Book Apps

https://www.francoangeli.it/Ricerca/Scheda_Libro.aspx?ID=24687&Tipo=Libro&strRicercaTesto=&lingua=it&titolo=narrazioni+digitali+nella+letteratura+per+l++infanzia++

È possibile, pur nella rapidità dell'evoluzione delle forme narrative, definire le caratteristiche delle tipologie testuali digitali rivolte ai lettori più giovani? In che modo i testi multimodali che combinano parole, immagini in movimento, musica, voce narrante influenzano la lettura? In quali casi l'apparato ludico dei libri animati e interattivi risulta di sostegno alla comprensione? È ipotizzabile che book apps in cui sia mantenuto il pregio letterario e stilistico dei classici originali contribuiscano ad avvicinare alla letteratura? In questo volume viene proposta una disamina dei molteplici prolungamenti della letteratura per l'infanzia nel mondo digitale con una riflessione sugli inscindibili legami con la pedagogia della lettura. A un esame dei testi basato su un approccio prevalentemente semiotico e intersemiotico è affiancata una ricostruzione degli esiti delle ricerche che hanno indagato opportunità e limiti degli ebook (statici, animati e/o interattivi) nell'imparare a leggere con piacere. L'analisi, rivolta a docenti, ricercatori, studenti, confronta una ricca varietà di fonti e si avvale di un apparato critico incentrato sui più importanti studi internazionali in questo ambito.

The advent of new media has brought significant changes in the context of information and communication technologies. The field of technology used for storytelling, highlighting children's stories, the book can be presented in digital format. Unlike traditional types of printed storytelling in the digital book stories can be told with the integration of a greater number of media such as text, image, animation and sound, interactive environment and nonlinear. In this context it is possible to confuse the children's fiction in interactive digital format with a video game, called it Gamebook or even produce it in “scanned” version - simulacrum of a printed work. The objective of this study was to categorize this new narrative in speech perspective, for writers, writers, technologists, educators and to the publishing market can develop consistent and in accordance with the potential of new media content - means that expands with popularity of mobile devices in the hands of small users/readers. This research was developed through a literature review on the concept of interactive ebook, the principles of new media and the study of interactive digital storytelling. Then, in order to highlight the characteristics of this type of ebook, there was a descriptive analysis of winners copies of the Bologna Ragazzi Digital Award and the Digital Book Awards 2015. The result, according to its characteristics, the interactive children's stories ebook can be defined as an interactive digital storytelling, thus enabling their production and future studies in the world of digital storytelling.

Neste artigo, pretendo apresentar um recorte de uma pesquisa que está sendo desenvolvida como dissertação de mestrado. A pesquisa aborda os livros digitais e como os leitores infantis negociam com estes artefatos. Para a verificação das práticas de leitura em suportes digitais, foi necessário a realização de uma pesquisa de campo, que ocorreu no ano de 2016. Em um primeiro momento, verifiquei a existência de crianças de 3 a 10 anos residentes em um condomínio fechado na cidade de Osório. Após feitos os convites, foram selecionadas três famílias, organizadas de acordo com as idades das crianças, assim definidas: Gabriel, 3 anos; Elena, 4 anos e Isabella, 7 anos; Ana Paula, 8 anos e Rafael, 10 anos. Antes de selecionar as obras que comporiam as práticas de leitura, foram realizadas três entrevistas com as famílias, a fim de verificar as práticas de leitura e uso de dispositivos digitais pelas crianças. Assim, foram selecionadas três obras impressas, oito livros-aplicativos e três e-books, de acordo com as idades, preferências e nível de letramento.

EN/[PT]: The objects of analysis in this article are digital picturebooks, which may be called e-picturebooks. This research contributes to a definition of e-picturebook as a distinct storytelling experience from printed picturebook, introducing distributed cognition as a new theoretical perspective for the analysis of the phenomenon. This perspective emphasizes cognitive systems related to specific features of this category of digital book. In this sense, picturebook and e-picturebook are defined as cognitive artifacts that constrain storytelling tasks very differently from each other, not only because of their constitutive features but also because of the cognitive systems involved in the understanding of stories in each medium. /
[Os objetos de análise neste artigo são os livros ilustrados digitais, que podem ser chamados de e-picturebooks. Esta pesquisa contribui para a definição do e-picturebook como uma experiência de storytelling distinta dos livros ilustrados impressos, introduzindo a cognição distribuída como uma nova perspectiva teórica para a análise do fenômeno. Essa perspectiva enfatiza os sistemas cognitivos relacionados a características específicas desta categoria de livro digital. Desta forma, livro ilustrado e e-picturebook são definidos como artefatos cognitivos que restringem as tarefas de contar histórias de forma muito diferente um do outro, não só por causa de suas características constitutivas, mas também pelos sistemas cognitivos envolvidos na compreensão de histórias em cada meio.] ***Article resulting from the communication previously presented at the ELO'17 - Electronic Literature Organization 2017 Conference (July 18-22), at University Fernando Pessoa, Porto, Portugal.

