Magic or Mayhem? New Texts and New Literacies in Technological Times
The title of this session comes from a 1999 computer game, Magic and Mayhem. A highly literary fantasy/problem solving game drawing on myth and narratives ranging from Classical Greek to Arthurian. Initially a perfect choice for a curriculum designed around fantasy and popular culture, the game examplifies what it might means for literacy to be shifting in the direction of design (Kress and van Leeuin 1996. Kress 1995, New London group 1996 et al.). Yet, also characteristically, despite the enthusiasm of teachers workingin the project with which this paper is concerned, the game was ultimatly rejected as a textual choice because of age ratings and attendant fears. violence, panics, and community apprehensions about the anti-social and anti-literacy nature of games. ‘Magic and Mayhem’ speaks both to the possibilities and to the disruptiveness of linking literacy and curriculum with computer games.
Subject-Specific Literacy and School Learning: A Focus on Writing
This paper aims to contribute to educators' understanding of the contextualist nature of literacy, specifically in its relation to school learning. A particular view of literacy is proposed, as comprising three intermeshing dimensions: the operational, the cultural, and the critical. A notion of subject-specific literacy is presented which acknowledges the significance of the school subjects as specific contexts for learning and meaning and, via concepts drawn from recent linguistic-semiotic work, seeks to provide greater purchase on the nature of subject-area learning. A case is made for a strategic emphasis on writing in school learning, and also for the importance of notions of register and genre for writing pedagogy generally. The paper is to be seen in relation to considerable work, in Australia and overseas, in the area of language and learning theory, and has a whole-curriculum orientation.
"The Plain Round Tale of Faithful Thady": Castle Rackrent as Slave Narrative
Critics of Maria Edgeworth’s Castle Rackrent tend to focus on textual elements—gender issues, the symbolism of the Big House, colonial hegemony— or contextual readings by placing Edgeworth in the Anglo-Irish history and tradition. While such criticism usually in some way examines the main theme of the text, the appropriation of power and authority, little of it accomplishes both the textual and contextual analysis that Castle Rackrent deserves. Exploring Thady’s “plain round tale” as a slave narrative in content and form sheds new light on the work both textually and contextually; in Thady Quirk, Edgeworth has created a typical slave narrator who recounts a history of oppression which is ultimately mediated by an outside editor. As John Cronin writes of Castle Rackrent, “What Maria Edgeworth has given us . . . is a magnificently realised slave, a terrifying vision of the results of colonial misrule. There must have been a moment of clearly deliberate artistic decision in which she realised that what needed to be said must be said through one of the submerged people.”1 The three main textual elements of the narrative indicate its likeness to typical slave narratives: its presentation of a conflicted slave narrator, its use of the framing device of the outside editor, and its narrative structure of episodic anecdotes that utilizes memory, description, and didacticism.