Teaching English as a second language is widely different depending on what teacher you ask and what methodology they use. The purpose for this study is to look deeper into the visual literacy approach of how primary school teachers choose to incorporate the use of children’s picturebooks in their own teaching practices for L2 acquisition and development. Through semi-structured interviews, the study gathered information with regard to how a visual literacy approach though the use of picturebooks is utilized in practice and in theory among primary school teachers. The results of the study revealed that the majority of the participating teachers are positive towards the use of picturebooks in the ESL classroom but differ in the way they choose to incorporate the visual literacy approach in their teaching. The results showed that the participating teachers are not using children’s picturebooks to the extent that they would like to in theory, due to reasons such as time restraints and inexperience. Finally, the results show that children’s picturebooks has positive implications for L2 development with regards to vocabulary and reading comprehension in the early years. Utilizing literature that pupils are familiar with in L1 further helps to engage in the use of their L2 for overall language development.

Doctor of Philosophy / Curriculum and Instruction Programs / Marjorie R. Hancock / Our society is increasingly bombarded with visual imagery; therefore, it is important for educators to be knowledgeable about the elements of art and to use our knowledge to help students deepen their reading understanding. Arizpe & Styles (2003) noted that students must be prepared to work with imagery in the future at high levels of competency, yet visual literacy is seldom taught in schools. Children are surrounded with multiple forms of literacy daily and frequently the communication is in a nonverbal format. The purpose of this qualitative case study was to identify textual/visual connections and describe ways the text-illustration relationship can influence understanding for readers in the second grade. This qualitative research study took place in a Department of Defense school in Europe with six second grade students from September 14, 2009 to November 24, 2009. The six student participants were introduced to the basic elements of art—color, shape, line, texture, and value—at the onset of the study. Student participants expressed their textual, visual, and blended textual/visual understanding of four picture storybooks and four informational picture books. Data collection sources included group discussions, student verbal story retellings, student pictorial drawings and retellings, student interviews, observational field notes, teacher email correspondence, and teacher initial/final interviews. Initial analysis was based on Kiefer’s (1995) Functions of Language taxonomy, Kucer and Silva’s (1996:1999) Taxonomy of Artistic Responses and Sipe’s (2008) Categories of Reader Response. The analysis focused on participants’ textual and visual responses and the blending of textual/visual elements. The analysis revealed six emerging Categories of Textual/Visual Understanding including Personal Life Connections, Text Connections, Factual Connections, Predictive Connections, Elemental Connections, and Emotional Connections. The six categories were also reviewed for the dominant category for each student participant and how the textual/visual responses applied to both picture storybooks and informational picture books. Data analysis also revealed the second grade teacher’s perceptions of the text-illustration relationship as a part of the reading process. Student participant benefits included greater student interest and motivation, increased awareness of visual elements in picture storybooks and informational picture books, and higher level thinking expressed through textual/visual connections.

Thesis (Mphil (Visual Arts. Illustration))--University of Stellenbosch, 2007. / This thesis is a visual, sociolinguistic and cultural inquiry into the role of isiXhosa picture books in contemporary South Africa. From the standpoint of an illustrator, I examine several of these works arising out of a history that alienated many isiXhosa readers and writers from their language. I examine factors that influence the design, content and very notions of reading itself through the multiple languages offered by the picture book format. I argue that these books occupy a problematic space where production and consumption are affixed to paradigms of economics, language and literacy incongruent with the lives of many isiXhosa-speaking readers. My overall conclusion is that literacy and visual literacy are essential to developing an authentic 'reading culture'. Fostering a meaningful relationship with printed words and images is critical to both the emerging reader and the emerging illustrator. In producing illustrations for an isiXhosa narrative, I consider the shape of my own visual literacy through mediations with drawing and writing, relating my activities to those of a child learning to distinguish between pictures and words. The cross-over space where image/text distinctions blur potentially invites new narrative expressions. The picture book is a suitable format for expanding notions of vision and literacy, 'subverting' paradigms and revealing the richness of contemporary African tales. I rest my fundamental premise on an insistence for an increase of accessible, quality picture books in African languages that stimulate the artistic and intellectual development of all readers.

