More Than a
Stepping-Stone?
A Study of the Uses of Comics and Graphic Novels as Multimodal
Teaching Material in English Courses at Upper and Lower
Secondary Schools in Sweden
COURSE:English for Subject Teachers 91-120, 15 credits WRITER: Gunnar Ernsth Bravell
EXAMINER: Anette Svensson SUPERVISOR: Jenny Malmqvist TERM:Spring 2020
Abstract
Key Words: Graphic Novels, Comics, Teaching, Literature, Multimodality.
The aim of this study is to examine upper and lower secondary school teachers’ experiences of using graphic novels in the English subject in Swedish schools in order to discuss if, and how, multimodal texts can be used to increase students’ motivation to read and analyze fictional texts. This is done through qualitative semi-structured interviews with 12 participants currently working as English teachers from both upper and lower secondary schools in Sweden. The framework of this study centers around the concept of multimodality, multimodal literacy and how it can be used in the English classroom. The results of the study indicate that comics and graphic novels can and are being used for a number of purposes in English language courses in Sweden, and that they allow teachers to incorporate visual analysis into their literature modules, adding more elements for students to discuss and work with. Furthermore, the participants experience that comics and graphic novels aid in increasing students’ motivation and interest as the multimodality makes them more accessible. The results of the study also show that comics and graphic novels could be used to teach students about literary analysis, both visual and verbal. However, in order to utilize the multimodality of comics and graphic novels, teachers require an understanding for how two modalities can be used together to create meaning. Moreover, the study shows that comics and graphic novels are viewed as a lesser form of fictional texts, as they are mostly seen as motivational supplements or a stepping-stone toward other types of novels. In conclusion, there are numerous benefits to using comics or graphic novels in EFL courses, such as an increase in motivation and additional visual/multimodal aspects for students to analyze when working with fictional texts.
Abstract ... 1
1. Introduction ... 3
2. Background ... 3
2.1 Graphic novels in the EFL/ESL classroom ... 3
2.2 Motivating Students in Reading and Working with Novels ... 4
2.3 The Added Visual Dimension and the Increasingly Visual Culture ... 5
2.4 Graphic novels in the English Classrooms of Sweden ... 5
2.5 Challenges with the Use of Graphic Novels and Comics in Educational Settings ... 6
3. Aim and Research Questions ... 7
4. Method ... 8
4.1 Participants ... 8
4.2 Interview Method ... 9
4.3 Analysis of the data ... 10
4.4 Limitations ... 10
5. Theoretical framework ... 11
6. Results ... 12
6.1 Approaches to Using Comics and Graphic Novels ... 12
6.2 Motivation and Interest ... 14
6.3 Vocabulary and Reading Comprehension ... 17
6.4 Multimodality ... 18
6.5 Challenges of Using Graphic Novels and Comics ... 19
7. Discussion and Analysis ... 20
8. Conclusion and Future Research ... 22
1. Introduction
The definition of what literary studies is and what it includes constantly changes as time moves forward. This study focuses on multimodal texts, and while there are numerous definitions of this term, this study takes its base in the description made by Hilary Janks (2014), who explains that multimodal texts combine different modalities such as “verbal and visual signs” in a single text to convey meaning, (p. 84). In order to delimit the research topic, this study focuses on only one type of multimodal text, graphic novels and comics. The exact definition of what a graphic novel is has been the subject of debate, however, for this study it means any longer novel in comic book form. Comics combine verbal elements with visual depictions to create a different type of narrative compared to other types of novels. According to Başal et al. (2016), graphic novels possess numerous pedagogical benefits that can motivate students as well as help them learn crucial language and literary skills such as vocabulary, comprehension and an understanding of social and cultural themes (2016, p. 97). Hence, this study examines the use of graphic novels and other comic texts in English courses at upper and lower secondary level in Sweden.
2. Background
This study focuses on learning English as a foreign language, as it is a study of teachers of English working in Sweden. There are two definitions used to describe learning English as a second language. ESL is when a student learns English as a second language in a country or region where English is used. EFL is when a student learns English even if it is not a common language where they learn it (Yule, 2014, p. 187). Both of these terms refer to learning English when it is not the learner’s first language. The following sections show results of previous research on the use of comics and graphic novels in EFL and ESL settings.
2.1 Graphic novels in the EFL/ESL classroom
Studies by Issa (2018) and Başal et al. (2016) indicate that comics and graphic novels aid EFL/ESL students in developing vocabulary and comprehension. Issa (2018) claims that the reason behind this is that the imagery along with the text provide the students with two modalities to interpret a text instead of one, thus, making it easier to comprehend (p. 317-318). Furthermore, the multimodality of comics helps increase ESL learners’ vocabulary as the images aid in understanding information in the verbal text, as well as helping them to grasp complex linguistic structures such as metaphors (Issa, 2018, p. 317-318). This is further supported by a study
conducted by Başal et al. (2016), who found that the dual modality in graphic novels can help EFL learners in comprehending terms and idioms in English better by making connections between the words and images. The students can use visual signs as clues for the meaning of certain words to extend their vocabulary (Başal et al., 2016, p. 97 & Chun, 2009, p. 146). However, Başal et al. (2016) emphasize that this cannot be said to be the sole factor in increasing the students’ understanding of the texts, but one of many (p. 101).
Furthermore, in a study conducted by Öz and Efecioğlu (2015), students of different groups studied Macbeth either as a graphic novel or in its traditional written screenplay form. The study showed that the former group had a stronger understanding of literary structures such as symbolism, foreshadowing and inference (p. 85). The study also showed an increase in the students’ critical thinking skills, vocabulary and motivation (2015, p. 85). Öz and Efecioğlu (2015) do, however, state that graphic novels alone may not be “sufficient to achieve optimum success” as it depends on how a teacher applies the material (p. 78). Moreover, the study does not show improvement in answering comprehension questions (2015, p. 85). These studies suggest that students develop certain language skills, as well as critical reading and analysis, when reading graphic novels.
