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Journal articles on the topic 'Nonfiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

CHERKASHYNA, Tetiana, and Bohdan PARAMONOV. "NONFICTIONAL LITERATURE: NATURE, TYPOLOGY, TERMINOLOGY." 6, no. 6 (December 9, 2021): 72–100. http://dx.doi.org/10.26565/2521-6481-2021-6-04.

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The article is devoted to the reviewing of theoretical aspects of nonfiction literature. Similar in semantic content, but not identical terms as nonfictional literature, nonfictional writing, literature of fact, factography, fiction-documentary literature, fiction-documentary prose, fiction-documentary writing, literary nonfiction, literature of non-fiction, nonfictional prose, factual narrative, which have become commonly used in American, Spanish, Ukrainian, French, Slavic terminology, are analyzed. All these terms refer to a set of texts written on the basis of real events without the use of fiction. Typical features of this type of literature are the synthesis of documentary components and fiction, veracity, factuality, authenticity, objectivity, the use of real names, dates and geographical indications. At the same time, the reflection of real events and their participants is presented through the prism of the author’s self, and therefore subjectivity, personal component, merging of images of the author and the narrator are added to the leading features of nonfiction literature. The article focuses on the main structural and typological branches of nonfiction literature – historical nonfiction, literary biography, fictional journalism and memoirs. In compiling this classification, the main object of the non-fiction narrative was taken into account in the first place; sources of documentary information; varieties of author's presence in the text (in particular, as an outside observer, witness or main character); subjective factor of personal participation in the events described in the work, or personal acquaintance with the direct participants in the events; genre-typological characteristics of nonfictional works. The article highlights the main typological characteristics of each type of non-fiction, analyzes their genre system, presents the characteristics of varieties and subvarieties. Particular attention is paid to the analysis of memoirs, which is a complex and multilevel type of non-fiction, which, in turn, consists of several subvarieties – the memoirs, the autobiography, the diary, the epistolary. The article differentiates the subvarieties of memoir literature, considers options for the synthesis of its types and forms.

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Tice. "Nonfiction." Journal of Appalachian Studies 20, no. 1 (2014): 81. http://dx.doi.org/10.5406/jappastud.20.1.0081.

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3

Gipe. "Nonfiction." Journal of Appalachian Studies 20, no. 2 (2014): 224. http://dx.doi.org/10.5406/jappastud.20.2.0224.

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4

Tickamyer. "Nonfiction." Journal of Appalachian Studies 21, no. 1 (2015): 128. http://dx.doi.org/10.5406/jappastud.21.1.0128.

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Whittemore. "Nonfiction." Journal of Appalachian Studies 21, no. 2 (2015): 272. http://dx.doi.org/10.5406/jappastud.21.2.0272.

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Karen W. Tice. "Nonfiction." Journal of Appalachian Studies 22, no. 1 (2016): 122. http://dx.doi.org/10.5406/jappastud.22.1.0122.

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Andrea Conger. "Nonfiction." Journal of Appalachian Studies 22, no. 1 (2016): 124. http://dx.doi.org/10.5406/jappastud.22.1.0124.

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Christopher Leadingham. "Nonfiction." Journal of Appalachian Studies 22, no. 1 (2016): 126. http://dx.doi.org/10.5406/jappastud.22.1.0126.

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9

Irwin, Ken. "Graphic nonfiction: a survey of nonfiction comics." Collection Building 33, no. 4 (September 30, 2014): 106–20. http://dx.doi.org/10.1108/cb-07-2014-0037.

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Purpose – This bibliographic essay examines the scope and variety of nonfiction works in comics form with the intent of expanding librarians’ awareness of the diversity of such materials and serving as a resource for librarians. Design/methodology/approach – It provides some theoretical background for understanding what constitutes nonfiction in graphic form and an overview of works available in print. Findings – The article provides a representative (but not comprehensive) survey of graphic nonfiction works in the genres of memoir, travel, journalism, history, biography, science, essays and educational materials. Research limitations/implications – The essay focuses on materials published in books in English; the library world would benefit from subsequent research exploring the richness of materials available in other formats and other languages. Originality/value – The field of graphic nonfiction is expanding, and this article serves as a guide for libraries interested in building or expanding collections in this format.

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10

Feagin, Susan L. "Nonfiction Theater." Journal of Aesthetics and Art Criticism 80, no. 1 (October 29, 2021): 4–15. http://dx.doi.org/10.1093/jaac/kpab061.