This study seeks insight into the use of visual aids in contemporary post-compulsory teaching. The importance of the study is linked to the large number of students who enter Higher Education; many of whom regularly receive lectures supported by visual displays which comprise textual summaries of a lecturer’s speech. This thesis comprises a two-part study and employs a mixed methods approach. The first part inquires into teachers’ and lecturers’ practice with regard to their visual aids, and the second compares the effectiveness of text, images and imagery displayed in support of a lecture. The investigation into lecturers’ practice found many post-compulsory teachers and lecturers had received no training in the design and use of visual aids during their initial teacher training. It is suggested this privation may underpin a de facto choice of projected text as a visual aid, the use of which is not clearly supported by contemporary models of memory and mental processing. In a comparison of visual modalities, an increase in learner engagement was recorded for the display of carefully designed images, and also for directed imagery. No positive impact was recorded for text summaries of 50-64 words displayed concurrently with speech, although recall was improved when text was restricted to five words or fewer. The conclusion is drawn that the display of this modality without temporal pauses may offer limited educational advantage to students, and a method of planned apportionment of speech and text is proposed in which contemporary theories of memory and processing are taken into account. These observations have significant implications for a lecture environment in which such text summaries are often relied upon for visual support. The findings of the thesis are combined to propose a principle of Visual Working Memory Utilisation (VWMU), upon which future research into visual aid design and use in post compulsory education might be based.

The thesis is dedicated to a postmodern use of symbol and sign. It is based on set definitions of major terms in the fine art and maps the space between a word and a picture as well as impersonal understanding of computer-generated codes. Didactic part enables to work with symbol and sign in art education. An analytical and syntactical thinking, the knowledge of the art history and the ability of intellectual fabrication are the basic ideas of the thesis. Art works, that use multilevel symbol expressions and are formally based on a postmodern thinking, are introduced in a practical part of the thesis.

Made available in DSpace on 2016-03-22T17:26:49Z (GMT). No. of bitstreams: 1 restr.pdf: 8178 bytes, checksum: ef98c28e57b111d1180aca2871da13a9 (MD5) Previous issue date: 2012-03-27 / In view of the great diversity of languages and, yet, predicting that literacy is a phase in which, it is believed, is of great value in relation to the establishment of the child in terms of literacy, the present study has as main objective to identify how images are covered in proposed readings present in textbook (LD = abbreviation of livro didático ): Português: Linguagens Letramento e Alfabetização 1º ano, of Cereja e Magalhães (2010), approved by the Programa Nacional do Livro Didático (PNLD/2010), through the Guia Nacional do Livro Didático of the same year. Specific objectives for this research include: 1) examine, in the light of the Visual Language Syntax (DONDIS, 2007), which approaches characterise the images present in the textbook; 2) verify to what extent the reading activities related to present images in a comprehensive textbook stimulate reading and criticism of imagetic texts. To do so, a qualitative research is performed (BAUER and GASKELL, 2002) in which the LD is examined by means of an interpretative epistemology (SOARES, 2006). The method of this research is the literature search (SOUSA, 2009), through documentary research (SOUSA, 2009). Among the main theoretical contributions used there are the literacies under a theory of sociocultural perspective (GEE, 2001; STREET, 2003, FISCHER, 2007) and the theory of Visual Language Syntax (DONDIS, 2007). To proceed with the analyses, it was selected the first chapter of each of the four units that make up the textbook in question. Were also established six categories of analysis: three for the imagetic texts imagetic-compositional texts, imagetic-illustrative texts and imagetic-decorative texts and three for reading activities activities of reading the imagetic text, activities of decoding the imagetic text and activities of no-reading the imagetic text. The analyses indicate, in general, that the images are offered to students from sociocultural perspectives involving the visual literacy in the examined LD. On the basis of this proposal, therefore, it is expected to be able to contribute to the process of teaching and learning, as well as provide data that may be relevant to the discussion of how to approach and promote the reading of images from the original series / Tendo em vista a grande multiplicidade de linguagens e, ainda, prevendo que a alfabetização é de grande valia no que concerne à constituição da criança em termos de letramentos, o presente estudo tem como objetivo principal identificar como as imagens são abordadas em propostas de leituras de textos presentes no livro didático (LD) Português: Linguagens Letramento e Alfabetização 1º ano, de Cereja e Magalhães (2010), aprovado pelo Programa Nacional do Livro Didático (PNLD/ 2010), por meio do Guia Nacional do Livro Didático do mesmo ano. Os objetivos específicos traçados para esta pesquisa são: 1) analisar, à luz da Sintaxe da Linguagem Visual (DONDIS, 2007), quais abordagens caracterizam as imagens presentes no livro didático; 2) verificar em que medida as atividades de leitura relacionadas às imagens presentes no livro didático favorecem a uma leitura compreensiva e crítica dos textos imagéticos. Para tanto, é realizada uma pesquisa qualitativa (BAUER e GASKELL, 2002) em que o LD é analisado por meio de uma epistemologia interpretativa (SOARES, 2006). O método desta pesquisa é a investigação bibliográfica (SOUSA, 2009), por meio de investigação documental (SOUSA, 2009). Dentre os principais aportes teóricos utilizados estão a teoria dos letramentos sob uma perspectiva sociocultural (GEE, 2001; STREET, 2003, FISCHER, 2007) e a teoria da Sintaxe da Linguagem Visual (DONDIS, 2007). Para proceder com as análises selecionou-se o primeiro capítulo de cada uma das quatro unidades que compõem o livro didático em questão. Também foram estabelecidas seis categorias de análise: três para os textos imagéticos textos imagético-compositivos, textos imagético-ilustrativos e textos imagético-decorativos , e três para as atividades de leitura atividades de leitura do texto imagético, atividades de decodificação do texto imagético e atividades de não leitura do texto imagético. As análises indicam, de um modo geral, que as imagens são propostas aos alunos a partir de perspectivas socioculturais envolvendo o letramento visual no LD analisado. Com base nessa proposta, portanto, espera-se poder contribuir com o processo de ensino-aprendizagem, bem como fornecer dados que possam ser relevantes à reflexão de como abordar e promover a leitura de imagens desde as séries iniciais