Apart from vocabulary and comprehension, Öz and Efecioğlu (2015) claim that graphic novels can be used to teach other critical language skills, as well as analytical abilities as “they enhance comprehension […] as well as critical thinking skills” (p. 76). Thus, graphic novels can be used in a number of ways, similar to typographic novels. The difference is that graphic novels and comics have two modalities instead of one, which provide these notable benefits.
2.2 Motivating Students in Reading and Working with Novels
Motivation and making students feel confident in working with English are crucial aspects in learning the language. While research in pedagogical uses of graphic novels is a young field of study, according to Başal et al., (2016) comics have proven to be an effective tool in both aiding reluctant readers as well as helping to challenge high-level learners (p. 97). This is supported by Gorlewski and Schmidt (2011), who state that working with comics motivated their students as they found them to be more accessible than typographic novels (p. 106). Additionally, Öz and Efecioğlu (2015) claim that the use of graphic novels has in some cases helped improve students’ self-sufficiency as language learners as the accessibility of comics helps them develop their vocabulary and writing, which increases their confidence in using English (p. 79). Furthermore,
they claim that the use of graphic novels helps in reducing students’ affective filters and helps them in becoming autonomous readers as they can gather context from images instead of asking the teacher for help (p. 86). Moreover, according to Weiner (2004), exposure to graphic novels in an educational setting can help readers who originally were reluctant to reading to eventually graduate to typographic works such as prose novels, as graphic novels provide a unique way of experiencing novels that can have a great impact on students (p. 115). Thus, graphic novels have benefits that separate them from typographic novels, and these benefits can help in motivating the students to read more in English.
2.3 The Added Visual Dimension and the Increasingly Visual Culture
The most apparent aspect that differentiates graphic novels from typographic novels is the added visual dimension, making them multimodal texts. According to Chun (2009), “traditional literacy pedagogy […] has ignored the dynamic relationship of visual images to the written word”, which is now being countered by the increasing interest in graphic novels (2009, p. 144). Williams (2008), states that the increasing interest in graphic novels extends to students as well, which is another reason to consider using them in the classroom (p. 13). Yang (2018) claims that the students’ interest in using graphic novels can be attributed to the fact that they are immersed in visual media in their lives, thus, graphic novels help bridge the students’ thoughts of media they watch and media they read (p. 187). This is further discussed by Öz and Efecioğlu (2015, p. 76) and Shwarz (2002, p. 262) who also state that this as an opportunity rather than a negative aspect, as utilizing visual media into their language learning can increase interest. Thus, there is an increasing interest in graphic novels on several fronts. Schwarz (2002) adds that reading graphic novels does not discourage reading texts but simply adds other aspects for the teachers to work with, such as visual literacy (p. 262-263). Williams argues that graphic novels are easy to acquire and that generally the vocabulary and images make them suitable teaching tools and points of discussion among students (2008, p. 13). Thus, there is an increase of interest in comics and graphic novels that can be utilized by teachers.
2.4 Graphic novels in the English Classrooms of Sweden
While there are a few studies on the use of graphic novels and comics in a Swedish context, they are limited to studies on the same level as this study or lower. Thus, there is a lack of scholarly research on this subject in a Swedish context.
In the Swedish syllabus for English at lower secondary level, in the aim section, it is stated that students should develop their ability to interpret “different types of texts” (The Swedish National Agency for Education, 2018, p. 34), which is not necessarily just limited to different types of solely verbal texts but could also include multimodal texts such as comics or graphic novels. Furthermore, in the core content section, the syllabus states that students need to work with texts from different media, including “[l]iterature and other fiction” (The Swedish National Agency for Education, 2018, p. 37), as well as learn how to decipher different types of texts and media and understand them (The Swedish National Agency for Education, 2018, p. 37). These key points are also reflected in the requirements for a passing grade at the end of year 9, where the students are also required to show that they can utilize these skills (The Swedish National Agency for Education, 2018, p. 39).
Similar content can be found in the syllabus for courses of English at upper secondary level. In the purpose section, it is similarly stated that the students should be given the opportunity to develop abilities in reading and interpreting written English (The Swedish National Agency for Education, 2011, p. 54). Similar to lower secondary level, the core content in English 5 should include “[l]iterature and other fiction” (The Swedish National Agency for Education, 2011, p. 3). The core content sections also list the ability to understand and interpret these and the different types of structures that written works can possess. English 6 specifically states that students should be provided the opportunity to develop their understanding for how images can affect content (The Swedish National Agency for Education, 2011, p. 7). The passing grade for English 5 and 6 states that the students should be able to understand and interpret different genres of texts and reflect on them (The Swedish National Agency for Education, 2011, p. 4-8).
2.5 Challenges with the Use of Graphic Novels and Comics in Educational Settings
Most of the previously mentioned studies mainly report the positive aspects of using graphic novels to teach English, however, there are counterarguments that may indicate why the genre is not widespread in schools. Issa (2018) states that upper secondary schools and colleges focus more on verbal texts in the subject of English, and that it limits students’ exposure to visual mediums (p. 313). Moreover, Williams (2008) explains how comics are seen by some as subpar to types of novels due to their mass production, hybrid format, lower quality literacy, connection to caricature, as well as being seen as childish (p. 14). This could in turn affect how teachers of English view comics and graphic novels.