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Abstract Are there nonfiction genres of theater scripts, just as there are nonfiction genres of film, such as documentary, and of literature, such as biography and history? I propose that there are, and that Verbatim Theater qualifies as a nonfiction theater genre. What sets it apart is that it is supposed to instruct performers not merely to reenact, or represent, a series of events, but overall to present evidence or arguments for a thesis, or for the audience to draw their own conclusions. For scripts to present evidence, audiences have to be able to filter out what is supposed to serve as evidence from what else occurs on stage. Unlike various other genres of theater that one might initially appear to be nonfiction—such as autobiographical dialogues, Documentary Theater, and ethnodrama—Verbatim Theater does this.

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11

Giblin, James Cross. "Exciting nonfiction." Publishing Research Quarterly 7, no. 3 (September 1991): 47–53. http://dx.doi.org/10.1007/bf02678160.

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Garcia, Antero. "Challenging Nonfiction." Journal of Adolescent & Adult Literacy 60, no. 2 (August 27, 2016): 227–30. http://dx.doi.org/10.1002/jaal.582.

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13

Aare, Cecilia. "The Case of Literary Journalism: Rethinking Fictionality, Narrativity, and Imagination." Style 57, no. 4 (November 2023): 440–58. http://dx.doi.org/10.5325/style.57.4.0440.

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ABSTRACT This article discusses the genre of literary journalism/reportage against a background of earlier assumptions on fictionality. At a local level in nonfiction, fictionality can be expressed through invented stories and scenarios that create a contrast to the global, nonfictive context. However, fictionality can also be expressed through stylistic devices that traditionally have been associated with narrative fiction. A local contrast may appear, but only if the genre in itself is not narrative. If the focus is on the nonfictional and narrative genre of literary journalism/reportage, there will be no contrast. Here, the rhetoric will work just like in narrative fiction and should be considered to be part of the features of narrativity. Furthermore, the concept imagination should be perceived in close relation to Monika Fludernik’s understanding of narrative as experience. The conclusion is a call to partly rethink existing connections between fictionality, narrativity, and imagination in order to better understand the narrative nature of reportage.

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14

Root, Robert L. "Naming Nonfiction (a Polyptych)." College English 65, no. 3 (January 1, 2003): 242–56. http://dx.doi.org/10.58680/ce20031286.

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Discusses the complexity of naming nonfiction as a class of written works. Struggles with many different possible definitions of nonfiction and considers the problems with many of the definitions. Suggests the use of the term "creative nonfiction" as an umbrella to cover the widest range of nonfiction literary production. Argues that categorizing and compartmentalizing limits vision.

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15

Hartsfield, Danielle E. "“Not Just For Us Nerds”: Examining Elementary Teachers’ Perspectives of Contemporary Children’s Nonfiction." International Journal of Research in Education and Science 7, no. 1 (December 13, 2020): 1. http://dx.doi.org/10.46328/ijres.1786.

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Children’s nonfiction once had a reputation as a lackluster genre. However, the nonfiction books published today are noteworthy for their appeal and quality. This study’s purpose was to examine contemporary teachers’ perceptions of recent children’s nonfiction. Fourteen elementary teachers shared their opinions of contemporary nonfiction for children in written reflections, which were inductively analyzed using qualitative content analysis. The teachers addressed the following themes in their reflections: 1) presentation of the books, 2) the potential of books to support elementary readers, and 3) ways books could support learning opportunities. The findings indicate these teachers had a positive response to contemporary nonfiction, but they suggest there is still work to be done to ensure elementary students’ access to a diverse array of nonfiction books.

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16

Hollis, Helena. "An investigation into the relationship between fiction and nonfiction reading exposure, and factors of critical thinking." Scientific Study of Literature 11, no. 1 (December 17, 2021): 108–41. http://dx.doi.org/10.1075/ssol.20014.hol.

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Abstract Reading fiction has been associated with improved social and imaginative reasoning that could lead to improved critical thinking. This observational study investigated the relationship between fiction and nonfiction exposure, narrative transportation, and factors of critical thinking (critical thinking disposition, and epistemological orientation). Self-selecting participants (N = 335) completed an online survey including an author recognition test and self-report scales. Fiction scores were significantly associated with higher critical thinking disposition, while nonfiction had an inverse effect correlating with lower disposition. Fiction reading was associated with decreased absolutism, and nonfiction score conversely with higher absolutism. Total and nonfiction print exposure were associated with lower multiplism, with no significant association for fiction. Total and fiction print exposure were associated with higher evaluativism, with no significant association for nonfiction. Narrative transportation mediated some of these relationships. These findings provide a basis for further research into reading fiction and nonfiction, and critical thinking.

