Using Sequential Art to Engage Students in Historical Understanding

Total Page:16

File Type:pdf, Size:1020Kb

Using Sequential Art to Engage Students in Historical Understanding 1 Using Sequential Art to Engage Students in Historical Understanding A thesis presented by John F. Gould to The School of Education In partial fulfillment of the requirements for the degree of Doctor of Education in the field of Education College of Professional Studies Northeastern University Boston, Massachusetts June, 2013 2 Abstract This study examines how the use of Sequential Art in a single classroom in a suburban high school supported students in the development of their historical understanding. The primary research question of the study is: How does the use of Sequential Art support students in developing the six components of historical thinking and understanding, as observed in the classroom by the researcher, as reported by the classroom teacher, and as determined through student focus groups, curriculum documents, and student work products? The research participants were drawn from a convenience sampling of a single tenth- grade United States History II class from a regional high school in southeastern Massachusetts. triangulated by collecting data from multiple sources, including observations, teacher interviews, student focus groups, curriculum documents, and student work. Historical understanding was defined using van Drie and van Boxtel’s (2007) framework. In addition, Vygotsky’s Sociocultural Learning Theory (1971; 1978; 1986) and Kolb’s Experiential Learning Theory (1981; Kolb & Kolb, 2003) informed the analysis of the findings. The findings of the study suggest that Sequential Art can be an extremely useful medium for supporting students’ engagement in historical thinking and understanding. Key Words: Sequential Art; Six Components of Historical Understanding; Comic Books; Sociocultural Learning Theory; Experiential Learning Theory 3 Acknowledgments As a student with a diagnosed language learning disability, I have completed my doctorate degree with the support of friends, colleagues, and family. I am grateful for the dedication of my advisor, Dr. Chris Unger. His support cannot be measured. His willingness to always find time for my questions facilitated the completion of this project. I also want to recognize Dr. Nena Stracuzzi, Dr. Jane Lohmann, and Dr. Allison Dover for their contributions. Another individual whose support and encouragement was steadfast is Dr. Raymond McCarthy. His friendship and encouragement have helped meet the challenge of the doctorate. My third reader, Dr. John Saltmarsh, has been my professor and mentor since September of 1990. Dr. Saltmarsh’s qualities are uncommon and I am grateful for his friendship. As an Assistant Principal, I am grateful for the guidance and support given to me by my Principal, Dr. Lisa Oliveira, and my superintendent, Dr. Elizabeth Zielinski. Within my school, I need to recognize Ms. Mindy Morin and Mr. Sean Skenyon who were instrumental in completing this project. Beyond recognizing my colleagues, I also want to recognize how meaningful my own teachers – in the Hull Public Schools – were in providing me with the foundation necessary to succeed in my chosen field. In the four years of pursuing this degree, my family never pointed out that the single most selfish decision a person can make is to pursue a doctorate. While I did the work, my family earned it. Laura Gould, my wife, is an amazing person who has supported me in every way possible for over twenty years. Laura routinely has dealt with all of the conflict and needs of two children, Mary Kate and Jack, while I was hunkered down trying to make progress toward this degree. It is my hope that my efforts to complete this degree will impart to my children a 4 dedication to the qualities that I inherited from my mother and father: self-improvement, a strong work ethic, and perseverance. 5 Table of Contents Abstract ................................................................................................................................2 Acknowledgements ..............................................................................................................3 Table of Contents .................................................................................................................5 List of Figures ......................................................................................................................8 List of Tables .....................................................................................................................10 Chapter I: Introduction ...................................................................................................11 Problem of Practice ...........................................................................................................11 Significance of the Problem ..............................................................................................12 Use of Sequential Art .........................................................................................................13 Practical Goals and Intellectual Goals ...............................................................................14 Research Question .............................................................................................................15 Summary of Paper Content and Organization ...................................................................15 Theoretical Framework ......................................................................................................15 Vygotsky’s Sociocultural Learning Theory ...............................................16 Kolb’s Experiential Learning Theory (ELT) .............................................20 The Six Components of Historical Understanding ....................................22 Summary ............................................................................................................................25 Chapter II: Literature Review ........................................................................................25 Teaching History ................................................................................................................25 Historical Thinking and Understanding .............................................................................28 Primary Sources in Teaching History ................................................................................29 Sequential Art in Teaching History ...................................................................................31 6 Summary ............................................................................................................................36 Chapter III: Research