Another factor that may deter teachers from using graphic novels is the content. According to Kern (2016), some school faculty find that graphic novels contain much violence and sexual matters (p. 122). Thus, teachers who choose to work with graphic novels need to be careful in choosing their material, as graphic content may have more impact as it is presented visually. It could also affect teachers’ perceptions of comics and graphic novels. Furthemore, Öz and Efecioğlu (2015) state that using graphic novels in the classroom can “easily discourage the student in reading when the graphic novel does not meet a certain criteria [sic]” such as being too complicated for the age group of the class (p. 87).
Başal et al. (2016) explain that one reason for why graphic novels may not be present in schools is due to the fact that teachers lack knowledge of their potential as teaching tools (p. 97). Furthermore, Griffith (2010) emphasizes that there is a lack of knowledge of comics among teachers, and states that scholars need more statistics based on graphic novels’ impact on literacy skills and the functionality of multimodality on adolescent readers (2010, p. 185). According to Carter (2007), one way for this area of study to expand would be to have more teachers and school libraries procure and promote comics to students and more actively use them in their courses (p. 50). Furthermore, he argues that teachers who do chose to work with this genre of books need an appropriate lens through which to work with it (p. 51). Thus, comics and graphic novels may not at this point in time be widespread in use but could be if information about it would transfer to teachers currently working in schools. Furthermore, Gallo states that many teachers remain unfamiliar with the range of graphic novels as they did not grow up in a generation where comics were present in the same ways as newer generations (2004, p. 114). Thus, age, experience in the profession as well as personal interest in comics may prove to be factors in the selection process of graphic novels.
3. Aim and Research Questions
The aim of this study is to examine upper and lower secondary school teachers’ experiences of using graphic novels in the English subject in Swedish schools in order to discuss if, and how, multimodal texts can be used to increase students’ motivation to read and analyze fictional texts. The research questions are as follows:
• What are the teacher’s experiences of working with comics and graphic novels?
• What advantages and challenges do the teachers express regarding the use of graphic novels as part of their English teaching?
• What effects do the teachers experience that comics and graphic novels have on their students in regard to motivation and working with fictional texts?
4. Method
In order to investigate the participants opinions and thoughts on comics and graphic novels, a qualitative interview method where they could elaborate their answers was used. The interviews were carried out digitally through video chat platforms. The participants were found either through social media groups or registered email lists. When contacting the participants, they were informed of the guidelines of field research based on the laws of Sweden. These were based in the four major demands of research guidelines. These include regulations of information, consent, confidentiality and contribution (The Swedish Research Council, N.D., p. 6). This was achieved by clearly and elaborately explaining to the participants what the study encompassed and what their contribution would be as well as how it would be used. To achieve complete anonymity the participants will be referred to by numbers and no gendered pronouns will be used.
4.1 Participants
After the interview request was sent out, 12 teachers chose to participate in the study and all of them were interviewed in order to have as much material for the study as possible. While both upper and lower secondary schools were contacted, only three teachers from the latter were able to participate. Despite the imbalance, those three participants were included to provide variety in the answers, however, no greater comparison between upper and lower secondary school was made as the ratio would make for an unfair comparison. The participants were chosen based on the following criteria:
• All participants who participated in this study are currently employed as teachers of English at upper or lower secondary schools in Sweden
• All participants have at some point in their career worked with comics or graphic novels as a teaching material in their English courses
As the participants were strategically selected, it falls in line with the purposive sampling method where participants are chosen based on how well their experience relates to the research questions at hand (Bryman, 2016, p. 408). The participants and their level of experience with
comics or graphic novels, as well as their employments, are presented in the following table. The table is organized from the teachers with most experience with comics and graphic novels (top) to least (bottom):
Experience with comics/graphic novels:
Employments: Participant 1 Frequently works with graphic
novels in their courses. Currently works at upper secondary level. Has worked in lower secondary level as well as elementary school.
Participant 2 Frequently works with comics in their courses.
Currently works at lower secondary level, has worked at upper secondary level.
Participant 3 Frequently uses several graphic
novels in their courses. Currently works at upper secondary level, has worked at community colleges.
Participant 4 Frequently uses several graphic
novels in their courses. Currently works at both upper and lower secondary school.
Participant 5 Frequently works with comics and graphic novels in their courses.
Currently works at upper secondary level.
Participant 6 Teaches one graphic novel but has
taught it frequently. Currently works at upper secondary level, has worked in lower secondary and university.
Participant 7 Has used different comics and graphic novels in their teaching.
Currently works at lower secondary level, has worked at upper secondary level.
Participant 8 Has used two graphic novels in the past in different courses but does not frequently use them.
Currently works at upper secondary level, has worked at lower secondary level.
Participant 9 Has used comics once in one class. Currently works at lower secondary level but also works with elementary school classes.
Participant 10 Has used comics and graphic
novels to a limited degree. Currently works at upper secondary level.
Participant 11 Occasionally uses comics in their
courses to add variety. Currently works at upper secondary level.
Participant 12 Has worked with comics in the past, currently mostly recommends it as reading material to their students.
Currently works at upper secondary level, has worked in lower secondary and primary school.
4.2 Interview Method
This study utilized qualitative interviews. Warren and Karner (2010) explain qualitative interviews as a conversation where two (or more) people interact based on a specific topic. The conversation should be based in a number of questions, ranging between ten and fifteen. The conversation is then recorded and transcribed for analysis (p. 2). Thus, an interview guide with fifteen questions based on teaching and comics/graphic novels was created (see attachment 1). According to Wengraf (2001), a structured interview has a limited set of questions with no
follow-up questions in between (p. 60). This study followed a semi-structured format that allowed for follow-up questions. If the interviewer missed a question, the participant was contacted and asked to answer the missing question in written form, which did happen in the interviews with participants 3 and 11. The interviews were conducted in Swedish so as to allow the teachers to fully express themselves without limitations, with the exception of two participants whose native language was English, and those two interviews were conducted in English. Lastly, the interviews were mainly carried out through video chat, with the exception of one participant who chose to do the interview in written format, in which the questions were sent to the participant who sent their replies back in a document. The interviews were recorded then transcribed close to verbatim as some words were unintelligible due to interference in the recorded videos. The transcripts were then used for the analysis. In the results section, quotes originally spoken in Swedish have been translated into English.
