Abstract: The aim of the study is to identify the digital literacy levels of prospective teachers in terms of several variables. The study used quantitative model. The study group of research was constituted while 354 prospective teachers studying in different departments of Sakarya University College of Education. In order to gather the data of the research, 30 items of “Digital Literacy Scale” was developed and used by the researchers. The developed scale was composed of 5 different factors under the name of information literacy, visual literacy, software literacy, technology literacy and computer literacy. With regard to the research result, in terms of gender variable digital literacy levels of male prospective teachers and in terms of department variable digital literacy levels of computer education and instructional technology teaching department were found high. Besides, the digital literacy levels of prospective teachers having continuous internet connection or a computer that they can continuously use were found high. In addition to that, it was analyzed in the research that prospective teachers’ personal income levels had no effect on the digital literacy levels of prospective teachers. In the analysis of data gathered, Exploratory Factor Analysis, Cronbach Alpha, t-test and Anova analysis were used.

Abstract: Higher education has traditionally privileged language-based text as evidence of students’ levels of critical thinking and literacy. Twenty-first century education at all levels however, has focused on multimodal literacies and how educators can engage students who are seeing the world through diverse representations and a myriad of forms. Many scholars maintain that we live in a visual culture where we are becoming increasingly proficient at reading images of all kinds. However, our criteria for assessing student learning and measures of assessment have not moved much beyond the traditional written texts outside art and design disciplines. While much has been written about the role of visual literacy, there is little research on assessing visual literacy competencies. This paper proposes a Visual Literacy Competency (VLC) rubric based on the Biggs and Collis (1982. Evaluating the Quality of Learning: The SOLO Taxonomy (Structure of the Observed Learning Outcome). New York: Academic Press) SOLO ta...

Abstract: This study addresses the following questions: Does professional development (PD) designed to meet third-, fourth-, and fifth-grade teachers’ pedagogical and content needs influence how teachers teach and engage with graphical devices found in social studies texts? If so, what effect does that instruction and engagement have on students’ comprehension of those devices and social studies reading materials that contain them? We worked with teachers and students in a context-embedded PD series that emphasized literacy skills specific to standards that address accessing and sharing information (Common Core State Standards for English Language Arts) as social studies specialists (e.g., historians, geographers, economists; C3 Framework), with a particular focus on the graphical devices commonly found in social studies instructional materials (i.e., captioned images, maps, tables, timelines). Using teacher interviews, curricular materials, field notes, and student pre- and post-assessments as data sources, we exp...

Abstract: This article presents a summary of research conducted on the visual representation of indigenous cultures in four English textbooks produced for lower secondary schools with the aim of investigating the extent to which images of indigenous people contribute to, or contradict, the general cultural aims of the English language learning curriculum in Norway. Over 800 textbook images were analyzed using the methods of visual content analysis and semiotic image analysis. A qualitative analysis of two photomontages also provides a more holistic approach to the study and helps to more clearly explain the quantitative results. The results from the research show a strong trend to focus on traditional aspects of indigenous people, a tendency to represent indigenous people in a lower position of power than the viewer, and to distance the viewer. Comparatively, the images of white people more frequently invite the viewer to interact and empathize with the participants. Consequently, the research concludes that the images in the four EFL textbooks analyzed are, to a large degree, potential carries of ideologies in direct contradiction to the general cultural aims of English language learning in Norway. The implications of these findings are that images and how they position readers should be a part of EFL teaching.

Abstract: This study examines the instructive aspects of visual material in medieval romance texts and their illuminated manuscripts. Medieval romance contains an extensive array of visual references, and the present discussion focuses on the phenomenology of these episodes: depictions of the aesthetic and intellectual aftereffects of sight, and the imagination at work. Such instances are often related within the text to the act of reading itself, and through them the author encourages correct and effective practices of reading. In romance texts the characters often struggle to interpret such signs, sometimes with disastrous consequences, and their reactions in turn become lessons for the reader. The first section of the discussion focuses on romance texts, and particularly on depictions of image-crafting, the imagination at work, and the recognition and interpretation of visual signs. The discussion in the second section concentrates on illuminated romance manuscripts, and examines the authorial perspectives expressed through narrative illustration. The visual material of medieval romance is largely concerned with communication, and the didactic conversation that occurs between author and reader is implicit within the romance text. This study therefore demonstrates that the visual material in medieval romance narratives often has a practical function: to establish a dialogue between the author and reader, and sometimes the limner and reader, concerning good reading practices.