Dagens teknologiska utveckling har bidragit till vårt mediaintensiva samhälle som iallt större utsträckning har övergått till ett konsumtionssamhälle. Trots Sverigesrestriktioner gällande marknadsföring riktat till barn, står barn för stora delar avlandets konsumtion, vilket inte minst förstärkts genom internets utveckling. Dagensbarn är rikare än någon annan generation genom tiderna, vilket är något företag i daguppmärksammat vid utformandet av marknadsföring och produkter. Varumärken harfått en större betydelse på den konkurrenssatta marknaden, inte minst bland barn.Uppsatsens syfte är att identifiera och fördjupa diskussionen kring barnskonsumtionsmönster i yngre åldrar. Uppsatsen belyser den varumärkesmedvetenhetsom råder i åldrarna 6-10, samt identifierar likheter respektive skillnader gällandebarns relation till klädmärken.Studiens huvudsakliga teorier är varumärkesvärde, visual literacy och grupptryck,vilka sammankopplas med den insamlade empirin för att svara på hur barns relationtill klädmärken ser ut. Ett företags varumärkesvärde förklaras genom en vedertagenmodell tillämpad på vuxna, som sedan utvecklas för att undersöka huruvida den kanappliceras på barn. Studien är av kvalitativ typ och grundas i ett tillvägagångssätt därteoretiskt och empiriskt material sammankopplats. Den empiriska insamlingenutfördes på en skola med elever från förskolan till årskurs fyra och bestod avgruppintervjuer, bilduppgifter och observationer.Barn i åldrarna 6-10 är mycket varumärkesmedvetna och varumärken påverkar dem idess vardag mer än vad de själva förstår. Deras medvetenhet samt förmåga attåterkalla varumärken från minnet, både muntligt och bildligt, ökar i takt med att barnblir äldre. Visual literacy spelar en betydande roll i barns relation till varumärken,vilket sker på ett emotionellt plan. Föräldrar påverkar barns relation till varumärkenoch då främst genom en rationell synvinkel. Endast de äldre barnen diskuterarklädinköp utifrån pris, vilket tyder på att de ser sig själva som konsumenter.Majoriteten barn bestämmer själva vad de tar på sig, men det är betydligt färre sombestämmer vad som ska inhandlas eller i vilken affär det ska göras. Dock påverkar deflesta barn klädinköp. Barn tycker unikhet och bekvämlighet, gällande klädval ärviktigt, men indirekt kan vi genomskåda att varumärken stärker den socialatillhörigheten hos barn och att bli socialt accepterad är en viktig del i barns liv.The technological developments of today have in many ways contributed to themedia-intensive society of ours, emphasizing consumption habits. Despite Sweden’sadvertisement restrictions concerning children, they contribute to large parts of thecountry’s consumption, which is particularly enhanced by the expansion of Internet.Children today are better off than previous generations, which companies today takeadvantage of when customizing marketing activities as well as designing products.Branded products are increasingly of greater importance, since the market place ismore competitive than ever, especially among children.The purpose of this study is to identify and develop the discussion concerning youngchildren’s relationship with brands. The aim is to highlight brand awareness amongchildren aged 6-10, as well as to identify similarities and differences in children’srelationship to brands.The main theories, which the study is based upon, are: brand equity, visual literacyand peer pressure, which are all engaged with empirical data, to further explainchildren’s relationship to brands. A company’s brand equity is explained using anadult-based model, which then is modified, attempting to explain whether or not it canbe applied on children. It is an qualitative study incorporating theoretical andempirical data. The empirical data was collected at a primary school and consisted ofinterviews, observations, as well as imagery exercises.Children aged 6-10 are very brand conscious and more affected by brands than theyrealize. Children’s awareness and ability to recall brand names from memory,verbally and figuratively, increase as children get older. Visual literacy plays asignificant role in the child’s relationship to brands, which is mainly of emotionalmanner. Parents influence the children’s relationship to brands, primarily through arational point of view. Only the older children discuss purchase of clothing based onprice, suggesting that they see themselves as consumers. Most children decidethemselves what to wear, but a lot fewer decide what and where to purchase clothing.All though, nearly all children influence the purchasing decision. Children consideruniqueness and comfort as important elements of clothing, but simultaneously we candistinguish that brands strengthens children’s social affiliation, and to be sociallyaccepted is an important part of children’s life. / Program: Textilekonomutbildningen