4.3 Analysis of the data
The method used to analyze the data collected by the interviews was thematic analysis. This method is carried out in six steps. The first is to familiarize oneself with the data by reading it extensively. The next step is coding, where the researcher labels different parts of the data under certain codes. After having coded the data, the next step is placing the data in certain common themes found in the data based on the research questions at hand. The themes are then reviewed by the author to make sure they are coherent with the study. Lastly, the themes are named and written down in a coherent analytical narrative (Clarke & Braun, 2013, p. 3-4). These steps were followed in this study. The data collected from the participants was placed into thematic categories relevant to the aim and research questions. The categories are:
• Approaches to using comics and graphic novels • Motivation and interest
• Vocabulary and reading comprehension • Multimodality
• Challenges of using graphic novels and comics
4.4 Limitations
Some of the questions proved to be complicated, which was found in the first two interviews, additional explanations were occasionally provided for the participants. This could have affected
how the participants perceived the questions and was considered when analyzing the transcriptions. Furthermore, two participants received one question after the interview in written as the researcher forgot, additionally, participant 2 did all their questions in written form. This could have affected how these participants responded and was taken into consideration during the analysis. Lastly, this study chose not to construct questions based on age, gender or specific English courses. Comparisons with these aspects could have provided more results.
5. Theoretical framework
With the advent of the internet, students are exposed to an increasingly visual culture. They encounter numerous mediums that employ both visual and verbal communication. Therefore, students need to practice their critical literacy, more specifically, their critical visual literacy. Critical literacy in this case means being able to interpret the meaning behind a text, as well as what powers or interest it serves and how that can affect the text (Janks, 2014, p. 83). Visual literacy is based on an individual’s ability to interpret non-verbal signs such as images. Using verbal and nonverbal signs together in a single text is called multimodality and it is important to understand how it works as part of one’s visual critical literacy as it is in the combination of modalities that the meaning of the text exists (Janks, 2014, p. 84). In other words, a multimodal text is not separate verbal and non-verbal signs in a text, it is the combined meaning between the two modalities. The concept of multimodality and its relation to learning is discussed in an article by Kress and Selander (2012). When discussing the development of information-sharing and schooling they state:
To understand this new communicative pattern, it is not enough to rely on verbal text only, may they be written or oral. Other modes also come into play to handle information, share experiences, as well as to learn new things. The multi-modal character of communication therefore has to be understood. (p. 265)
In the modern media age almost all texts become multimodal, as even the choice of font or layout of a text affects the interpretation of the verbal communication. It is the choices and interest of the people behind a text that determines how it will be presented and interpreted (Kress & Selander, 2012, p. 266-267). Therefore, students need to understand how critical visual literacy and multimodality work as they will encounter several of these texts in their everyday lives.
Reading comics requires understanding of both visual and verbal literacy as comics are built on communicating meaning through verbal and nonverbal signs. Students need to be exposed to more than verbal texts. Reading comics and graphic novels could therefore prove to be an educational tool for students to practice their multimodal literacy since “[c]onnecting with multiple modes and disciplines of language arts, visual arts and content areas through composing comics offer students an opportunity to enhance […] multimodal literacy” (Issa, 2017, p. 312). Thus, by reading and subsequently discussing and analyzing comics, students of English can practice their visual and multimodal literacies by learning how the visual and verbal modes are used together to convey meaning, as well as understanding the underlying interests of the author.
This study examines how the participants use comics and graphic novels. The participant’s answers will be analyzed to see whether they put focus on the visual or verbal dimension when teaching comics and graphic novels, and whether or not they address the relation between the two that shapes the multimodality. Furthermore, the answers of the participants will be used to investigate if and how the teachers believe the multimodality of comics and graphic novels provides benefits or challenges in regard to motivating students and teaching them English, as well as literary concepts and competence.
6. Results
The following section is divided into subheadings based on thematic categories found in the interviews.
6.1 Approaches to Using Comics and Graphic Novels
All participants have different approaches to using graphic novels and comics in their teaching. The most common approach is reading projects where the comic/graphic novel is the central reading material for the entire class (Participants 1, 2, 3, 4, 6, 7, 8 & 11). Participant 10, however, chose to do the reading project separate from the rest of the class for only one student as a way to help them improve reading skills, as the student in question struggles with reading and the English subject as a whole. Participant 9 does not use comics as the central reading material either but choses instead to have it as an option among other literary texts for the students. Participant 5, however, uses comics as one of many examples in a project where students work with propaganda, stating “it’s not normally about the analysis of comics but its linked to the main theme of propaganda, so, I deal with paintings first of all and then move to comics, because
comics tends to be postmodern”. So, participant 5 treats comics as an example of postmodernist art rather than a novel like the other participants do.
Furthermore, participants 10 and 11 consider graphic novels to be motivational supplements rather than a core reading material. Participant 10 states that they do not intend for graphic novels to replace “regular reading”,1 while participant 11 states that “I cannot base your
ability to read on comics”.2 This shows that graphic novels may be considered to be lesser types
of novels when compared to typographic ones. Moreover, the purpose is for some teachers, to use graphic novels as a stepping-stone towards other types of novels for the students (Participants 5 & 10). Thus, these participants view comics as inferior to other types of fictional texts.