PT/[EN]: A invenção de dispositivos computacionais portáteis, como tablets e smartphones, influenciou o desenvolvimento de experiências digitais de leitura com recursos ainda mais diversos que os e-books (livros digitais) produzidos para os primeiros e-readers (dispositivos de leitura). Entre essas experiências estão os chamados e-picturebooks, terminologia usada para categorizar os livros ilustrados digitais (PINTO; ZAGALO; COQUET, 2012). O propósito desta pesquisa é explicar como uma nova configuração digital do livro ilustrado, a partir de suas características específicas, reestrutura o modo como histórias são concebidas e compreendidas; e porque isso pode apontar para sistemas cognitivos diferentes operando na leitura e compreensão das histórias, com relação ao livro impresso. A abordagem parte da definição de conceitos-chave como storytelling (ALBÆK et. al., 2011) e compreensão (KINTSCH; RAWSON, 2007). Para definir o livro ilustrado impresso, recorre-se ao campo que se convencionou chamar picturebook theory (NIKOLAJEVA; SCOTT, 2011). A fim de analisar o book-app – aplicativo para dispositivos móveis que é o formato mais intimamente associado ao conceito de e-picturebook –, exemplos são agrupados segundo cinco principais diretrizes referentes às características desse tipo de livro digital: (i) recursos multimídia; (ii) múltiplas formas de apresentação do texto; (iii) interatividade em tempo real; (iv) gamificação; (v) novas formas de organização do conteúdo. A fonte dos exemplos abordados na pesquisa é o Bologna Ragazzi Digital Award, prêmio da Bologna Children's Book Fair que vem sendo oferecido desde 2012 aos melhores book-apps infantojuvenis de cada ano. Para investigar como o surgimento do e-picturebook influencia o ambiente em que histórias são concebidas e apreendidas, busca-se introduzir uma estrutura teórica baseada em abordagens recentes da Ciência Cognitiva: a cognição distribuída e o conceito de artefato cognitivo (CLARK, 2003, HUTCHINS, 1995; 2001, NORMAN, 1993). Essa teoria contribui para a compreensão do e-picturebook como experiência de storytelling distinta do livro ilustrado impresso, apresentando uma nova ótica de análise do fenômeno, que privilegia as oportunidades relativas a capacidades cognitivas e os potenciais específicos dessa categoria de livro digital. /
Link para a Dissertação: https://repositorio.ufjf.br/jspui/handle/ufjf/5375
[The invention of portable computing devices, such as tablets and smartphones, has influenced the development of digital reading experiences with even more varied features than the e-books designed for the first e-readers. Among these experiences are the so-called e-picturebooks, terminology used to categorize digital picturebooks (PINTO; ZAGALO; COQUET, 2012). The purpose of this research is to explain how a new digital configuration of picturebook, based on its specific features, restructures the way in which stories are conceived and understood, and why that may indicate different cognitive systems operating in reading and understanding of the stories. The argumentation starts from the definition of key concepts such as storytelling and comprehension (ALBÆK et. al., 2011; KINTSCH; RAWSON, 2007). Then, we resorted to the field that was conventionally called picturebook theory to define the printed picturebook (NIKOLAJEVA; SCOTT, 2011). In order to analyze the book-app - application for mobile devices which is the format most closely associated with the concept of e-picturebook - examples are grouped according to five main guidelines regarding the features of this type of digital book: (i) multimedia resources; (ii) multiple forms of the verbal text; (iii) real-time interactivity; (iv) gamefication; (v) new forms of content organization. The source of the examples approached in the research is the Bologna Ragazzi Digital Award, an award that has been offered since 2012 to the best book-apps for children of each year. In order to investigate how the emergence of e-picturebook influences the environment in which stories are conceived and apprehended, we introduce a theoretical framework based on recent approaches in Cognitive Science: the distributed cognition and the concept of cognitive artifact (CLARK, 2003, HUTCHINS, 1995; 2001, NORMAN, 1993). That theory contributes to the understanding of the e-picturebook as a distinct storytelling experience of the printed picturebook, presenting a new perspective of phenomenon analysis which privileges the opportunities related to cognitive abilities and the specific potentials of that category of e-book.]
Link to the Thesis: https://repositorio.ufjf.br/jspui/handle/ufjf/5375

