scholarly journals Graphic Novels: Understanding How Fifth Graders Read Literary Texts through Eye Movements Analysis

2021 ◽  
Vol 0 (33/34) ◽  
pp. 388-427
Author(s):  
Suriani Mohd Yusof ◽  
Zalina Mohd Lazim ◽  
Khazriyati Salehuddin ◽  
Mizhanim Mohamad Shahimin
2019 ◽  
Author(s):  
Suriani Mohd Yusof ◽  
Zalina Mohd Lazim ◽  
Khazriyati Salehuddin ◽  
Mizhanim Mohamad Shahimin

1979 ◽  
Vol 11 (4) ◽  
pp. 319-328 ◽  
Author(s):  
Lester A. Lefton ◽  
Richard J. Nagle ◽  
Gwendolyn Johnson ◽  
Dennis F. Fisher

While reading text, the eye movements of good and poor reading fifth graders, third graders and adults were assessed. Subjects were tested in two sessions one year apart. Dependent variables included the duration and frequency of forward going fixations and regressions; an analysis of individual differences was also made. Results showed that poor reading fifth graders have relatively unsystematic eye movement behavior with many more fixations of longer duration than other fifth graders and adults. The eye movements of poor readers are quantitatively and qualitatively different than those of normal readers.


Collabra ◽  
2016 ◽  
Vol 2 (1) ◽  
Author(s):  
Emiel van den Hoven ◽  
Franziska Hartung ◽  
Michael Burke ◽  
Roel M. Willems

Style is an important aspect of literature, and stylistic deviations are sometimes labeled foregrounded, since their manner of expression deviates from the stylistic default. Russian Formalists have claimed that foregrounding increases processing demands and therefore causes slower reading – an effect called retardation. We tested this claim experimentally by having participants read short literary stories while measuring their eye movements. Our results confirm that readers indeed read slower and make more regressions towards foregrounded passages as compared to passages that are not foregrounded. A closer look, however, reveals significant individual differences in sensitivity to foregrounding. Some readers in fact do not slow down at all when reading foregrounded passages. The slowing down effect for literariness was related to a slowing down effect for high perplexity (unexpected) words: those readers who slowed down more during literary passages also slowed down more during high perplexity words, even though no correlation between literariness and perplexity existed in the stories. We conclude that individual differences play a major role in processing of literary texts and argue for accounts of literary reading that focus on the interplay between reader and text.


2021 ◽  
Vol 3 (2) ◽  
pp. 262-276
Author(s):  
Rehuel Nikolai Soriano

This study aims to demonstrate and document that the phenomenon of Superman, as a fictional character, is an amalgamation of the extra human attributes of the heroes and gods that are read and seen in ancient narratives. Specifically, it identifies the qualities of Superman as a superhero, determines the parallelism that exists between these qualities of Superman and those of mythological and biblical personae, and establishes the similarity between the scenes, situations, and events found in its mythos and those that are found in archetypal narratives to vividly delineate his image as the world’s superhero. A content analysis of the text was primarily conducted to draw the structural elements of its narrative. Since this study also assumes that literary texts may be viewed outside of their aesthetic merits, an archetypal analysis is subsequently implemented. Meanwhile, the theoretical foundation of this study is predicated on the theory of Archetypes which assumes that literary texts are based on and influenced by archaic structures manifested in the recurring motifs, mythological counterparts, and parallelisms embedded in the story. As stated in the results, it was determined that the mythos of Superman as a heroic character is a reimagination and manifestation of mythological stories as exemplified in the analyzed materials. Furthermore, it showed that he functions as a custodian of several archetypal figures and with this, can be used as a bridge in teaching traditional literature since he embodies a conglomeration of several mythological characters. The materials analyzed in this study were composed of eight graphic novels, six Hollywood films, and two animated movies.


Author(s):  
Maryna Riabchenko

During the last few years a signifi cant number of texts covering a huge range of genres appeared within the Ukrainian literary community with a purpose to depict the recent events of the war taking place in the East of the country. The most complete list of such literary texts created by Anna Skorina has more than 400 positions. It includes poetry, fiction, essays, diaries, non-fi ction (documentaries and political researches), photo albums and, surprisingly, comic books and a graphic novel. Moreover, the list is permanently updated. There are both civilians (writers, journalists, volunteers) and combatants among the authors of the texts. The prose written by the latter group of authors is an important and interesting phenomenon of the modern Ukrainian literary process. The group includes professional writers conscripted into Ukrainian Armed Forces or enlisted in the Volunteer Batallions as well as authors without pre-war experience of being related to the literary beau monde. To a certain extent their texts belong to documentaries or to the literature of fact. Most authors resort to self-descriptive writing for comprehending their recent experience and psychological changes it caused. These works can be classifi ed as ego-documents (diaries, memoires) and ego-texts (autobiographical fiction and essays). Genre diffusion is a characteristic feature of memoires and autobiographical prose, the combatant prose being no exception. Such popular fi ction genres as comic books and graphic novels must be considered a rather interesting practice within modern military literature. The paper emphasizes the incorrectness of identifying modern combatant prose with so-called lieutenant prose, the Soviet literary phenomenon, as these groups of texts have essential differences that exceed by far their common features.