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17

Crisp, Thomas. "A Content Analysis of Orbis Pictus Award–Winning Nonfiction, 1990–2014." Language Arts 92, no. 4 (March 1, 2015): 241–55. http://dx.doi.org/10.58680/la201526913.

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Facilitated by an increased interest in children's literature in language arts classrooms and an expanding selection of quality nonfiction books written for children, the October 1991 issue of Language Arts centered on the theme, "Nonfiction, Language Learning, and Language Teaching." Today, it is difficult to overstate the important role children's literature and, in particular, children's nonfiction literature, occupies in pedagogical contexts. However, despite increased interest in nonfiction children's books, the findings of literacy research, new standards, and recent legislative mandates, critical research on children's nonfiction remains scarce and studies center primarily on topics like accuracy of information, design, organization, and style. Few studies examine critically the content of children's nonfiction in the ways in which children's fiction has been analyzed for decades: moving beyond text type, convention, and form to examine the depiction of cultural identities like race, gender, social class, ethnicity, age, religion, dis/ability, region, and sexual identity. This article shares the results of a content analysis of recipients of the Orbis Pictus Award for Outstanding Nonfiction for Children that spans 25 years, from the inaugural award year in 1990 through 2014, the current award year. In addition to providing an overall snapshot of the focal subjects depicted in these award-winning books, the author identifies avenues for future research on the content of children's nonfiction.

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18

Kenny, James M., and Robert Augustin Smart. "The Nonfiction Novel." South Atlantic Review 52, no. 3 (September 1987): 98. http://dx.doi.org/10.2307/3200116.

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19

Vassenden, Eirik. "Anders Johansson: Nonfiction." Edda 96, no. 04 (November 30, 2009): 441–46. http://dx.doi.org/10.18261/issn1500-1989-2009-04-09.

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Smart, Robert Augustin. "The Nonfiction Novel." Poetics Today 7, no. 1 (1986): 181. http://dx.doi.org/10.2307/1772111.

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21

Luey, Beth. "Who reads nonfiction?" Publishing Research Quarterly 14, no. 1 (March 1998): 21–35. http://dx.doi.org/10.1007/s12109-998-0003-x.

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22

Root, Robert A., Marilyn Abildskov, Judy Copeland, Carol de Saint Victor, and Michele Morano. "Travel in Nonfiction." Fourth Genre: Explorations in Nonfiction 7, no. 2 (2005): 77–102. http://dx.doi.org/10.1353/fge.2005.0041.

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23

Sullivan, Ed. "Some Teens Prefer the Real Thing: The Case for Young Adult Nonfiction." English Journal 90, no. 3 (January 1, 2001): 43–47. http://dx.doi.org/10.58680/ej2001714.

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Argues that English teachers should remember that nonfiction is the preferred reading choice of many of their students, and can be a “good read” and have superb aesthetic qualities. Offers guidelines to help educators design strategies to elicit student responses about nonfiction in the classroom. Describes 25 recently published outstanding nonfiction titles for young adults.

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24

Mascia, Tiziana. "The Creative evolution of children's and adolescents' nonfiction literature. An international perspective." EDUCATION SCIENCES AND SOCIETY, no. 1 (July 2023): 401–19. http://dx.doi.org/10.3280/ess1-2023oa15697.

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In the field of publishing for children and adolescents, nonfiction literature has not only flourished, but is experiencing a golden age of creativity and reader interest. Today's nonfiction literature moves beyond the boundaries of traditional popular literature in terms of writing methods, content, purpose, and target audience, informing and engaging young readers through the use of a narrative dimension. Authors and illustrators of nonfiction children's books share historical information, scientific processes, and portray marginalized and minority communities, offering models of active learning. This study examines emerging trends in nonfiction through a narrative literature review and investigates the main changes observed in the variety of topics, storytelling techniques, and the use of visual elements in nonfiction children's books over the period 2013-2022. At the same time, it attempts to highlight how these developments reflect a cultural shift towards inclusivity and social awareness

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25

Kotišová, Johana. "Creative Nonfiction in Social Science: Towards More Engaging and Engaged Research." Teorie vědy / Theory of Science 41, no. 2 (February 24, 2020): 283–305. http://dx.doi.org/10.46938/tv.2019.487.