Abstract: The origins and history of Visual literacy (VL) are summarized in this article, from the 1960s writings of John L. Debes, Marshall McLuhan and others of the Rochester School, to the influence of the Internet in the 2000s. ERIC and Google Scholar searches are used to analyse the evolution of its literature over time.

Abstract: The purpose of this article is to introduce text sets of picture books that address 10 ancient civilizations commonly taught in middle school and also offer instructional strategies that could be used for critical and multicultural literacy exploration. Beginning with discussion of the importance of picture books and text sets in the middle school classroom, the article highlights the importance of reading pictures along with words. Additionally, this article showcases 10 ancient civilizations by providing picture book titles that will engage students and concludes by sharing literacy strategies and reflection that will assist social studies teachers in implementing the various text sets described throughout.

Abstract: In an age where data and their various representations proliferates many aspects of our professional and private lives, a new form of awareness and visual literacy is required to interpret, critically discuss and actively engage in activities around data representation. Research has found Physicalization to be a productive way to introduce people to activities around data collection, processing, and representation -- be it to learn about the concepts of making abstract data graspable, or to learn about complex phenomena represented within the data. This full-day hands-on workshop will explore how designing and building Physicalizations can be a way to actively learn the principles of data representation. The aim of this workshop is to (1) discuss different learning scenarios in which Physicalization activities can be beneficial, (2) explore different approaches to introduce Physicalization activities to different learning audiences, and (3) to build a community interested in the pedagogy of Physicalization.

Abstract: This paper discusses the information literacy requirements of art and design students, and how traditional approaches to information literacy education are not always appropriate for these particular students. The paper argues that different, creative, and innovative approaches to information literacy training need to be developed with the specific learning styles of this group of students in mind and that using a radical information literacy approach, incorporating the specific nature of the art and design information landscape, enables this. Using the University of the Arts London (UAL) as a specific art and design higher education institution, the paper shares three separate case studies which demonstrate such approaches including the incorporation of drawing, object-based learning, and enquiry-based learning into information literacy.

Abstract: ............................................................................................................................. xiii Statement of Candidature ................................................................................................... xiv Acknowledgements ............................................................................................................. xv List of Tables .................................................................................................................... xvii List of Figures .................................................................................................................. xviii List of Abbreviations ......................................................................................................... xxi List of Appendices ............................................................................................................ xxii CHAPTER ONE: INTRODUCTION ................................................................................... 1 1.

Abstract: Learners with poor reading skills are less able to acquire knowledge through text. Graphic novels may enhance reading comprehension skills owing to fewer words, more pictures, and an engaging story...

Abstract: This paper discusses the concept of visual literacy and its implications for librarians teaching information literacy components. The author concludes that, while visual teaching methods should be incorporated in library instruction, teaching visual literacy competencies is most effectively done in connection with discipline-specific content and thus falls outside librarians' role.

Abstract: This chapter suggests that what is needed in current understandings of literacy practices is systematic attention to the role of the full sensorium evoked in the process of meaning making. Of particular interest is the hitherto neglected realm of the nonvisual senses and their role in children's literacy learning. The chapter demonstrates how the sensorial engagement of the body is intertwined in meaning making with different material presentations of digital and print copies of a picture book and in handwriting and process drama lessons. The e-book version of the Heart and the Bottle and process drama activities that draw on Beware of the Bears invite the reader to participate with the body in sense-making through haptic affordances that open up a rich set of possibilities for vicarious sensory engagement with the feelings and perspectives of the characters.

Abstract: The present study is based on the importance of the process of reading and analyzing artistic and textile visual works for the comprehensive development of students. Our procedures were firstly based on the conceptual framework proposed by Abigail Housen, which states that the process of reading visual languages involve basic development stages, namely narrative, constructive, classifying, interpretative, and re-creative – where the latter indicates the student has acquired and consolidated skills of conscious reading. This framework was combined with the triangular approach developed by Ana M. Barbosa in terms of the need to contextualize, make, and appraise art works. To make a deeper observation of the aesthetic-artistic process, we analyzed visual readings of artistic and textile prints by students and teachers of art and fashion collected in a school environment from 2014 to 2015 and guided by the basic question: “What do you see in this print?”. Thus, we observed the coherence of Housen’s stages of aesthetic development and the need for Barbosa’s triangulation, but we highlight the need and the didactic-pedagogical importance of developing image reading in the context of visual literacy as a way to promote collective expression, discussion and reflection and as an essential process for the development of aesthetic and artistic learning, which we believe leads students’ awareness of themselves, of others, and of the world - the basis for thinking autonomously. Thus it promotes the student’s development as a critical subject and citizen, as indicated by new literature findings.