The aim of this thesis is to study the teacher’s role when pupils are using computers to create their art work. Working with computers raises new questions for teachers and pupils. Working with digital technology requires teachers to develop new pedagogical, educational and classroom-oriented strategies. The aim of the study is therefore to investigate these strategies and what kinds of challenges and questions arise from them. I investigate how teachers at the senior level of compulsory school conduct education and learning in teaching situations when digital visual work is in focus.  The theory I use is Discourse Psychology combined with Bakhtin’s theory of dialogue and learning.  The Discourse Psychology approach stresses context and the idea that people construct knowledge of the world in dialogue with others. The concept of interaction is used in the study and includes how teacher and pupil interact with the use of verbal language and gestures, where the computer also can be an actor. The method consists of interviews and observation, documentation using a small video camera attached to the teacher as well as by taking notes in the classroom. When digital technology is a part of education, teachers need to have good understanding not only of handling the technology but also deciding in what way they would like to use and work with computers in education. The research contributes to an understanding of art education with computers and the conditions in school when working with digital technology.

Image, sound, movement, interactivity, and collaborative work are fundamental tools in education because they support student’s cognitive development. Audiovisual systems such as digital video have made possible that students become less passive and much more active in the learning process by questioning the information they receive at school.According to Bartolome (1999), the digital video used to be considered a hobby more than a didactic tool. However, it has been proved that the use of video in education makes easier to accomplish the learning objectives. This important mean of communication and expression helps users –mainly young people- feel comfortable due to the development of ICT (Information and Communication Technologies) gives video widespread coverage on Internet. It is also important to mention that the use of ICT in education get its theoretical fundaments in constructivism, which makes imperative to keep an eye on its pedagogical uses. Learning trough the ICT (images, graphics, and audiovisual materials) require an audiovisual literacy implying the knowledge about ICT elements and making the addressee-addresser transition possible. It is well known that university students spend long hours in front of a computer, but it doesn’t mean they are taking advantage of this didactic tool.ObjectivesAs we know, the use of ICT characterizes our present social ties such as the attendance to schools. However, the use of ICT is not always adequate. Therefore, it is imperative to plan and put into practice a formative plan and special actions in order to educate people in the use of ICT so that they can consume and produce digital goods. For all these reasons, this study aims to:• Validate a formative model of audiovisual literacy with the support of digital video.• Obtain university student’s usage patterns on digital video in relation to content learning.MethodologyThis research had a pre-experimental design: pretest-intervention-post test with a single group. This methodology was chosen because it analyzes coincidental relations in groups already formed in a natural way. This design was administered in order to prove if the fundamental dimensions of audiovisual communication are shown in students coursing the subject “Nuevas Tecnologías”, and at the same time investigate the different ways digital video can favor their audiovisual literacy. / Imagen, sonido, movimiento, juego, trabajo en equipo son herramientas primordiales dentro de la educación, al