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The paper aims at identifying, explaining and illustrating the affordances of “creative nonfiction” as a style of writing social science. The first part introduces creative nonfiction as a method of writing which brings together empirical material and fiction. In the second part, based on illustrations from my ethnographic research of European “crisis reporters,” written in the form of a novel about a fictional journalist, but also based on a review of existing social science research that employs a creative method of writing, I identify several main affordances of creative nonfiction in social-scientific research. In particular, I argue that creative nonfiction allows scientists to illustrate their findings, to express them in an allegorical way, to organize data into a narrative, to let their pieces of research act in the social world, and to permeate research accounts with self-reflexive moments. I also discuss some apparent negative affordances: challenges that creative nonfiction poses to readers and to the institutionalized academic discourse. Finally, I suggest that writing about sociological problems in the style of creative nonfiction can help to produce more engaging and engaged texts, and I discuss the ethical implications of the approach.

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26

Andries, Fivy A., and Jenie Posumah. "User Experience of Mobile Phone Users in Exploring and Reading Nonfiction Books." Journal of English Culture, Language, Literature and Education 11, no. 1 (June 3, 2023): 146–62. http://dx.doi.org/10.53682/eclue.v11i1.6143.

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The use of mobile phones should be able to make a positive contribution to its users, while increasing reading habits. We believe that it is very important for users to find information on several non-fiction books related to their needs and desires as well as developing a high-potential platform business model. This paper aims to map the relationship between user experience in exploring and reading nonfiction books using mobile phones. The study is a human center and a qualitative approach, which will carry out an analysis of the surveys distributed and user experience obtained from the interview results. Based on the data obtained, not everyone uses mobile phones to read nonfiction, because there are those who rarely read nonfiction using mobile phones and prefer to use books, but based on their experience reading nonfiction via mobile phones is very helpful and practical. The internet is also a supporting factor in nonfiction browsers via mobile phones.

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27

Voltolini, Aberto. "The Nature of Fiction/al Utterances." Kairos. Journal of Philosophy & Science 17, no. 1 (December 1, 2016): 28–55. http://dx.doi.org/10.1515/kjps-2016-0016.

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Abstract In this paper, first of all, I want to try a new defense of the utterance approach as to the relationship between fictional and nonfictional works on the one hand and between fictional and nonfictional utterances on the other hand, notably the idea that the distinction between fictional and nonfictional works is derivative on the distinction between fictional and nonfictional utterances of the sentences that constitute a text. Moreover, I want to account for the second distinction in minimally contextualist semantic terms. Finally, I want to hold that what makes a fictional utterance, hence a fictional work, properly fictional is the contextually pre-semantic fact that its utterer entertains an act of make-believe, where such an act is accounted for in metarepresentational terms. This ultimately means that the fiction/nonfiction distinction is not clarified in terms of the fictional works/nonfictional works distinction, for things rather go the other way around.

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Robertson, Marla K., and Jennifer M. Smith. "Visuals and Text in Nonfiction: A Process for Nonfiction Author Studies." Voices from the Middle 28, no. 2 (December 1, 2020): 37–43. http://dx.doi.org/10.58680/vm202031010.

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Jolley, Susan Arpajian. "The Use of Slave Narratives in a High School English Class." English Journal 91, no. 4 (March 1, 2002): 33–38. http://dx.doi.org/10.58680/ej2001890.

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Like most English teachers, Susan Jolley has “spent [her] career teaching fiction and poetry. However, realizing that most people read more nonfiction than fiction in their academic careers and personal lives,” she has “made the effort in recent years to incorporate nonfiction works into every curriculum” she teaches. Jolley feels that “nonfiction connections [like slave narratives] can bring an immediacy and relevance to the study of any novel.”

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30

Baron, Diane. "Teaching the Common Core: Reading, Learning, and Even Arguing across Multiple Texts." Voices from the Middle 21, no. 4 (May 1, 2014): 54–57. http://dx.doi.org/10.58680/vm201425110.

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This article focuses on reading, learning, writing, and talking across multiple texts. Student examples are shared as a teacher navigates her students across multiple texts, including electronic texts. To support students in learning how to read, write, and talk about nonfiction texts, the teacher utilized a text feature bulletin board and had students create a poster centered on a nonfiction topic utilizing text features. Through these experiences, students increased their scientific knowledge as they learned about the construction of nonfiction texts.