Design .........................................................................................36 Participants and Site Selection ...........................................................................................37 Data Collection ..................................................................................................................38 Data Analysis .....................................................................................................................41 Credibility and Reliability..................................................................................................43 Protection of Human Subjects ...........................................................................................44 Summary ............................................................................................................................45 Chapter IV: Research Findings ......................................................................................45 Study Context.....................................................................................................................46 Pre-unit Teacher Interview Themes ...................................................................................47 Pre-unit Focus Group Themes ...........................................................................................50 Classroom Observations ....................................................................................................54 Highlights of Classroom Observations ..............................................................................81 Post-unit Student Focus Groups.........................................................................................82 Post-unit Teacher Interview Themes .................................................................................88 Summary of Findings .........................................................................................................91 Chapter V: Discussion of Research Findings ................................................................92 Revisiting the Problem of Practice ....................................................................................92 Discussion of Findings .......................................................................................................93 Discussion of Findings in Relation to the Literature Review ..........................................118 Limitations .......................................................................................................................127 Challenges to the Process.................................................................................................128 7 Significance of the Study .................................................................................................129 Conclusion ...........................................................................................................132
Recommended publications
  • Multimodality in Malaysian Schools: the Case for the Graphic Novel
    The Malaysian Online Journal of Educational Science 2015 (Volume 3 - Issue 2) [1] [email protected] Multimodality in Malaysian Schools: The Faculty of Languages and Linguistics University of Malaya, MALAYSIA Case for the Graphic Novel Thusha Rani Rajendra [1] ABSTRACT This paper aims at exploring the benefits of including graphic novels as a wholesome supplement in Malaysian schools. Research has indicated that the mono‐modality of traditional linear texts may impede comprehension. The emphasis on multi‐literacies clearly scaffold the need to employ multimodality in the classrooms; hence the suggestion of introducing graphic novels. Once placed at the bottom of the literary heap and viewed as a light reading material, this medium has been enjoying much popularity especially in the West. Graphic novels are able to stimulate reluctant readers’ interests besides being a challenge to students familiar with traditional literature. As part of an on‐going research which investigates how verbal and textual elements are represented in graphic novels, this paper discusses the advantages of including graphic novels especially in Malaysian schools. With the advent of multimodality through various platforms, graphic novels are interesting as an alternative mainstream multimodal medium. As an innovative and creative pedagogic supplement, graphic novels offer a multitude of learning and teaching experiences Keywords: Graphic novels; Comics; Visual literacy; Multimodality; Multi‐ literacies INTRODUCTION The constant evolvement of literacy is truly challenging and there is an urgent need to embrace changes that comes with this development. As progressive educators, the challenge is to face this reality and the need to implement pedagogical practices that support these dynamic changes.
    [Show full text]
  • Changing Personal Narratives Through the Creation of Sequential Art and the Graphic Novel
    PANEL BY PANEL: CHANGING PERSONAL NARRATIVES THROUGH THE CREATION OF SEQUENTIAL ART AND THE GRAPHIC NOVEL SARAH GYSIN A Research Paper in The Department of Creative Arts Therapies Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts Concordia University Montreal, Quebec, Canada AUGUST 2020 © SARAH GYSIN 2020 CONCORDIA UNIVERSITY School of Graduate Studies This research paper prepared By: Sarah Gysin Entitled: Panel by panel: Changing personal narratives through the creation of sequential art and the graphic novel and submitted in partial fulfilment of the requirements for the degree of Master of Arts (Creative Arts Therapies; Art Therapy Option) complies with the regulations of the University and meets the accepted standards with respect to originality and quality as approved by the research advisor. Research Advisor: Heather McLaughlin, MA, RMFT-S, ATR-BC, ATPQ Department Chair: Guylaine Vaillancourt, PhD, MTA August 2020 ii ABSTRACT PANEL BY PANEL: CHANGING PERSONAL NARRATIVES THROUGH THE CREATION OF SEQUENTIAL ART AND THE GRAPHIC NOVEL SARAH GYSIN The creation of comics, or sequential art, as a therapeutic tool offers a way for artists and clients alike to transform their personal narratives through a medium that transcends both spoken and written language. Artists and writers have frequently used comics to translate stories of hardship, mental health, trauma, healing, and grief in the form of memoirs and autobiographical graphic novels. Recently, the field of mental health and creative arts therapies have begun to incorporate reading and creation of comics with clients in the therapeutic space. This research uses an arts- based heuristic methodology to examine the process of combining narrative therapy concepts and interventions with comics creation in order to add further dimension to the re-storying process.