Author(s):  
Pramod K. Nayar

The field of human rights (HR) and literature has expanded in the last two decades. Fiction, poetry, memoirs, and graphic novels with HR themes have been examined, and also cognate fields like popular culture and HR, humanitarianism, and the history of HR itself. The literary, with its emphasis on the human ‘subject,’ the formation of this subject, and the hurdles that confront its formation, is appropriate for the study of how humans are conceptualized as deserving (or not) of rights, and the conditions in which the human loses her humanness. Victims, perpetrators, and bystanders are characters in literary texts that critics study as models of subjectivity. The literary text asks us to imagine the nature of the human person, the universal state of human vulnerability, and the situations in which this vulnerability is prised open for exploitation. The entries here consist of those that engage directly with literary texts but also with frames, contested and debated, that define the human, and without which a rights regime cannot be put in place or modified. Forms and aesthetics that are central to the documentation, witnessing, and communicating the urgency of HR themes in various genres are also necessarily a part of this bibliography. Various forms and genres in literature—across ages, geocultural formations, and nations—have addressed the theme of HR, explicitly or implicitly. The war novel, for instance, is more concerned with mass HR violations such as genocide, rape, and continuing trauma. The child-abuse novel is focused on individual HR. Plays by authors like Ariel Dorfman, (e.g., his Resistance trilogy) use theatre to speak of unspeakable horrors like torture. In the late 20th century, especially in the wake of Art Spiegelman’s pioneering Maus, numerous graphic novels, comics, and pieces of comics journalism have sought to document atrocity and HR. Testimonial texts and fiction by victims have constituted a globally visible genre, again since the last half of the 20th century.


2018 ◽  
Vol 8 (1) ◽  
pp. 135-164 ◽  
Author(s):  
Clarissa de Vries ◽  
W. Gudrun Reijnierse ◽  
Roel M. Willems

Abstract Metaphors occur frequently in literary texts. Deliberate Metaphor Theory (DMT; e.g., Steen, 2017) proposes that metaphors that serve a communicative function as metaphor are radically different from metaphors that do not have this function. We investigated differences in processing between deliberate and non-deliberate metaphors, compared to non-metaphorical words in literary reading. Using the Deliberate Metaphor Identification Procedure (Reijnierse et al., 2018), we identified metaphors in two literary stories. Then, eye-tracking was used to investigate participants’ (N = 72) reading behavior. Deliberate metaphors were read slower than non-deliberate metaphors, and both metaphor types were read slower than non-metaphorical words. Differences were controlled for several psycholinguistic variables. Differences in reading behavior were related to individual differences in reading experience and absorption and appreciation of the story. These results are in line with predictions from DMT and underline the importance of distinguishing between metaphor types in the experimental study of literary reading.


2020 ◽  
Vol 13 (3) ◽  
Author(s):  
Lilla Magyari ◽  
Anne Mangen ◽  
Anežka Kuzmičová ◽  
Arthur M Jacobs ◽  
Jana Lüdtke

Based on Kuzmičová’s (2014) phenomenological typology of narrative styles, we studied the specific contributions of mental imagery to literary reading experience and to reading behavior by combining questionnaires with eye-tracking methodology. Specifically, we focused on the two main categories in Kuzmičová’s (2014) typology, i.e., texts dominated by an “enactive” style, and texts dominated by a “descriptive” style. “Enactive” style texts render characters interacting with their environment, and “descriptive” style texts render environments dissociated from human action. The quantitative analyses of word category distributions of two dominantly enactive and two dominantly descriptive texts indicated significant differences especially in the number of verbs, with more verbs in enactment compared to descriptive texts. In a second study, participants read two texts (one theoretically cueing descriptive imagery, the other cueing enactment imagery) while their eye movements were recorded. After reading, participants completed questionnaires assessing aspects of the reading experience generally, as well as their text-elicited mental imagery specifically. Results show that readers experienced more difficulties conjuring up mental images during reading descriptive style texts and that longer fixation duration on words were associated with enactive style text. We propose that enactive style involves more imagery processes which can be reflected in eye movement behavior.


1967 ◽  
Vol 10 (3) ◽  
pp. 600-605 ◽  
Author(s):  
Penelope B. Odom ◽  
Richard L. Blanton

Two groups each containing 24 deaf subjects were compared with 24 fifth graders and 24 twelfth graders with normal hearing on the learning of segments of written English. Eight subjects from each group learned phrasally defined segments such as “paid the tall lady,” eight more learned the same words in nonphrases having acceptable English word order such as “lady paid the tall,” and the remaining eight in each group learned the same words scrambled, “lady tall the paid.” The task consisted of 12 study-test trials. Analyses of the mean number of words recalled correctly and the probability of recalling the whole phrase correctly, given that one word of it was recalled, indicated that both ages of hearing subjects showed facilitation on the phrasally defined segments, interference on the scrambled segments. The deaf groups showed no differential recall as a function of phrasal structure. It was concluded that the deaf do not possess the same perceptual or memory processes with regard to English as do the hearing subjects.


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