Abstract: Technological development creates a new culture of cyberculture. Manifestations of cyberculture include various human interaction especially in terms of the communication on the visual aspect of his life. Slowly but surely the development of communication technology in the visual aspect is increasingly massive and most consumed by "Y" generation. Nowadays, thevisual hedonism in the digital age is getting uncontrollable social deviation from many aspects, ethical and moral values that occur at the "Y" generation. Bad attitude of “Y” generation will be inherited to Alpha generation, namely the smartest generation. Addressing the very things, we need to prepare the strategy or the concept of education in accordance with technological developments so that it leads to the positive. One of the ways that can be done is with the right digital education, for example, with the application of visual literacy or visual literacy and character education since every generation certainly has different traits and characteristics which are influenced by social, cultural and development of technology. This qualitative descriptive nature paper, which builds upon the educational discourse in framing a visual culture, to know the application of visual literacy strategy on alpha generation. Based on the results of the analysis, understanding the character of learners depends on how the educators themselves in understanding the messages of visual digital era and should really go diving in deeply so that what was delivered is capable of accepted students well according to the way they are. Therefore, prospective educators are required to be able to offset the developments that occur and are experienced by learners especially in the field of technology with visual literacy as an introduction in directing alpha generation to educate good character as a thing that is very fundamental.

Abstract: As teachers and teacher educators, we are committed to using texts that characterize our students' diverse experiences and that challenge them critically. Many English language arts (ELA) teachers actively combat homophobia and strive for gender and sexuality inclusivity in classrooms, and part of their effort includes sharing the experiences of people who identify as LGBTQ (lesbian, gay, bisexual, transgender, queer). However, ELA teachers may benefit from further support that offers specific vocabulary and practical methods for facilitating critical discussions about gender and sexuality (Thein). In this article, we argue that the format and content of graphic novels that depict LGBTQ experiences are a unique and effective pedagogical tool to engage students in critical discussions about gender and sexuality.Queer Theory and LGBTQ Young Adult LiteratureSeveral scholars suggest that LGBTQ young adult literature (YAL) should be actively included in ELA classrooms to create an inclusive environment and to challenge homophobic culture (e.g., Blackburn and Smith; Clark and Blackburn). Beyond the inclusion of LGBTQ texts, teachers should actively address intersectional identities, or the interdependent structures of oppression, based on race, gender, class, nationality, etc. (Blackburn and Smith). Educators should employ "queer readings" of texts in use in the classroom curriculum not labeled as LGBT-themed (in other words, texts that are "already on the shelf') and actively recognize and discuss instances with students where authors or characters challenge normative gender and sexual identities (Ryan and H ermann-Wilmarth). Other scholars offer literary analyses of LGBTQ YAL (e.g., Thein and Kedley; Linville) or share their experiences using graphic novels with queer youth (Blackburn et al.). Adding to this body of work, we propose that graphic novels offer ELA teachers a unique opportunity for queer, critical discussions about gender and sexuality in the classroom.We ground our article in queer studies (Butler; Fausto-Sterling; Halberstam; Rich; Sedgwick). Queer theory distinguishes sex categories (assigned at birth, based on genitals) from gender categories (expressed as feminine or masculine, based on social and cultural norms). We use gender to indicate both gender presentation (observed visually through images) and gender identity (revealed in thought or dialogue bubbles). We use sexuality or sexual identity to describe preferences in who we are attracted to and choose for intimate or romantic relationships. Society's unquestioned acceptance of the gender binary as truth conditions us to view male and female as the only (non-overlapping) options regardless of evidence to the contrary. Compulsory heterosexuality suggests that though heterosexuality is thought of as natural and the default sexuality, this is erroneous- its privileged status is maintained because it is culturally and legally expected and rewarded.Scholarship on multimodal texts (including graphic novels) reflects limiting notions about a traditional, print-based understanding of literacy as reading and writing alphabetic text (Hassett and Schieble). However, graphic novels are not limited to text and instead offer a complex interplay of written text and illustration, speech and thought bubbles, perspective shifts, panel arrangements, word balloons, font choices, color, and shading. Through reading graphic novels, students develop visual literacy skills and engage in complicated cognitive processes (Dallacqua; Schwarz). Students learn to use texts-in this case, graphic novels-in a way that challenges traditional and one-directional readings, coupled with learning about gender and sexuality in ways not attached to the binary. With practice, students can apply these critical readings to settings and practices in their lives beyond the texts they encounter in the classroom.We offer ELA teachers strategies for identifying and dispelling myths about gender and sexuality and use the visual and thematic content of Adrian and the Tree of Secrets (Hubert and Caillou) and Honor Girl (Thrash) as exemplars. …