The development of new technology has allowed the publication of books in digital and interactive formats. The interactive ebook category stands out to explore multimedia features, interactivity and the potential of digital devices for storytelling. In the children's book app, an interactive ebook in application format, the various types of interactivity can enhance the immersion through agency actions and changes occurring as a result of player's actions. However, if the interactive information is not consistent with the narrative of events, the agency reader can’t contribute to the immersion in the content, diverting his attention from the text and making it difficult to understand the story. The objective of this study was to determine the types of interactivity that can contribute to the immersion in a digital narrative. Therefore, from an exploratory and qualitative approach, was analyzed the book app Jack and the Beanstalk from the perspective of aesthetic categories of interactive digital narrative: immersion, agency and transformation (MURRAY, 2003; RYAN, 2009; TANENBAUM, 2007 ), compared to the common types of interactivity in digital storytelling (Miller, 2014). Noted that it is critical to align the interactivity significantly in view of the consequences consistent with historical events and thus enable a greater involvement of the reader to the content.

A evolução das novas tecnologias permitiu a publicação de livros em formatos digitais e interativos. A categoria de ebook interativo destaca-se por explorar recursos de multimídia, interatividade e potencialidades específicas dos dispositivos digitais para contar histórias. Em um ebook interativo os diversos tipos de interatividades podem potencializar a imersão por meio de agenciamento de ações e transformações ocorridas, assim como os resultados das ações do leitor. No entanto, caso as informações interativas não estejam coerentes com os acontecimentos da narrativa, o agenciamento do leitor poderá não contribuir para imersão no conteúdo, desviar sua atenção e dificultar a compreensão da história. O objetivo deste estudo foi verificar os tipos de interatividades que podem contribuir para a imersão em uma narrativa digital. Para tanto, a partir de uma abordagem exploratória e qualitativa, analisou-se o book app Jack and the Beanstalk na perspectiva das categorias estéticas da narrativa digital interativa:  imersão, agência e transformação (MURRAY, 2003; RYAN, 2009; TANENBAUM, 2007), frente a aos tipos de interatividades comuns em narrativas digitais (MILLER, 2014). Observou-se que é fundamental alinhar a interatividade de forma significativa tendo em vista as consequências coerentes aos acontecimentos da história e assim possibilitar um maior envolvimento do leitor com o conteúdo.

With the advent of tablet computers, the creation of enhanced e-picturebooks for children, which existed previously in CD or DVD formats, has increased dramatically.
Enhanced e-picturebooks are electronic picturebooks equipped with audio (narration, sound effects), animation, interactivity and games, amongst other possible features, with the objective of enhancing the reading experience. According to David Lewis in his book Reading contemporary picturebooks: Picturing text, of 2001, the combination of text and images in picturebooks is limitless. Each picturebook is unique because the interanimation between a text and a image to the construction of meaning cannot be achieved the same way by any other combination. Extending that concept to enhanced e-picturebooks, the inclusion of multimedia and interactive elements generate a new process of meaning
making. By applying the ecological theoretical framework proposed by David Lewis, this study will close read three enhanced e-picturebook versions of the fairy tale of The Three Little
Pigs and analyze the how multimedia and interactive elements, together with texts and images, interanimate to create meaning.
Fairy tales are definitely the most popular genre in enhanced e-picturebooks. In November 2012, there were more than 90 different versions of the Tree Little pigs’ story in the iTunes
appstore. After a quick analysis, it is possible to see that the multimedia and interactive features used in those apps varied, as also varied the role they played in the narrative.
From that analysis, three categories emerged, according to the level of importance these features represent in the meaning making process: low level of participation, medium level of participation, high level of participation. Three apps were submitted to close reading in this study, one from each category, respectively: The Three Little Pigs, by Stepworks Books; The tree little pigs, by TapTap kids; 3 Little Pigs, by Nosy Crow. The analysis of these ebooks shows that the more the digital features are integrated into the narrative, the more novel and experimental these enhanced e-books are in comparison to print books, providing a more immersive and enhanced reading experienced. On the other hand, when the features do not have a clear participation in the narrative, they end up working more as a distraction than an enriching element.
Since a great number of book enhanced e-picturebooks for children are being published and accessed by children, it is important to understand how these digital narratives work and how they differ from print picturebooks. The findings of this study may help creators and publishers to understand the mechanics of this kind of narrative, contributing to the enhancement of their creative process, but may also help parents, teachers and librarians to establish criteria for evaluating what is already on the market.