    [Show full text]
  • Graphic Novel Spread
    Graphic novel Spread 2/20/07 11:56 AM Page 1 Building Literacy Novels Connectionswith Graphic Building Literacy Connections with Graphic Novels As teachers, we’re always looking for new ways to help our students Page by Page, Panel by Panel engage with texts. James Bucky Carter and the contributors to this collection have found an effective approach: use graphic novels! Carter and his contributors tap into the growing popularity of graphic novels in this one-of-a-kind guidebook. Each chapter presents practical suggestions for the classroom as it pairs a graphic novel with a more traditional text or examines connections between multiple sources. Some of the pairings include: • The Scarlet Letter and Katherine Arnoldi’s The Amazing “True” Story of a Teenage Single Mom • Oliver Twist and Will Eisner’s Fagin the Jew • Young adult literature and Marjane Satrapi’s Persepolis • Dante’s Inferno and an X-Men story • Classic fantasies (Peter Pan, The Wizard of Oz, and Alice in Wonderland) and Farel Dalrymple’s Pop Gun War • Traditional and graphic novel versions of Beowulf Carter These creative pairings open up a double world of possibilities—in words and images—to all kinds of learners, from reluctant readers and English language learners to gifted students and those who are critically exploring relevant social issues. A valuable appendix recommends additional graphic novels for use in middle and high school classrooms. Packed with great ideas for integrating graphic novels into the curriculum, this collection of creative and effective teaching strategies will help you and your students join the fun. National Council of Teachers of English 1111 W.
    [Show full text]
  • Sequence and Duration in Graphic Novels
    chapter 13 Sequence and Duration in Graphic Novels Ileana da Silva and Marc Wolterbeek 1 Introduction: A Traditional Contemporary Narrative Sequential art is a term used to identify a broad range of visual narratives, from ancient cave paintings to contemporary graphic novels, and it is distinctive in its combination of temporal and spatial arts – that is, literature and painting.1 The term itself indicates the dual nature of this form: sequence implies nar- rative, which is diachronic, taking place over time, while pictorial art is syn- chronic, presenting a single frozen image. The “brilliant antithesis” made in Antiquity by Simonides of Ceos – that “painting is mute poetry and poetry a speaking painting”2 – should not be oversimplified, however; Lessing himself was aware that literature is often illustrative and painting can be narrative.3 Because of its nature, sequential art often concerns itself with temporal and spatial dimensions and pays particular attention to two fundamental concepts about time: sequence and duration. These characteristics of time were evident to the earliest philosophers, and “in scholastic authors familiar to Descartes, such as Aquinas and Suarez, duration is simply persistence in being while tem- pus is the measure or numbering of beings that are ‘successive’ or composed of parts existing one after the other.”4 In other words, time “lasts” or “endures” – a task may take an hour to complete – and time can also be divided or numbered into seconds, minutes, and hours (a sequence).5 1 The term “sequential art” was coined by Will Eisner in Comics and Sequential Art: Principles and Practices from the Legendary Cartoonist (New York: Norton, 2008) and it is thoroughly de- fined by Scott McCloud in Understanding Comics: The Invisible Art (New York: HarperCollins, 1993), 5.
    [Show full text]
  • A Brief on Comics and Sequential Art- by R
    A Brief on Comics and Sequential Art- By R. Perry. Whether called comic strips, comic books, comix, graphic novels, funnies, or whatever other name they go by, the history of sequential art is as long as written word, longer in fact. Yet nowadays comics, comics as art and as literature, have been relegated to the realm of childish pursuit, to be left behind with the onset of puberty. Fortunately, some of this erroneous attitude towards one of man’s most unique and oldest forms of communication has begun to soften, in some cases to the point that comic books have begun to be studied in detail and analyzed in our universities, taking their rightful place alongside the great literature of our day. But in order to fully appreciate where Sequential Art is, it is important to understand a bit about where it’s been. Pt1. Definitions. To begin, we should settle on a couple of definitions. Comics or comic books refers to longer multi page publications such as Batman, while comic strips is a reference to the funnies in your newspaper. We will also often use the nomenclature of sequential art, which by our definition is a series of at least two images that tell a tale. To be a little more specific, what this means is a series of at least two images arranged next to each other in space and time to tell a story. This can refer to any of a number of different art forms, be it issues of Superman, the daily antics of Calvin & Hobbes, or the Tortures of Saint Erasmus, an illustrated guide to torture from the mid 15th century.