Abstract: DEAR EDITOR, First described by John Debes in 1968, visual literacy (VL) refers to the ability of an observer to derive meaning from images. In addition to understanding the image itself, the wider meaning is considered and deeper critical thinking encouraged. In contrast with other medical specialties, the interpretation of visual signs and gross pathology remains key to dermatological practice. Diagnostic accuracy may be increased by careful observation without preconceptions. Thus, description of lesions in dermatological practice may be considered as ‘the expression of pathological art’. On this basis we believe dermatologists should have fluent VL skills, which could be developed throughout their training. Randomized studies in medical schools in the U.S.A. have shown significantly improved visual diagnostic skills among course participants through the use of artwork in VL teaching. To our knowledge, no such training has previously been reported in U.K. dermatology. We developed a pilot course to investigate the benefit of VL training for trainee dermatologists. The course, led by an experienced art historian and educator (H.T.), was conducted for the first time in autumn 2015. Course participants were eight higher specialty trainees (specialist registrars) in dermatology: four in their final year (ST6), one penultimate year (ST5), two second year (ST4) and one first year (ST3). Participants attended five art-gallerybased sessions of approximately 2 h in duration, with additional self and group reflection following the course. All attendees maintained an art journal to record their experiences. Learning techniques included analysis of selected artwork, group discussion, short lectures and follow-up resources. Participants were exposed to diverse ranges of artwork in small workshops and gallery spaces. These included abstract, landscape, still life, portraiture and figurative artwork. A different piece of artwork was used to demonstrate the focus of each session, including the use of colour, texture, pattern and contrast. Participants were encouraged to challenge their own perceptions and consider the viewpoint of the artist, and to develop their own descriptive style (Fig. 1). Following anonymized postcourse evaluation, all participants rated the course as either excellent (n = 3, 38%) or very good (n = 5, 63%). Participants also reported subjective improvement in observational skills applicable to dermatology practice (strongly agree n = 2, 25%; agree n = 6, 75%). The majority believed their written and verbal descriptive skills had improved (n = 7, 88%). There was less certainty regarding the effect on relationships and interpreting patients’ emotional responses, which could be reflective of the timing of feedback collection directly after the last session of the course. Overall, trainees gave positive feedback regarding improvement in their clinical observational and descriptive skills. A postcourse clinical and observational skills assessment was performed using artwork and clinical images. Due to availability, four course participants and three controls completed the assessment. The control group comprised one final-year specialist registrar, one penultimate-year registrar and a senior international clinical fellow. Participants and controls were shown photographs of common dermatological conditions (a)

Abstract: Are children competent producing anatomy cross-sections? To answer this question, we carried out a case study research aimed at testing graphic production skills in anatomy of nutrition. The graphics produced by 118 children in the final year of primary education were analysed. The children had to draw a diagram of a human cross section, integrating knowledge of anatomy acquired from longitudinal sections. The results show that they have very limited skills in producing these graphics judging by the dimensions (scale, shape, organs represented and its organization inside the section) and their conception of human anatomy at thoracic level (location of the organs, elements in the spaces between them and connections between organs). The results also indicate that the only exposure to cross-sections in daily life is not enough by itself to draw them correctly, so this type of graphic production should be addressed from the earliest stages of education, since it contributes to the development of visual literacy, and this is a crucial skill when it comes to learning science concepts and developing scientific literacy.

