing is a crucial means of communicating with others and thus is vital to success and survival in modern society. Writing processes rely on virtually all aspects of cognition (e.g., working memory, motivation, affect, self-regulation, prior knowledge, problem solving) and are naturally embedded in social contexts. Social factors include writers’ objectives, audience, genre, and mode of writing. For example, the increased use of the Internet has rendered writing for informal purposes more frequent, and writing mechanics (e.g., deleting, spell checking) and search for information more efficient. Research on educational interventions to improve writing points to the importance of providing students with instruction and practice using writing strategies, writing practice with feedback (e.g., instructor, automated), and collaborative writing (including peer feedback). Given the inherent complexity of writing, it is important to help students learn how to write across various situations with varying purposes and demands. This necessitates reading many types of text genres (e.g., narrative vs. informational writing), writing frequently, and revising based on feedback. Since the turn of the century, there has been a substantial increase in research on writing processes, including methods to improve writing. However, there remains a substantial need for additional experimental work to understand writing processes as well as more evidence on which types of interventions are most beneficial in helping students to improve their writing. Feedback from both cognitive and sociocultural researchers should inform future revisions of the standardized guidelines and assessments with the long-term goal of developing a clearly defined set of standards for academic excellence in writing.
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Youth Activism through Critical Arts, Transmedia, and Multiliteracies
Theresa Rogers
In the context of increasing realizations of the fragility of democracy, the possibilities and accomplishments of youth activist projects across material and virtual spaces and sites continue to flourish. Research on this work is situated in the rich scholarly traditions of critical youth studies and critical youth literacies as well as in theories of civic engagement, public pedagogy, participatory politics, cosmopolitanism, and relational mobilities. Many youth projects draw on the resources of arts, digital media, and critical multiliteracies to participate, in material ways, in public and political life. Taking up issues such as citizenship for immigrant youth, homelessness, and poverty, young people powerfully create critical, social, and political narratives that resonate within and beyond their own communities. Theorizing this work in relation to public engagement, spatiality, and mobilities deepens our understanding of those moments when youth in community and educational sites create powerful transmediated counter-narratives about their lives and worlds—the ways they incorporate both local and global understandings to create these new forms of political participation. And the work itself underscores the need for more equitable access to various multimodal and digital resources and the importance of youth access to public and mediated spaces. Schools and educators are called to create pedagogical spaces that invite students’ subjectivities, locations, and creative uses of material resources to engage in local and larger public dialogues, counter dominant cultural ideologies, address multiple publics, and create new forms of political participation.
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Youth and Media Culture
Stuart R. Poyntz and Jennesia Pedri
Media in the 21st century are changing when, where, what, and how young people learn. Some educators, youth researchers, and parents lament this reality; but youth, media culture, and learning nevertheless remain entangled in a rich set of relationships today. These relationships and the anxieties they produce are not new; they echo worries about the consequences of young people’s media attachments that have been around for decades.
These anxieties first appeared in response to the fear that violence, vulgarity, and sexual desire in early popular culture was thought to pose to culture. Others, however, believed that media could be repurposed to have a broader educational impact. This sentiment crept into educational discourses throughout the 1960s in a way that would shift thinking about youth, media culture, and education. For example, it shaped the development of television shows such as Sesame Street as a kind of learning portal. In addition to the idea that youth can learn from the media, educators and activists have also turned to media education as a more direct intervention. Media education addresses how various media operate in and through particular institutions, technologies, texts, and audiences in an effort to affect how young people learn and engage with media culture. These developments have been enhanced by a growing interest in a broad project of literacy. By the 1990s and 2000s, media production became a common feature in media education practices because it was thought to enable young people to learn by doing, rather than just by analyzing or reading texts. This was enabled by the emergence of new digital media technologies that prioritize user participation.
As we have come to read and write media differently in a digital era, however, a new set of problems have arisen that affect how media cultures are understood in relation to learning. Among these issues is how a participatory turn in media culture allows others, including corporations, governments, and predatory individuals, to monitor, survey, coordinate, and guide our activities as never before. Critical media literacy education addresses this context and continues to provide a framework to address the future of youth, media culture and learning.