ser elementos que proporcionan apoyo al desarrollo cognitivo. Los sistemas audiovisuales como el vídeo digital han permitido que el alumno deje de ser un agente receptor pasivo y pase a ser un actor dentro del proceso de aprendizaje cuestionando de esta forma la información que recibe en la escuela.Según Antonio Bartolomé (1999) el vídeo era considerado más un pasatiempo que una herramienta didáctica. Sin embargo se ha demostrado que su utilización en el campo educativo logra cumplir los fines y objetivos propuestos. Este potencial de expresión y comunicación hace que los usuarios --y principalmente los jóvenes-- se sientan muy confortados con éste medio, gracias al desarrollo de las tecnologías que han facilitado el uso y la difusión de materiales a través de Internet.Cabe destacar que esas nuevas formas de comunicación a través de los audiovisuales en el campo educativo sientan sus bases teóricas en el constructivismo, por tanto es elemental no perder de vista su forma de aplicación pedagógica. Estos modos de comunicación y estilos de aprendizaje requieren de una alfabetización audiovisual es decir el proceso de lectura de imágenes, gráficas, audiovisuales, implicando el aprendizaje de los elementos que los conforman y dando posibilidad de que el receptor se convierta en emisor. El hecho de que los estudiantes universitarios pasen el mayor número de sus horas de escuela frente al ordenador, no significa ni garantiza que estén aprovechando al máximo esta herramienta didáctica. El alumno, al estar frente al ordenador en sus ratos de ocio, disfruta viendo películas que puede bajar de Internet, así como de los vídeos de música, documentales y otros o de una conversación por el Messenger, Facebook sin embargo, deja de lado todo un potencial didáctico que podría emplear en el campo educativo, no sólo para su aprendizaje, sino también como medio para poder expresar sus ideas y emociones. Podría decirse que no se apropia de esa experiencia, ni se ha descubierto como creador y diseñador de su propio entorno de aprendizajes. De acuerdo a Moreira, A. (2002) actualmente se demanda a un sujeto alfabetizado audiovisualmente, toda vez que una persona analfabeta tecnológicamente queda al margen de la red comunicativa que ofertan los audiovisuales.FINES Y OBJETIVOSComo sabemos, el uso de la tecnología distingue a nuestros actuales vínculos sociales tales como la asistencia a las escuelas. Sin embargo, la utilización que se le da no siempre es la adecuada, de aquí se deriva la urgente necesidad de planificar y poner en práctica programas y acciones formativas destinadas a facilitar el acceso a las tecnologías digitales, para contribuir a formar una población alfabetizada en el uso de estas herramientas, que pueda producir y consumir bienes digitales. Para ello, se trabajaron los siguientes objetivos:• Validación de un modelo formativo de alfabetización audiovisual con apoyo del vídeo digital. • Extraer patrones de empleo del video digital de los estudiantes de nivel superior en relación al aprendizaje.METODOLOGÍA:La investigación se llevó a cabo empleando el diseño pre-experimental: pretest-tratamiento-postest con grupo único. Se opta por esta vía metodológica, porque analiza relaciones de causalidad partiendo de grupos ya conformados de manera natural. Este diseño se aplicó para comprobar si las dimensiones fundamentales de la comunicación audiovisual se manifiestan en los estudiantes matriculados en la asignatura de Nuevas Tecnologías y a su vez indagar hasta qué punto el vídeo digital puede favorecer la alfabetización audiovisual en los estudiantes. En cuanto a la muestra, por conveniencia, se ha empleado el Muestreo Accidental o Causal o por Accesibilidad, ya que el plan de estudios (MEIF) de la Licenciatura en Pedagogía permite trabajar con alumnos de los diversos semestres y áreas terminales.

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains x, 555 p. Includes bibliographical references (p. 512-555). Available online via OhioLINK's ETD Center.