While all participants address the visual dimension of comics, only five of them integrate it into their approach to teaching graphic novels/comics. Participant 8 choses to have a lecture for the students on how to analyze images and how to interpret different kinds of speech bubbles. Participant 2 also works as an arts teacher and therefore include visual elements from that subject, such as allowing students to recreate fictional texts as comics. Furthermore, participant 2 then has the students compare the two texts, stating “if there is time afterwards, there is an opportunity to do an analysis about how the text differs from the comic version in relation to expression, story-telling and format”.3 Similarly, participant 6 also has the students
compare comics to other novels stating “when we teach Persepolis […] we talk a lot about how you relate it to different genres and how the graphic novel and comics has maybe been seen as something lower in the hierarchy and we discuss and problematize why that may be”.4 While
they still admit that comics may be deemed as inferior to other types of novels, they allow the matter to be discussed by the students, thus providing them an opportunity to determine the text’s status themselves.
One purpose that comics and graphic novels serves is to teach the students about literary concepts. Some of these concepts include character analysis and cliffhanger structures (Participants 1 & 8). Participant 6 states that using graphic novels provides an opportunity to
1 My translation of: vanlig läsning.
2 My translation of: jag kan inte grunda din förmåga att läsa på serietidningar.
3 My translation of: om det finns tid efteråt finns det möjlighet att göra en analys kring hur texten skiljer sig från
serie-versionen i förhållande till bland annat uttryck, historieberättande och format.
4 My translation of: när vi undervisar Persepolis […] så pratar vi mycket om det här med hur man förhåller sig till
olika genrer och hur just den grafiska novellen och serier kanske setts som någonting som är lite lägre i hierarkin och så diskuterar vi och problematiserar varför det kan tänkas vara så.
widen the students’ repertoire of analytical tools. Participant 6 does this by teaching the students how to use terminology and analysis tools relevant to images and comics, as well as character development and identity, stating:
you […] look at the format and what connection there is between form and content and how they work together, so, a lot of image analysis […] and a lot of terminology so that the students have an understanding for, and can use, the specific terms.5
Thus, visual and multimodal literacy can be addressed when working with comics. Participant 5, furthermore, emphasizes other literary analytical skills, stating:
about the analysis of cartoons, so, I pick a three panel cartoon, to go through the guttering and speech bubbles, and all the other parts you need to include in cartoons, and characterization and reading between the lines, and symbolism, and everything else that you need.
These two participants address literary concepts that connect with both the visual and the verbal modalities, including how the two modalities work together.
Time is also a common theme when discussing the benefits of using comics/graphic novels in their classroom. The reason for this is that working with comics and graphic novels can be done in a smaller amount of time, as there is less verbal text, which saves time for the teachers (Participants 1, 3, 4, 5, 7 & 10).
6.2 Motivation and Interest
One effect that is noted by three participants is the students’ increase in motivation after working with comics/graphic novels (Participants 2, 5 & 7). Participant 2 notes that their students are more motivated when they have the option of working with a graphic novel as they find them to be more accessible. Moreover, participant 5 notes that graphic novels bring variety for students and gives them a “breath of fresh air”, which motivates them. Furthermore, participant 7 notes
5 My translation of: man […] kollar formatet och vad det finns för anknytning mellan form and content, och hur
funkar den tillsammans, så mycket bildanalys […] och mycket terminologi, så att eleverna har en förståelse för och kan använda dem specifika termerna.
that motivation increases among struggling students, stating “many who find it difficult to read a lot of text […] they get relieved when they receive it in a visual format, it is reworked and you get help to understand the story in a different way”.6 Therefore, there are different ways to see
the increase in motivation among the students and whether it derives from the variety or accessibility for struggling students.
Multiple participants note that reading comics and graphic novels help increase students’ interest to read in English. Participant 1 notes that about half of their students had grown an interest in reading graphic novels. When discussing the benefits of graphic novels in the English classroom, participant 1 states:
the positive and extreme benefit is that apart from the multimodal literacy and that you get a completely different ability that the students can show, the students can feel a sense of accomplishment over that they actually read a whole book, which strengthens their confidence too, especially among weaker students.7
Thus, graphic novels make it easier for struggling students to follow and gives them a sense of satisfaction in that they have completed a text. Similarly, participant 2 claims:
some start with low confidence since they have not worked with it before and some have expressed concern over being able to express themselves with the use of images, but this usually disappears as you go along, most tend to have a positive attitude to working with comics since it is something they recognize and may have some sort of connection with.8
6 My translation of: många som har lite svårt att läsa mycket text […] då blir dem ju lättade när dem får det i
grafiskt format, då är den ju omarbetad och man får hjälp att förstå berättelsen på ett annat sätt så.
7 My translation of: det positiva och den extrema fördelen är just att vi utöver att dem får öva på det
multimodala förståendet och att man får en helt annan typ av prestation som eleverna kan visa upp, och eleverna kan känna en sense of accomplishment över att dem faktiskt har läst ut en hel bok så att det stärker deras självförtroende också, speciellt kring svaga elever.
8 My translation of: en del börjar med lågt självförtroende då de inte har jobbat med det innan och en del har
uttryckt oro över att kunna uttrycka sig med hjälp av bilder men detta brukar släppa efterhand som vi kommer igång, de flesta brukar ha en positiv inställning till att arbeta med serier då det är något de känner igen och kanske redan har någon typ av koppling till.
Once again, interest is linked to the students’ confidence in their ability to read and work with literary texts. Furthermore, participant 7 claims that students’ interest in reading increases after working with graphic novels. They explain that this derives from the fact that many of their students have never read a book before, and that the nonverbal signs make graphic novels easier to read, which leads to the students being able to say that they have read at least one book. Thus, graphic novels allow students who struggle with reading to practice their reading skills in a more accessible way, which in turn increases their confidence and interest in the English subject. Furthermore, participant 5 states that they found that students easily lose interest while working with a classic novel, however, working with visual works, such as graphic novels maintain the students’ interest. This suggests that variety could be a factor as well.