    [Show full text]
  • Cartooning & Comic Book Illustration
    UW-Green Bay Summer Art Studio June 16-21, 2019 Cartooning & Comic Book Illustration Prof. Thomas J. Wallestad, Instructor Welcome Cartooning & Comic Book Illustration Students! ART SUPPLIES Necessary Supplies: *Note: I have listed many optional items below. Prices will vary on art supplies, as does quality. Choices should be based on your wants and needs, as beginners or dabblers need not get the most expensive items. Historically, professionals have used all grades of supplies. It doesn’t matter whether the supplies are expensive or more affordable; it is the results you desire and your ideas that matter. Paper Supplies • Sketchbook- approx. 14” x 17” white sulfite drawing pad suggested (e.g. Strathmore) – for planning the design, before working on good paper for finished art • Choose ONE paper type for finished inked art (2 to 3 sheets): 1. 11” x 17” or bigger- Bristol board (2-ply, hot-pressed smooth) {Best} -OR- 2. 11” x 17” or bigger- non-photo/ non-reproductive blue lined comic art boards (e.g. Blue Line Art) http://www.bluelinepro.com/ Manga size is also available. -OR- 3. 11” x 17” or bigger- any quality smooth and firm drawing paper • Tracing paper (pad or roll) – Vellum (parchment) and Onionskin paper also acceptable Drawing Tools & Drafting Instruments* • An art supply box (e.g. fishing tackle box, tool box, Tupperware, cardboard box, etc) • Several (2H or #4) pencils – Optional other grades of lead hardness (e.g. HB / #2, 3B) • 1 Staedtler or Prismacolor Col-Erase non-photo blue pencil (non-repro) – sketching • Metal pencil
    [Show full text]
  • Adapting the Graphic Novel Format for Undergraduate Level Textbooks
    ADAPTING THE GRAPHIC NOVEL FORMAT FOR UNDERGRADUATE LEVEL TEXTBOOKS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Brian M. Kane, M.A. Graduate Program in Arts Administration, Education, and Policy The Ohio State University 2013 Dissertation Committee: Professor Candace Stout, Advisor Professor Clayton Funk Professor Shari Savage Professor Arthur Efland Copyright by Brian M. Kane 2013 i ABSTRACT This dissertation explores ways in which the graphic narrative (graphic novel) format for storytelling, known as sequential art, can be adapted for undergraduate-level introductory textbooks across disciplines. Currently, very few graphic textbooks exist, and many of them lack the academic rigor needed to give them credibility. My goal in this dissertation is to examine critically both the strengths and weaknesses of this art form and formulate a set of standards and procedures necessary for developing new graphic textbooks that are scholastically viable for use in college-level instruction across disciplines. To the ends of establishing these standards, I have developed a four-pronged information-gathering approach. First I read as much pre factum qualitative and quantitative data from books, articles, and Internet sources as possible in order to establish my base of inquiry. Second, I created a twelve-part dissertation blog (graphictextbooks.blogspot.com) where I was able to post my findings and establish my integrity for my research among potential interviewees. Third, I interviewed 16 professional graphic novel/graphic textbook publishers, editors, writers, artists, and scholars as well as college professors and librarians. Finally, I sent out an online survey consisting of a sample chapter of an existing graphic textbook to college professors and asked if the content of the source material was potentially effective for their own instruction in undergraduate teaching.
