Digital Børnelitteratur Nye former for oplevelse og ...

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Trine Ferdinand Digital Børnelitteratur – Nye former for oplevelse og fortolkningsfællesskaber DPU sommer 2013 Speciale på kandidatuddannelsen i didaktik (dansk) måde kunne elevernes muligheder for meddigtende litteraturarbejde i forhold til de dimb- fortællinger udvides betragteligt. I forhold til Garmanns Sommer kunne eleverne fx digte en ny side, hvor de skulle efterligne de multimodale collager. De skulle også forholde sig til hvilke billedelementer, der skulle animeres og tilføje narrativ interaktivitet. Resurser som billedelementer, animationer, lyde og musik fra fortællingen skulle være tilgængelige for læserens meddigtning, men det skulle samtidig være muligt selv at tilføje resurser. Eleverne kunne arbejde bevidst på at imitere Stian Holes særlige stil med de sammensatte billedelementer fra forskellige tider og menneskealdre, hans varierede brug af synshøjde, afstande og synsvikler, de urealistiske størrelsesforhold og det kontrapunktiske samspil mellem modaliteter Det er nyt og skelsættende, at de resurser, fortællingen består af, stilles til rådighed for elevernes meddigtende aktiviteter. Det giver helt nye muligheder for at lade eleverne interagerer og digte med på den multimodale tekst, hvilket kan være med til at udvikle eleverne som litteraturlæsere, Men det udfordrer samtidig den måde, vi traditionelt har opfattet et litterært værk. Abstract This thesis examines the type of digital literary children’s stories that are experienced on a tablet, stories, which may additionally be characterized as interactive and multimodal. Children’s literature has traditionally been read in the company of a grown-up, as the grown-ups have been a prerequisite for the child being able to have the story read aloud; or reading has taken place with a teacher as part of teaching reading skills in school. These conditions have been influenced by digital media. Newer children’s literature often contains an identifiable dual address (Wall, 1991) aimed at both the child and the grown-up reader. An implicit child reader and an implicit grown-up reader are identifiable throughout the story. An imbedded functional design enveloping the digital literary children’s stories, gives the reader certain opportunities to experience, read, influence, make up additional story lines, and navigate throughout the story, alone or in the company of others. It is 90
Trine Ferdinand Digital Børnelitteratur – Nye former for oplevelse og fortolkningsfællesskaber DPU sommer 2013 Speciale på kandidatuddannelsen i didaktik (dansk) also possible to identify implicit users embedded in the functional design enveloping the story. In this thesis, I am uncovering the implicit readers within the story and the implicit users embedded in the functional design enveloping the story, as well as how they relate to one another. This will lead to an answer to the primary question posed in this thesis: which types of interpretive child- grown-up communities are promoted by digital children’s literary stories? The answer to this question leads to my literary didactic contextualization, which discusses how digital literary children’s stories can contribute to develop secondary school pupils into literary readers. I have analyzed three digital children’s literary stories: Garmanns Sommer (2011) by Stian Hole, The Heart and the Bottle (2010) by Oliver Jeffers, It was A Cold, Dark Night (2013) by Tim Hopgood. My theory is based on a reception theoretical approach to the analysis and the literary didactic contextualizing. In addition, I have implemented social semiotic and narrative analysis concepts, and drawn upon children’s literature research. My analysis shows that the functional design plays a crucial part in fostering the interpretive child- grown-up community by offering the choice of turning the read aloud function on/off, and by easing page-to-page navigation. The stories may contain integrated narrative interactivity, which means that the reader can influence or make up additional story lines. The child reader may be invited to take on roles such as a playmate, a narrator, who helps the story along; or as a co-author, who takes over the protagonist’s perspective. The grown-up reader may be directed into the role of a co-author, who is invited to share his/her larger, encyclopedic knowledge in a given read-aloud situation. The stories may contain co-author interactivity, e.g. an integrated art studio where the reader is to draw a drawing, which subsequently becomes a part of the story; a three-track recorder which allows the child and the grown-up to record their oral story; or a supplemental story creator workshop in which the child can make up his/her own story using resources from the story. Co- author activities provide the children (and grown-ups) the opportunity to express their understanding and interpretation of the story in a concrete way, which can form the basis of conversations in interpretive communities in secondary school literary education. 91
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