Two participants discuss working with comics/graphic novels with students who have dyslexia. Participant 6 states that a student with dyslexia found graphic novels to be more accessible due to the combination of visual and verbal signs and expresses that the student “felt that he got a chance to show what he can do”.9 Furthermore, participant 6 states that students
with similar language difficulties could have the same results. Comics and graphic novels could therefore be used to facilitate for students with reading difficulties. Similarly, participant 10 uses comics to help a student with dyslexia to improve their English reading skills, as the student finds them more accessible. Thus, the accessibility of the comics and graphic novels shows benefits for students with dyslexia.
The participants experience that working with multimodal texts such as comics/graphic novels could both help struggling students (Participants 4, 5, 6, 7, 9 & 11) as well as challenging more proficient students (Participants 4, 5, 7 & 9). Regarding this, participant 9 states:
the images and the text together facilitate for some who do not have it so easy reading, they can still see ‘okay, this is going on and this is going on’, […] it can still give them the opportunity to work with a rather complicated text even if you are not very strong.10
9 My translation of: känner ju att då får han en chans att visa vad han kan.
10 My translation of: och sen tänker jag att just med bilderna och texten tillsammans att det underlättar för vissa
som inte har så lätt att läsa, dem kan ändå se ”okej men det här händer och det här händer”, […] det kan ändå ge dem en möjlighet att bearbeta en ganska komplicerad text även om man inte är så stark liksom.
The struggling students can therefore still participate without lowering the level of the reading material for other students. Furthermore, participant 4 mentions that graphic novels are easily accessible for students while not “shying away from complicated themes”. Therefore, graphic novels appear to be a material that balances accessibility and advanced content. Participant 6 believes that one reason for why graphic novels are accessible for students is because visual imagery is “something they have more experience of […][because] they have been exposed to it more often”.11 Furthermore, participant 11 states that comics are a part of contemporary “youth
culture”.12 Thus, these teachers see comics as a part of the current visual culture. Regarding how
the visual element facilitates for the students to learn about literary analysis, participant 5 says:
they are applying the tools of analysis and it shows, even for the weaker students to be honest as well, it’s not just for the high flyers, the weaker students sometimes have a problem with the amount of text to read sometimes and you know they fall behind but they can’t really complain about looking at twenty panels in a chapter in a graphic novel.
Thus, graphic novels can facilitate for students who may struggle with reading to still be able to learn crucial elements of literary analysis.
6.3 Vocabulary and Reading Comprehension
A recurring idea is that reading comics/graphic novels help increase the students’ vocabulary. The most commonly expressed reason among the participants for why the graphic novels aid in adding to the students’ vocabulary is due to the advanced level of English found in the ones they had used, which the students sometimes had to look up (Participants 1, 8, 9 & 10). Regarding this, participant 10 states that “they are not written for children […], they are at a level that is supposed to match the course, which means if they encounter words they do not understand they have to look up and understand what it means in this context”.13 Thus, the vocabulary in graphic
novels is at a suitable level. Participant 2, however, notes that the visual support is what helps 11 My translation of: någonting dem har mer erfarenhet av […][för att] dem har blivit exponerade för det oftare. 12 My translation of: ungdomskultur.
13 My translation of: dem är inte skrivna för barn, […] utan det är på en nivå som ska matcha kursen, vilket
betyder att om de stöter på ord de inte förstår då måste de kolla upp och förstå vad det betyder i det här sammanhanget.
students to comprehend the text, stating that working with graphic novels “increases several different language skills, such as vocabulary, reading comprehension, sentence structure and that they have it easier to take in and remember what the text is actually about since they have visual support”.14 Therefore, while most participants attribute the increase of vocabulary to the level of
English, participant 2 emphasizes the importance of the visual support and the students’ ability to use it to comprehend the meaning of a word.
Furthermore, the participants explain that working with comics/graphic novels help increase the students reading comprehension. Some of the participants actively work with reading comprehension skills during the reading project, such as participants 1 and 8 who both state that when working with a graphic novel, they have comprehension questions accompanying the reading. Participants 2 and 9, however, notes it as an effect of reading comics/graphic novels, that the students develop their comprehension by reading the text.
6.4 Multimodality
One topic that was discussed in the interviews is the importance of understanding multimodality in modern media. When discussing why they chose to incorporate multimodal texts such as graphic novels in their courses, participant 1 states:
we get visual media on us constantly, and if we do not practice the multimodal and how you interpret images, how you interpret sound and all these connections together we will have a generation […] [that] will not understand what is coming towards them.15
Graphic novels could therefore be seen as a material to practice analytical skills in regard to interpreting different modalities. Furthermore, participant 8 states “most things nowadays are multimodal, so you cannot escape it, so you have to give the students the tools to be able to interpret [them]”.16 Thus, the importance of being able to interpret multimodal material in
14 My translation of: det ökar även många olika språkliga förmågor så som ord- och läsförståelse,
meningsbyggnad och att de har lättare att ta in och komma ihåg vad texten faktiskt handlar om tack vare att de har visuellt stöd.
15 My translation of: vi får visuella medier på oss konstant, och om vi inte övar på det multimodala och hur man
förstår bilder, hur man förstår ljud, och alla dem här kopplingarna tillsammans då kommer vi ha en generation [som inte kommer] förstå vad som kommer mot dem.
16 My translation of: det mesta nuförtiden är ju multimodalt, så att man kommer inte ifrån det, och då måste man
modern media is acknowledged by some teachers. Similarly, participant 9 believes that “you have to understand that there is a difference in what is written and what is shown, as it can signify different things”.17 This further illustrates that teachers are aware of the importance of
multimodal literacy.