    [Show full text]
  • Sequential Storytelling Comics and Graphic Novels by Pranisha Shrestha and Prof
    D’source 1 Digital Learning Environment for Design - www.dsource.in Design Course Sequential Storytelling Comics and Graphic Novels by Pranisha Shrestha and Prof. Phani Tetali IDC, IIT Bombay Source: http://www.dsource.in/course/sequential-storytelling 1. Introduction 2. A Brief History and Different Mediums 3. Key Fundamentals 4. Materials Used 5. Technological Requirements 6. Getting Your Work Published 7. Current Styles 8. References Books 9. Bibliography 10. Contact Details D’source 2 Digital Learning Environment for Design - www.dsource.in Design Course Introduction Sequential Storytelling Comics and Graphic Novels Sequential art is an art form, which uses series of images as a means of communication. This can be with or by without the support of words. It is one of the current popular arts for creative expression dealing with arrange- Pranisha Shrestha and Prof. Phani Tetali ment of images and words to narrate the idea. The best-known examples of sequential art are comic strips, comic IDC, IIT Bombay books and graphic novels. Source: http://www.dsource.in/course/sequential-storytell- ing/introduction 1. Introduction 2. A Brief History and Different Mediums 3. Key Fundamentals 4. Materials Used 5. Technological Requirements 6. Getting Your Work Published 7. Current Styles 8. References Books 9. Bibliography 10. Contact Details D’source 3 Digital Learning Environment for Design - www.dsource.in Design Course A Brief History and Different Mediums Sequential Storytelling Comics and Graphic Novels The term sequential art was coined first by the comic artist Will Eisner. He analyzed this form of art through dif- by ferent elements of art such as design, layout, drawing, caricature and writing.
    [Show full text]
  • Writing About Comics and Graphic Novels
    Writing About Comics and Graphic Novels Visual Rhetoric/Visual Literacy Series Whether in the Sunday paper or a critically acclaimed graphic novel, comics have been a staple of American culture since the turn of the last century. Only recently, however, have scholars begun turning any sustained attention to comics as an art form, a specific print medium, and a cultural artifact. For this reason, many of us are familiar with the basics of reading comics, but not with any critical vocabulary for deciphering or discussing them. This handout offers advice on how to approach the medium of comics. Overview: What are Visual Rhetoric and Visual Literacy? The simplest definition for visual rhetoric is how/why visual images communicate meaning. Note that visual rhetoric is not just about superior design and aesthetics but also about how culture and meaning are reflected, communicated, and altered by images. Visual literacy involves all the processes of knowing and responding to a visual image, as well as all the thought that might go into constructing or manipulating an image. What are Comics? Comics are easy to recognize but difficult to define. Will Eisner used the term “sequential art” to describe comics, a definition later modified by Scott McCloud into “juxtaposed pictorial and other images in deliberate sequence” (McCloud 9). The focus in each of these definitions is sequence: a string of images that are read one after another to produce meaning. Comics may or may not incorporate text, and differ from single cartoons by producing a more complicated pattern (most often narrative) through sequential spatial arrangement.
    [Show full text]
  • Graphic Novels & Comics in K-12 Libraries
    Graphic Novels & Comics in K-12 Libraries Beth Downey, Instruction Librarian [email protected] MAGNOLIA Indexes and Databases Academic Search Premier ERIC Library, Information Science, and Technology Abstracts (LISTA) Teacher Reference Center Professional Development Collection NoveList o Search “Recommended Reading” lists for age groups and genres. o Use “Advanced Search” to limit by grade or Lexile reading level. Web Resources Graphic Novels and Comics Research Guide: http://guides.library.msstate.edu/graphicnovels Great Graphic Novels for Teens (YALSA): http://www.ala.org/yalsa/great-graphic-novels Graphic Novels Reading Lists (ALSC): http://www.ala.org/alsc/graphicnovels2016 References Chute, Hilary. “Comics as Literature? Reading Graphic Narrative." PMLA, vol.123, no. 2, 2008, pp. 452-465. EBSCO Discovery Service, search.ebscohost.com/login.aspx?direct=true&db= edsjsr&AN=edsjsr.25501865&site=eds-live Eisner, Will. Comics and Sequential Art. The Poorhouse Press, 2002. McCloud, Scott. Understanding Comics: The Invisible Art. Harper Perennial, 1994. More Recommended Reading: Mathews, Sarah A. "Reading without Words: Using The Arrival to Teach Visual Literacy with English Language Learners." Clearing House, vol.87, no. 2, 2014, pp. 64-68. Professional Development Collection, search.ebscohost.com/login.aspx?direct=true&db=tfh&AN= 94358461&site=ehost-live&scope=site Moorefield-Lang, Heather. "Go Graphic." Knowledge Quest, vol. 41, no. 3, 2013, pp. 72-74. Professional Development Collection, search.ebscohost.com/login.aspx?direct=true&db= tfh&AN=84897669&site=ehost-live&scope=site Sabeti, Shari. "’A Different Kind of Reading’: The Emergent Literacy Practices of a School- Based Graphic Novel Club." British Educational Research Journal, vol.