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Hesse, Douglas. "The Place of Creative Nonfiction." College English 65, no. 3 (January 1, 2003): 237–41. http://dx.doi.org/10.58680/ce20031285.

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Discusses the topic of creative nonfiction and how it is addressed throughout this special issue. Suggests that how creative nonfiction is placed does have implications for literature and writing, both creative and non.

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32

Stenis, Jenny Foster. "Book Review: Nonfiction in Motion: Connecting Preschoolers with Nonfiction Books through Movement." Reference & User Services Quarterly 56, no. 3 (April 3, 2017): 213. http://dx.doi.org/10.5860/rusq.56n3.213b.

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Nonfiction in Motion: Connecting Preschoolers with Nonfiction Books through Movement by Julie Dietzel-Glair is the author’s companion volume to Books in Motion: Connecting Preschoolers with Books through Art, Games, Movement, Music, Playacting, and Props (ALA 2013). Dietzel-Glair has given librarians everywhere a unique and important storytime resource. With the increase of the use of nonfiction or information reading in the Common Core and other curriculum standards, it is important that librarians develop storytime customers’ love for this type of material as well as for literature. Michael Sullivan has been reminding us for more than a decade that boys approach reading differently from girls, and this includes reading for information. Now it is time for us to use this knowledge to serve all the children in our storytimes. Nonfiction in Motion is the tool to get you started.

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Root, Robert L. "Naming Nonfiction (A Polyptych)." College English 65, no. 3 (January 2003): 242. http://dx.doi.org/10.2307/3594256.

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34

Spagna, Ana Maria. "Nonfiction: Hope Without Hope." Ecotone 10, no. 2 (2015): 43–54. http://dx.doi.org/10.1353/ect.2015.0009.

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35

Garcia, Jesus, and Sharon L. Pugh. "Children's Nonfiction Multicultural Literature." Equity & Excellence in Education 25, no. 2-4 (January 1991): 151–55. http://dx.doi.org/10.1080/1066568910250224.

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36

Miller, J. "Science Education: Narrative Nonfiction." Science 329, no. 5993 (August 12, 2010): 748. http://dx.doi.org/10.1126/science.329.5993.748-b.

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37

Samli, Ayla. "Anthropology and Creative Nonfiction." Anthropology Now 11, no. 1-2 (May 4, 2019): 14–22. http://dx.doi.org/10.1080/19428200.2019.1647504.

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Richard Terrill. "Character in Creative Nonfiction." Fourth Genre: Explorations in Nonfiction 3, no. 1 (2001): 177–81. http://dx.doi.org/10.1353/fge.2001.0009.

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39

Calderazzo, John, Michael Edward Gorra, Kristen Iversen, and Robert Root. "Roundtable: Research in Nonfiction." Fourth Genre: Explorations in Nonfiction 9, no. 1 (2007): 145–64. http://dx.doi.org/10.1353/fge.2007.0005.

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Kim Barnes, Lisa Knopp, Simone Poirier-Bures, Natalia Rachel Singer, Deborah Tall, and Robert Root. "Roundtable: Place in Nonfiction." Fourth Genre: Explorations in Nonfiction 4, no. 2 (2002): 177–202. http://dx.doi.org/10.1353/fge.2013.0262.

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41

Bittencourt, Ela. "Delineating the Nonfiction Film." Film Quarterly 67, no. 3 (2014): 71–75. http://dx.doi.org/10.1525/fq.2014.67.3.71.

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42

Wilson, Christopher P. "When Noir Meets Nonfiction." Twentieth-Century Literature 61, no. 4 (January 1, 2015): 484–510. http://dx.doi.org/10.1215/0041462x-3343568.

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43

Wrye, Marion. "Nonfiction: A True Story." English Journal 105, no. 4 (March 1, 2016): 17–23. http://dx.doi.org/10.58680/ej201628389.

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Bloom, Lynn Z. "Living to Tell the Tale: The Complicated Ethics of Creative Nonfiction." College English 65, no. 3 (January 1, 2003): 276–89. http://dx.doi.org/10.58680/ce20031288.

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Offers a presentation of creative nonfiction addressing the author’s personal family experiences. Addresses ethical issues involved in creative nonfiction. Describes how she decided to narrate her history and contemplates in depth the artistic choices she made.