6.5 Challenges of Using Graphic Novels and Comics
While mainly positively inclined to comics and graphic novels, the participants also mention challenges they found when using them in their teaching. These include attitudes toward comics and graphic novels as well as effects they noted while working with them.
Regarding the acquisition of comics and graphic novels and material, participant 2 mentions that there is a lack of accompanying material to comics and graphic novels for teachers to use. Furthermore, both participants 8 and 10 state that budget is an issue, as comics and graphic novels are expensive for schools to buy in bulk for classes. Moreover, three participants (1, 8 & 9) state that one problem with graphic novels is that they are not easily accessible for teachers. Participant 1 mentions that most graphic novels are printed in other countries such as Great Britain, which makes them difficult to order in for schools in great numbers. Participants 8 and 9 mention that non-accessibility is a negative aspect as sometimes the school does not have access to the graphic novel or comic they desire to use. Thus, acquisition of these types of texts can prove arduous for schools and teachers.
The selection of which graphic novel to work with is also crucial according to the participants. Participant 5 mentions that some graphic novels may incorporate inappropriate language. Furthermore, participant 5 state that “there may be some of them who aren’t visual learners, they would be more textual learners because they want to challenge themselves”. This could affect how students view working with comics. Moreover, participant 9 state that some graphic novels have too little text for students to read. Furthermore, participant 12 state that some comics they were familiar with are lacking in appropriate vocabulary and has a tendency to portray sexist themes. Therefore, the content of these works is something that requires
Four of the participants (3, 6, 10 & 11) state that graphic novels can be viewed as a lower class of novel, however, they did not state by whom. Participants 6, 10 and 11 explain that many still consider comics as a children’s type of novels, which could affect the students’
17 My translation of: sen måste man första att det är en skillnad i vad som står och vad som visar, att det kan visa
perception of it. Therefore, the status that comics and graphic novels have can affect how both teachers and students perceive these text forms.
There are also some skills that the participants feel the students do not develop while working with comics/graphic novels. Four of the participants (3, 4, 6 & 8) note that students do not develop their ability to read and subsequently orient themselves and work with longer texts. Participant 6 also mentions that the students may not develop their ability to work with some literary terms such as alliteration and cautions that working with graphic novels may weaken some students reading skills. Furthermore, participant 4 believes that in some cases, working with graphic novels may not develop the students’ ability to analyze texts to a deeper extent. Participants 4 and 10 both believe that students do not practice the ability to read between the lines when working with comics and graphic novels. Regarding this, participant 10 states:
there is very little reading between the lines, since it is mainly dialogue you read in a graphic novel, you have little captchas, little squares where you have descriptive text, but for the most part it is rarely descriptive text, instead you get that purely visually, the dialogue is central, and then you do not learn the implicit, the reading between the lines mindset that is required for further reading.18
Thus, there are skills that graphic novels may not aid in developing as there is much less text in a graphic novel compared to a typographic one.
7. Discussion and Analysis
The most commonly discussed topic in the interviews is that comics and graphic novels provide an increase in students’ interest in and motivation for reading. One explanation for the increase in interest and motivation found in this study is that comics and graphic novels are more accessible, especially for struggling students, as they are more used to visual and multimodal texts. This is addressed by Yang (2018), who states that graphic novels work as a bridge between the media students read and watch (p. 187). Furthermore, as is addressed by Kress and Selander (2012), multimodal tools are becoming more central in modern media and require understanding
18 My translation of: det blir väldigt lite läsa mellan raderna, eftersom det huvudsakligen är dialog som du läser i
en grafisk novell, du har ju små captachas, små rutor där du har beskrivande text, men för det mesta är det ju sällan beskrivande text, utan det får du ju rent visuellt, dialogen står i centrum, och då lär man sig inte det här implicita, det här läsa mellan raderna tänket som man behöver i vidare läsning.
(p. 265). As can be seen in the results of this study, this requires that the students are given the right tools for how to interpret multimodal texts. Even if a student can read multimodal texts due to familiarity, it does not mean that they automatically know how to analyze them. Thus, graphic novels allow students to read fictional texts that connect with the current visual culture. Furthermore, this provides the teachers with an opportunity to teach the students how to analyze multimodal texts that use both visual and verbal signs. This is, however, dependent on whether or not the teacher provides the students with the necessary tools for analyzing multimodal texts. Moreover, according to the participants, the students’ motivation increased due to their satisfaction and sense of accomplishment of having read a novel. This is also mentioned by Öz and Efecioğlu (2015), who claim that students feel successful after reading a graphic novel, which makes them more confident and autonomous (p. 79-86). Thus, the accessibility of graphic novels facilitates for struggling students, without lowering the language level for the rest of the class. This, in turn, leads to students feeling more confident in the subject, which could increase their motivation.
Another subject discussed in the interviews is the language skills that the participants believe comics and graphic novels aid in developing. The most common is vocabulary and, to some extent, literary analysis. Vocabulary is, according to most participants, practiced through reading the advanced English in the graphic novels they work with. Only participant 2 notes how the images help the students decipher the meaning of words, which leads to them expanding their vocabulary. According to Başal et al. (2016), it is the dual modality of comics that allow students to more easily develop vocabulary, as they can use the images and the words together to comprehend the meaning of the text (p. 97). Since only one participant in this study emphasizes this, however, this study cannot make any claims of the benefit of multimodality in terms of vocabulary development.