    [Show full text]
  • Sequential Art, Graphic Novels, and Comics Brian Kelley
    SANE journal: Sequential Art Narrative in Education Volume 1 Article 10 Issue 1 Comics in the Contact Zone 1-1-2010 Sequential Art, Graphic Novels, and Comics Brian Kelley Follow this and additional works at: http://digitalcommons.unl.edu/sane Part of the American Literature Commons, American Popular Culture Commons, Art Education Commons, Comparative Literature Commons, Creative Writing Commons, Curriculum and Instruction Commons, Educational Assessment, Evaluation, and Research Commons, Educational Methods Commons, Educational Psychology Commons, Feminist, Gender, and Sexuality Studies Commons, Higher Education Commons, Illustration Commons, Interdisciplinary Arts and Media Commons, Rhetoric and Composition Commons, and the Visual Studies Commons Recommended Citation Kelley, Brian (2010) "Sequential Art, Graphic Novels, and Comics," SANE journal: Sequential Art Narrative in Education: Vol. 1: Iss. 1, Article 10. Available at: http://digitalcommons.unl.edu/sane/vol1/iss1/10 This Emanata is brought to you for free and open access by DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in SANE journal: Sequential Art Narrative in Education by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. WW Kelley: Sequential Art, Graphic Novels, and Comics Sequential Art, Graphic Novels, & Comics “Anyone interested in comics, from the cAsuAl broWser to the seAsoned professionAl, Will leArn something neW by reAding this pAper.” — gene Yang* *author of American Born Chinese (2007, First Second Books); Loyola Chin & the San Peligran Order (2004, SLG Publishing); Gordon Yamamoto, King of the Geeks (2004, SLG Publishing); co-author, The Eternal Smile (2009, First Second Books) Published by DigitalCommons@University of Nebraska - Lincoln, 2010 1 SANE journal: Sequential Art Narrative in Education, Vol.
    [Show full text]
  • A Constructivist Approach to Sequential Art
    Cognitive Comics: A Constructivist Approach to Sequential Art 2nd Edition by Donald Jackson © 2009 1 Acknowledgements Special thanks to Dr. Michael Parks for becoming my mentor on this project and to Dr. John Siskar for his support. Thanks to Jill Singer, without which this project would not have become a reality. For technical support and educational guidance, thanks and appreciation to Shirley Verrico, McKenzie Crawford, Nicole Haberer, Juliet Szczerbacki and Paula Dolega. Special thanks for artistic inspiration goes to Roy Thomas, Josef Rubinstein, Gerald Forton, Gene Luen Yang, Scott McCloud, Caroline Elliot, Lin Huang- Lien, and Mark Stoddard. For Thomas. 2 Table of Contents Forward ……………………………………………………………....4 Chapter 1: Pedogogical Foundations …………………………….... 5 How to Use this Book ………………..…………………………….…5 Definitions ……………………..……..…………………………….…5 Perspectives on Arts-Based Research ………………………………...7 A Constructivist Approach to Sequential Art ………………………...8 Why Sequential Art? ………………………………………………….9 Sequential Art and the Brain …………………………………………11 Cognitive Comics: Theory and Hypothesis ………………………….11 The Importance of Cognitive Dissonance …………………………....12 Is Sequential Art Really Art? ……………………………………...…13 Chapter 2: Teaching Applications Teaching Tips ………………………………………...……………...14 I-Can't-Draw Syndrome ……………………………………………...14 Rubinstein's Holy Trinity …………………………………………….17 Don't Dumb it Down ………………………………………………....18 Why Super Heroes? ………………………………………………….19 The Japanese Invasion ……………………………………………….20 Critique and Evaluation ……………………………………………...22 Chapter 3: Metacognition Technician ………………………….…23 Metacognitive Map ……………………………………………….…24 Diagram ……………………………………………………………..25 - 26 A Whole New Mind …………………………………………………27 Cognitive Comics: Captain Gestalt Snap Dragon Etherial – Dream Knight Nazzire's Wall Lesson Plans: Captain Gestalt Snap Dragon Etherial – Dream Knight Nazzire's Wall References 3 Foreward This book is the culmination of my summer research fellowship awarded by the State University of New York College at Buffalo Office of Undergraduate Research.
    [Show full text]