The present article is part of a broader research that is being building up as a master dissertation, which has, among its goals, to investigate the negotiation form that children’s readers set up with literary apps (books apps) from reading and interaction. In this way, meetings were held with 3 to 10 years old children at a townhouse in Osório’s city/RS, in order to verify the way children read and interact with literary apps, as well the role of support and new technologies on children literary culture transformation. In this paper, I intend to present the result of an analysis of three book apps that took part of the reading practices realized with children, namely, Petting Zoo and Chomp, from the author Christoph Niemman; and Spot, from David Wiesner. In this analysis, I aim to
investigate the interactive features employed in these book apps based on digital technology. Therefore, I used, as theoretical framework, the typology provided by Frank Serafini, Danielle Kachorsky e Earl Aguilera, which is subdivided in (1) tableau features, (2) transitional and (3) interactive. To achieve its goals, this article is organized in three parts: first, I present some theoretical discussions about digital books
for children, particularly concerning to the usual terminologies as well as the main features attributed to these works. Then, it will be presented and explained the typology proposed by Serafini, Kachorsky and Aguilera. On the third part, finally, I present the way in which these features were employed on the apps Petting Zoo, Chomp and Spot.

The children's picturebook presented in digital media, such as tablets and e-readers, allows the growth of interactive features, dynamic elements and sound stimuli that make it a hypermedia product. This paper, however, presents a descriptive-analytical study that specifically addresses the visual graph structure of child ebook Treasure Kai and the Lost Gold Shark Island. The visual grammar of the product is considered, describing the basic arrangement of visual elements in the principles of design as a communication strategy in the graphical interface. Such questions define the visual organization of the publication, which should be readable and coherent interface with the general meaning of the message. Based on this study, was identified strategies used will define visual graph structure of child ebook. Among them stands out the formal characteristics, color and textures used to differentiate interactive objects, specific treatments backgrounds to emphasize or indicate the changes in the flow of history and contrasts that contribute to the perception of the elements and display hierarchies in the process reading.

Abstract
In diesem Artikel betrachte ich den multimodalen und multimedialen Ansatz als besonders geeignet für den Umgang mit innerer Differenzierung in heterogenen Lerngruppen aufgrund unterschiedlicher sprachlicher und kultureller Hintergründe oder kognitiver Entwicklung. Nach einer Unterscheidung zwischen Medien und Modi betrachte ich Bilderbücher als ein Beispiel multimodaler Texte, die, typischerweise, eine Geschichte erzählen, in der Wörter und Bilder kombiniert werden oder nur letztere enthalten sind.
Das Bild ist eine universelle Kommunikationsformt, die in unterschiedlichen Komplexitätsgraden verstanden werden kann, weshalb Bildbände als Ergänzungstexte für Lernende, die zusätzliche Unterstützung benötigen, und zur Einführung in die multimodale Alphabetisierung und die Literaturwissenschaft verwendet werden können. Im Anschlussdaran stelle ich einige Möglichkeiten der Arbeit mit digitalen Angeboten im Internet dar, die das Praktizieren des „Think Aloud“ ermöglichen. Schließlich analysiere ich ein Bilderbuch, mit Fokus auf die narrative Komponente und die Bilder, und erläutere, weshalb gerade Bilderbücher und insbesondere ihre digitalen Komplementärangebote sich für den Einsatz in (intellektuell und sprachlich) heterogenen Lerngruppen eignen.

The Digital technologies facilitate and enhance the mechanisms of information and communication. In the context
of design accessible book, several tools can be used to assist the education of a deaf child. Currently, the
inclusion policy of the Brazilian government needs bilingual material, sign language and Portuguese, to contribute
with the learning process in the classroom. In the case of digital books, is not yet established criteria of
quality and efficiency to use them. Thus, this study, through a descriptive analysis of two eBooks for the deaf,
show criteria and principles of visual design interface, specifically the screen design, which may contribute to the
production of digital books with more quality.