Abstract: As the title suggests, this volume by the Association of Library Collections and Technical Services (ALCTS) serves as a guide to linked data concepts, practice and implementation in libraries, archives and museum collections. It is edited by Ed Jones, associate director for library assessment and technical services at the National University in San Diego, and Michele Seikel, a professor from Oklahoma State University, both of whom have extensive experience working with linked data and on library standards committees. Book chapters consist of contributions from a range of experts in North America, who describe the topic from a variety of perspectives such as case studies from practitioners and involvement in the development of standards. An introduction describes linked data – what it is, how it works and a summary of associated standards for those new to the topic. The remaining six chapters then examine aspects of linked data beginning with chapter one’s survey of linked data projects from around the world, such as Linked Open Data Libraries Archives and Museums (LODLAM), Europeana and the Digital Public Library of America (DPLA) amongst others. This chapter also contains a detailed case study of the Linked Jazz project, including project phases and lessons learned. The following chapter contains a case study of the implementation linked data with the English Short Title Catalogue to make into a 21st century tool overcoming the limitations of MARC. Other chapters consider linked data and best authority control practices, with a focus on controlled vocabularies for scientific and technical works and for the web. There is a discussion of OCLC’s use of schema.org as a foundation for a linked data model for library data. Finally, chapter six looks at future directions from the perspective of the Library of Congress, and replacing MARC with the development of BIBFRAME. The text is easy to follow, well presented and very relevant. Complex topics are explained in ways that are easy to understand. There are black and white illustrations of data display and other examples throughout the book. There is also a detailed index at the end. What is missing is a glossary of terms as the text is rich in use of terminology and acronyms, and readers would benefit from a glossary, explaining the terms used throughout the work. The book is useful for those seeking an introduction to linked data and those with an interest in implementing a linked data model. It is especially useful to students new to the topic or just seeking a better understanding of linked data.

Abstract: The Melbourne declaration on educational goals for young Australians (MCEETYA, 2008) cited confident and creative citizens as a key goal for Australian students. This goal aligns with global research on visual arts, specifically visual literacy. Being visually literate means decoding images, understanding the relationship between image and context, and recoding personal experiences into visual artworks. This learning is a core outcome of responding activities in secondary school visual arts. However, students will only develop visual literacy skills if they are engaged in their learning activities. Subsequently, this research sought to explore the cognitive engagement of students in the Year 11 visual arts course. The research utilised a mixed methods approach, which aimed to measure factors affecting student engagement. Quantitative measures of student engagement are rarely subject specific, and the creation of a quantitative visual arts diagnostic instrument gave information about students’ engagement that could inform teacher instruction. Factors affecting students’ engagement were determined through exploratory analysis of the diagnostic assessment instrument, with qualitative data used to explain the students’ quantitative responses. Three key factors of cognitive engagement were determined: intrinsic motivation, metacognition and autonomy. Developing students’ skills in these areas may improve their cognitive engagement in their visual arts education.

Abstract: While much has been written about implementing the ACRL Framework for Information Literacy for Higher Education in various classroom settings, this article addresses mapping the ACRL Visual...

Abstract: Technological changes have radically altered the ways in which people use visual images. Since the invention of photography, imagery has increasingly been used for entertainment, journalism, information, medical diagnostics, instruction, and communication. These functions move the image beyond aesthetic issues associated with art and into the realm of communication studies. This introductory textbook introduces students to the terminology of visual literacy, methods for analyzing visual media, and theories on the relationship between visual communication and culture. Exploring the meanings associated with visual symbols and the relationship of visual communication to culture, this book will provide students with a better understanding of the visually oriented world in which they live. Student-friendly features such as boxed topics, key terms, web resources, and suggestions for exercises are provided throughout.

Abstract: Bold color images from telescopes act as extraordinary ambassadors for research astronomers because they pique the public’s curiosity. But are they snapshots documenting physical reality? Or are we looking at artistic spacescapes created by digitally manipulating astronomy images? This paper provides a tour of how original black and white data, from all regimes of the electromagnetic spectrum, are converted into the color images gracing popular magazines, numerous websites, and even clothing. The history and method of the technical construction of these images is outlined. However, the paper focuses on introducing the scientific reader to visual literacy (e.g. human perception) and techniques from art (e.g. composition, color theory) since these techniques can produce not only striking but politically powerful public outreach images. When created by research astronomers, the cultures of science and visual art can be balanced and the image can illuminate scientific results sufficiently strongly that the im...