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45

Aoki, Elaine, Julie Jensen, Richard M. Kerper, Ruth Nathan, and Karen Pa. "Outstanding Nonfiction Choices for 1998." Language Arts 77, no. 5 (May 1, 2000): 440–50. http://dx.doi.org/10.58680/la2000120.

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Offers brief descriptions of 20 outstanding nonfiction for children, including the 1999 Orbis Pictus Award winner, and four Orbis Pictus honor books as well as a number of other outstanding nonfiction titles dealing mainly with history and biography.

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46

Fisher, Joshua A., and Arnau Gifreu Castells. "The Ethics of Realism as a New Media Language in Immersive Media." Revista FAMECOS 29, no. 1 (July 13, 2022): e43375. http://dx.doi.org/10.15448/1980-3729.2022.1.43375.

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This work explores the ethical and moral limits of practicing realism in immersive nonfiction. To establish these practices, the nonfiction media ecosystem is analyzed from traditional to emerging immersive forms. Four significant forms of nonfiction works are discussed that reflect different ethics of realism: documentary, journalism, education, and cultural heritage. Through the description and presentation of each form, a provisional set of elements, variables, indicators and parameters that impact practices and ethics of realism are presented. These compositional elements can be implemented in the design, development and production of experiences for audiences that respect social, cultural, political, physical, and material realities.

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47

Daniels, Harvey. "Expository Text in Literature Circles." Voices from the Middle 9, no. 4 (May 1, 2002): 7–14. http://dx.doi.org/10.58680/vm20022410.

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Literature study has evolved over the last twenty years and veteran educator Harvey Daniels has helped lead the way. In this Voices from the Middle article he explores the structural differences between fiction and nonfiction and shares several key strategies for captivating readers with nonfiction.

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Colman, Penny. "A New Way to Look at Literature: A Visual Model for Analyzing Fiction and Nonfiction Texts." Language Arts 84, no. 3 (January 1, 2007): 257–68. http://dx.doi.org/10.58680/la20075633.

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This article explores the limited and inconsistent use of nonfiction books in classrooms and offers a visual model for analyzing fiction and nonfiction texts that disrupts the traditional binary of fact and fiction and helps assure that students are exposed to the full range of high-quality literature.

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Kerper, Richard M., Elaine Aoki, Christine Duthie, Julie Jensen, Carolyn Lott, Ruth Nathan, Karen Patricia Smith, and Myra Zarnowski. "Outstanding Nonfiction Choices for 1999." Language Arts 78, no. 2 (November 1, 2000): 177–84. http://dx.doi.org/10.58680/la2000153.

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Presents and discusses the book which won the 2000 Orbis Pictus Award for Outstanding Nonfiction for Children: “Through My Eyes” by Ruby Bridges. Discusses the five Honor books chosen by the award committee, and offers descriptions of 14 other nonfiction books selected as outstanding by the award committee.

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50

Shimek, Courtney. "Recursive readings and reckonings: kindergarteners’ multimodal transactions with a nonfiction picturebook." English Teaching: Practice & Critique 20, no. 2 (February 22, 2021): 149–62. http://dx.doi.org/10.1108/etpc-07-2020-0068.

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Purpose Our world had always been multimodal, but studying how young children enact and embody literacy practices, especially reading, has often been overlooked. The purpose of this study was to examine how young children respond to nonfiction picturebooks in multimodal ways. This paper aims to answer the question: What multimodal resources do readers use to respond to and construct meaning from nonfiction picturebooks? Design/methodology/approach Undergirded by Rosenblatt’s transactional theory of reading and social semiotic multimodality, a 9-min video clip of three boys making sense of one nonfiction picturebook during reading workshop was analyzed using Norris’ approach to multimodal data analysis. This research stemmed from a five-month-long case study of one kindergarten class’s multimodal and collective responses to nonfiction picturebooks. Findings Findings demonstrate how readers use gesture, gaze and proxemics in addition to language to signal agreement with one another, explain new ideas or concepts to one another and incorporate their background knowledge. In addition to reading images, the children learned to read each other. Originality/value This research indicates that reading is inherently multimodal, recursive and complex and provides implications for teachers to reconsider what kinds of responses they prioritize in their classrooms. Additionally, this research establishes the need to better understand how readers respond to nonfiction books and a broader examination of multimodality in the literacy curriculum.

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