Comics Aren't Just For Fun Anymore: The Practical Use of Comics ...

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Recine II 4.4. The Application of Cognitive and Linguistic Theory to TESOL Comics Pedagogy: Case Studies……..………………………………………………………………………93 4.5. Cognitive and Linguistic Theory as it Relates to TESOL Comics Pedagogy: What Teachers Should Know and Do…………………………………………………………98 5. Maximizing the Effectiveness of Comics in TESOL: Learning Theory..…………………...….103 5.1. Dual Coding Theory…………………………………………………………………...103 5.2. The Input Hypothesis………………………………………………………………….123 5.3. The Affective Filter Hypothesis……………………………………………………….126 5.4. The Application of Learning Theory to TESOL Comics Pedagogy: Case Studies..…..129 5.5. Learning Theory and TESOL Comics Pedagogy: What Teachers Should Know and Do……………………………………………………………………………………...145 6. Conclusion……………………………………………………………………………….………....150 Bibliography…………………..……………………………………………………………………...155
Recine 1 1. Introduction 1.1. The Prevalence of Cartoon Art as a Tool of the TESOL Profession Cartoon art is quite common in Teaching English to speakers of other languages (TESOL) settings and is used frequently by TESOL professionals. This is apparent in South Korea and China, two of the world’s largest markets for English as a second language/English as a foreign language (ESL/EFL) education (Beare). In South Korea, the national curriculum for the public school system includes numerous CD-roms featuring a recurring cast of animated characters (Em) (fig. 1.1.1). In China, animation use is on the rise in private cartoon themed chain schools. Disney English, which uses the popular Walt Disney Studios animated cartoon characters to teach English as a second language, opened its first school in Shanghai in 2008. Disney expanded quickly from there, setting up a total of 30 EFL academies in China over the next four years. Their rapid expansion inspired regional copycats, with other TESOL professionals in China setting up unauthorized “counterfeit” Disney English services that use the Disney characters (Yiwen). Many other schools worldwide have used Disney’s cartoon art more legitimately, purchasing Disney English’s globally marketed teaching materials (“Disney Publishing”). While cartoon art that moves on the screen and features recurring characters has obvious appeal for educators, it is just one of several forms of cartoon art available to teachers. Cartoon-style clip art, stand-alone images that do not feature recurring characters and are not accompanied by words or sounds, also abounds in ESL/EFL learning situations. Major publishers of ESL/EFL materials such as Pearson, Oxford, and Cambridge all use simple drawings that could be described as “cartoony” in their textbooks. In addition, comic books and strips often appear in ESL/EFL classrooms. Comics may be included in the official curriculum. They may also come from external sources, procured by educators seeking additional material for their lessons.
Page 1 and 2: Comics Aren’t Just For Fun Anymor
Page 3: Recine I Table of Contents 1. Intro
Page 7 and 8: Recine 3 Fig. 1.1.2. Left: Sample f
Page 9 and 10: Recine 5 1.2. Some Apparent Advanta
Page 11 and 12: Recine 7 instruction. Clearly, comi
Page 13 and 14: Recine 9 highlight one aspect of TE
Page 15 and 16: Recine 11 2. The Definition of Comi
Page 17 and 18: Recine 13 Fig. 2.1.3. A photo colla
Page 19 and 20: Recine 15 teachers have actively em
Page 21 and 22: Recine 17 Fig. 2.2.2. Lions, Tigers
Page 23 and 24: Recine 19 as the primary or sole me
Page 25 and 26: Recine 21 Fig. 2.2.7. From left to
Page 27 and 28: Recine 23 Fig. 2.2.9. Journey: The
Page 29 and 30: Recine 25 variation of line widths
Page 31 and 32: Recine 27 Fig. 2.2.14. The cover im
Page 33 and 34: Recine 29 TESOL, the comics scholar
Page 35 and 36: Recine 31 Fig. 2.3.2. The See With
Page 37 and 38: Recine 33 language from another is
Page 39 and 40: Recine 35 identify mediums that are
Page 41 and 42: Recine 37 know their options and ma
Page 43 and 44: Recine 39 language needs (fig. 2.5.