Abstract: Debates in ICT and Computing Education explores the major issues teachers encounter in their daily professional lives. It encourages critical reflection and aims to stimulate both novice and experienced teachers to think more deeply about their practice, and link research and evidence to what they have observed in schools. Chapters tackle established and contemporary issues enabling teachers to reach informed judgements and argue their point of view with deeper theoretical knowledge and understanding. Debates include teacherless classrooms; personalised learning; creativity; digital literacy; visual literacy; e-tools; learning platforms; and opportunities for lifelong learning.

Abstract: This teaching tip gives teachers practical applications of the game Pokemon GO for literacy teaching and learning. The author discusses applications of the game for teaching multimodality in upper elementary-school classrooms. The author situates these applications in relevant theoretical perspectives as well as current literacy research.

Abstract: The illustrated books considered in this article present histories of everyday life and align with the genre of history writing that had existed at least since the nineteenth century, of women documenting the domestic sphere, challenging the hegemonic and dominant narratives of history and presenting ‘Englishness’ instead within the practices and objects of the everyday. The use of illustrations to evoke empathy, describe the detail of ordinary lives and offer graphic interpretations of data shows an engagement with the pedagogical possibilities of visual literacy in schoolbooks, allied to developments in the state school system at the time. The books demonstrate a variety of approaches towards the function of illustration in textbooks for children. These approaches include presenting ‘picturesque’ narratives, promoting imaginative empathy through the use of contempareneous visual source material, and encouraging critical thinking through pattern recognition in the assessment of information graphics. The article considers the visual mode in each book and maps its production onto social, political and ideological contexts of mid-twentieth-century England, offering feminist perspectives on the notion of history writing, scholarship and pedagogy.

Abstract: In today’s increasingly digitised world, we communicate both locally and globally across different languages, modes and media. Since the New London Group’s (1996) seminal ‘Pedagogy of Multiliteracies’ some twenty years ago, there have been further significant developments in the way we communicate, with the 21st century considered ‘the great age of translation’ (Bassnett 2014:1). Yet despite the increasing number of multilingual, multimodal texts we encounter, classrooms continue to teach traditional, monolingual print-based models of literacy. This research is therefore primarily in response to this rapidly evolving context, with a curiosity as to how international picturebooks might develop the skills learners need to succeed both now and in the future. The research process has been a journey comprising two separate phases of empirical study as I have sought to find out the best way to approach this topic. My initial focus, Phase One, was exploring the visual literacy skills of EAL learners and I completed a project in a primary school in Glasgow. As a result of the emerging findings, the research then changed in two ways – to a whole class approach comprising both bilingual and monolingual learners, and to a focus on translation. Phase Two comprised two whole class projects in the Scottish Borders, with my overarching question: How can translating both the verbal and visual in international picturebooks develop the multiliteracies learners require in the 21st century? In my discussions of multiliteracies, I have focused on four different areas: visual, critical, digital and intercultural literacies. Learners’ visual literacy skills were developed through their recognition of the cultural codes in visuals. Their critical literacies were developed through the recognition of power in texts, through deconstructing and reconstructing texts and seeking multiple perspectives. Digital literacies were improved through the critical retrieval of information online and through using tools such as Google Translate and, like Gilster (1997), I have suggested a key component of digital literacies is having an open mind as to the possibilities of emerging technologies. I also argue that intercultural literacy should be included under the umbrella of multiliteracies, in order to provide learners with the tools to navigate the increasingly multilingual, multicultural spaces they are likely to encounter, and offer tentative findings which show how translating international picturebooks has helped to develop these skills and attitudes. Prior to concluding the thesis, I briefly consider alternative lenses for the research, in particular Critical Race Theory, identity and translingualism. I then sum up the project in Chapter 11 and make some key recommendations, including the need for multiliteracies to be explicitly acknowledged in the curriculum and for international picturebooks, including those in the first languages (L1s) of the bilingual learners, to be introduced into classrooms to challenge the dominance of English and ‘what counts’ as reading. Alongside a discussion as to the limitations of the research and possible future directions, the thesis concludes with a call for both academics and educators to consider how the gap between research and practice might be reduced, to enable research such as this to have an impact on today’s literacy learners.