Regarding literary analysis and multimodality, the participants address both the visual and verbal part of comics, however, most of them appear to do this separately. Participants 5 and 6 discuss the structure of comics and how the images and verbal text work together, thus allowing for students to practice their multimodal literacy. Most participants, however, do not teach this. Furthermore, three participants emphasize the importance of multimodal literacy. However, they do not elaborate on how it can be taught through comics and graphic novels. Regarding critical literacy and the ability to analyze verbal text, the participants show that comics and graphic novels can be used to teach the students about literary concepts and analytical tools, as well as how to apply them. However, some aspects, such as descriptive language, are missing. Regardless, by analyzing the written work the students learn how to
critically analyze the verbal text. Most participants, however, treat critical visual literacy as a separate aspect. The two modalities become separate aspects that the students work with, rather than a combined text. The combined multimodal meaning is not always addressed. Thus, what Kress and Selander (2012) emphasizes in regard to understanding the multimodal meaning is not taught. The participants use comics and graphic novels to teach students about verbal and visual analysis. However, in order to teach students about multimodality, it requires an understanding of how two modalities work together to create a cohesive meaning. As is explained by Janks (2014), it is in the combination that the meaning is created rather than the two separate modalities (p. 84). This is mentioned by five participants, who emphasizes the importance of multimodal literacy. Nevertheless, it is not a common theme in the interviews. Thus, while multimodal literacy and analysis can be taught through the use of comics and graphic novels, it requires an understanding for how the visual and verbal signs work together, not as separate entities.
The status of comics and graphic novels is also a subject that is commonly discussed in the interviews. The results of this study indicate that some of the participants deem comics and graphic novels as lesser types of novels, since they either see them as a motivational supplement or as stepping-stones toward other types of novels. This is similar to what Weiner (2004) states in that comics can serve as a stepping-stone to prose-novels (p. 115). Viewing graphic novels as a stepping-stone undermines its place as literary fiction. Thus, while the participants consider comics and graphic novels as positive inclusions in their classroom, they see them as a way to lead the students to reading other novels rather than considering graphic novels as equal to other fictional texts.
8. Conclusion and Future Research
The aim of this study is to examine upper and lower secondary school teachers’ experiences of using graphic novels in the English subject in Swedish schools in order to discuss if, and how, multimodal texts can be used to increase students’ motivation to read and analyze fictional texts. Based on the results of this study, the participants experience that comics and graphic novels do aid in motivating students. The motivation stems mainly from accessibility and variety. They also experience that the multimodality of comics allows them to teach students about both literary and visual analysis. However, only a few of the participating teachers address the combined multimodal meaning and how to analyze it. Comics and graphic novels also have a
perception by some teachers as a lesser type of novel that is only used as stepping-stones towards reading and analyzing other written works.
As there is a lack of studies on the subject in a Swedish context, there is still a need for further research on how comics can be used. This study focuses on the teachers’ views; however, the students’ opinion could have provided a deeper insight into how well comics and graphic novels work as teaching material. Additionally, the use of multimodality in the classroom and the effects it has in relation to comics in a Swedish context need more attention before any greater claims can be made.
Works Cited
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English Language Teaching, 9(9), 95-109.
Bryman, A. (2016) Social Research Methods, 5th edition, Oxford: Oxford University Press.
Carter, J. B. (2007). “Transforming English with Graphic Novels: Moving toward Our ‘Optimus Prime’.” English Journal, 97(2), 49-53.
Chun, C. W. (2009). “Critical literacies and graphic novels for English‐language learners: Teaching Maus.” Journal of Adolescent & Adult Literacy, 53(2), 144-153.
Clarke, V., & Braun, V. (2013). “Teaching thematic analysis: Overcoming challenges and developing strategies for effective learning”. The Psychologist, 26(2), 120–123
Gallo, D., Introduction to Weiner, S. (2004). “Show, don't tell: Graphic novels in the classroom.”
English Journal, 94(2), 114-117.
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Griffith, P. E. (2010). “Graphic novels in the secondary classroom and school libraries.”
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Issa, S. (2018). “Comics in the English classroom: a guide to teaching comics across English studies.” Journal of Graphic Novels and Comics, 9(4), 310-328.
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Intervjufrågor
1. Vilken skolform jobbar du i och vilka har du jobbat i?
2. Hur mycket erfarenhet har du av serier/serieromaner och hur ofta har du använt dig av dem? Vilka serier/serieromaner har du använt och vilka känner du till?
3. Mötte du serier/serieromaner någon gång under din utbildning till lärare?
4. Är serier/serieromaner något som flera lärare på din skola har använt sig av?
5. Varför valde du att jobba med serier/serieromaner i din undervisning?
6. Fanns det några hämningar om att använda serier/serieromaner i engelskundervisningen som fick dig att avstå från det innan?
7. För vilket syfte har du använt serier/serieromaner i Engelska (som litteratur/bok för elever att läsa, annan språkövning etc.)?
8. Hur har du använt dig av boken/böckerna i detta fall och hur lade du upp det?
Attachment 1 Questionnaire
9. Arbetar du annorlunda med serier/serieromaner jämfört med hur du gör med andra typer av böcker, såsom romaner och noveller?
10. Vad var elevernas generella reaktion till att jobba med denna typ av text?
11. Vilka språkliga förmågor tycker du utvecklas mest respektive minst när elever jobbar med serier/serieromaner?
12. Ökade serien/serieromanen som du använde dig av elevernas intresse av att läsa i engelskämnet?
13. Vilka fördelar respektive nackdelar ser du med att använda serier/serieromaner i Engelskundervisningen?
14. I min uppsats diskuterar jag begreppet ”multimodality” vilket kort sagt innebär när två medium finns i samma material. I serieromaner finns det t.ex. bilder och text tillsammans. Tror du denna faktor är viktig i hur man uppfattar och använder sig av serier/serieromaner i undervisningen?
15. Kommer du använda dig av serier/serieromaner mer i framtiden? Och i så fall, blir det samma eller kommer du testa andra?