Page 45 and 46: Recine 41 Fig. 2.5.4. A TOEFL prepa
Page 47 and 48: Recine 43 condescending. TESOL prof
Page 49 and 50: Recine 45 integral to the professio
Page 51 and 52: Recine 47 3.2. TESOL Professionals
Page 53 and 54: Recine 49 (“Peabody”), North Ca
Page 55 and 56:
Recine 51 Fig. 3.2.2. Make Beliefs
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Recine 53 focus on extensive readin
Page 59 and 60:
Recine 55 Fig. 3.3.1. An out-of-seq
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Recine 57 activities, my engagement
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Recine 59 proficiency students and
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Recine 61 Fig. 3.4.3. Sample from m
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Recine 63 teachers not only find co
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4. Maximizing the Effectiveness of
Page 71 and 72:
Recine 67 Fig. 4.1.2. Ancient cave
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Recine 69 Fig. 4.1.4. Mesoamerican
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Recine 71 Fig. 4.1.7. A comic strip
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Recine 73 Fig. 4.1.8. Ninrteenth ce
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Recine 75 successor, picture writin
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Recine 77 4.2. Constructivism and t
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Recine 79 Fig. 4.2.3. Sequences fro
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Recine 81 by onomatopoeias, lexical
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Recine 83 Fig. 4.2.8. An educationa
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Recine 85 While constructivism was
Page 91 and 92:
Recine 87 say that the human abilit
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Recine 89 Fig. 4.3.1. Timbertoes Co
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Recine 91 reinterpret. Similar expl
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Recine 93 Fig. 4.3.6. A political c
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Recine 95 similar children’s comi
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Recine 97 Fig. 4.4.2. A simply draw
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Recine 99 mindful of the fact that
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Recine 101 simplified or highly car
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Recine 103 5. Maximizing the Effect
Page 109 and 110:
Recine 105 W. Howard Levie compiles
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Recine 107 that may seem distinct a
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Recine 109 of visual distinctness,
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Recine 111 and have greater utility
Page 117 and 118:
Recine 113 Fig. 5.1.8. Instructions
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Recine 115 Goldsmith groups the vis
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Recine 117 visual cohesiveness and
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Recine 119 these areas, teachers wo
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Recine 121 When selecting comics, c
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Recine 123 found to promote memory
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Recine 125 Fig. 5.2.1. A comic stri
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Recine 127 input. Per Krashen, the
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Recine 129 In short, while comics c
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Recine 131 look like in comparison
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Recine 133 verbalize about in a var
Page 139 and 140:
Recine 135 Fig. 5.4.5. Splash panel
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Fig. 5.4.7. Page 13 of “Creekbed
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Fig. 5.4.9. A comic strip I designe
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Recine 141 Fig. 5.4.11. An alcohol
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Recine 143 advanced section of this
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Recine 145 with European learners,
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Recine 147 of the narrative or mess
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Recine 149 can build on TESOL comic
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Recine 151 classroom, even if they
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Recine 153 be rare to find a comic
Page 159 and 160:
Recine 155 Bibliography Abel, Jessi
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Recine 157 Bousquet, Mark. "In Defe
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Recine 159 Reading Association & NC
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Recine 161 Frost, Ram. “Orthograp
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Recine 163 Ibrahim, Mohammed. “Tr
Page 169 and 170:
Recine 165 U.S. Fish & Wildlife Ser
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Recine 167 2005. Web. 5 Sep. 2012.
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Recine 169 Web. 13 Oct. 2012. Retal
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Recine 171 Web. 06 Oct. 2012. “St
Page 177:
Recine 173 Wildman, George, and Kar
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Comics Aren't Just For Fun Anymore: The Practical Use of Comics ...

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