WEST VISAYAS STATE UNIVERSITY

Calinog Campus
COLLEGE OF EDUCATION
Calinog, Iloilo

Chapter 1

Introduction of the Study

This chapter is divided into five parts: (1) Background, Theoretical and

Conceptual Framework of the Study, (2) Statement of the Problem and Hypotheses,

(3) Significance of the Study, (4) Definition of Terms, and (5) Delimitation of the

Study.

Part One, The Background, Theoretical, and Conceptual Framework of the

Study, presents the rationale for the choice of the problem and the theoretical

framework which serves as the anchor of the study.

Part Two, Statement of the Problem and Hypothesis, identifies the major and

specific problems and the hypotheses to be stated.

Part Three, Significance of the Study, cites the benefits that might be derived

from the findings of the study.

Part Four, Definition of Terms, presents the conceptual and operational

definitions of the important terms used in the study.

Part Five, Delimitation of the Study, sets the scope and coverage of the

investigation.

Background of the Study

The field of education has been revolutionized and reshaped by technology.

Unexceptionally, language pedagogy has been constantly changing due to

technological development. Nowadays, language learners can easily access literary

texts, novels, short stories, poems or teaching materials. Technological

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developments have changed the form of these elements as well. For instance,

novels are voice recorded by native speakers, so EFL learners can easily download

and access to these electronic versions wherever they want. According to

KledeckaNadera (2001), reading texts can be transformed through computer

software programs, which enable to add sound, graphics, photographs, animations,

video, a direct link and reference to dictionaries for better understanding and

comprehension. These computer technologies make the target language more alive

and concrete (Warschauer & Healey, 1998). Additionally, all of these technologies

advance language learners’ skills such as listening, speaking, reading, writing,

grammar, pronunciation, and vocabulary. In this respect, new forms of teaching

materials lead to new teaching styles in language classrooms. Brown’s research

(2001) reveals that students mostly spend their time at school through listening.

Therefore, language teachers need to provide them with skills and strategies for

effective listening skills.

From ancient times to the present, storytelling has served as a popular

education tool, utilised to pass knowledge from one generation to another. Over the

past few years drastic changes have been experienced in the processes used for

creating stories, the variety of media used to convey the message, and the target

audience. Storytelling, in general, is a powerful pedagogical approach that can be

used to enhance learning outcomes for general, scientific and technical education

(Sharda 2007). Stories have been told as a way of passing on traditions, heritage

and history to future generations. Even today people continue to tell stories through

new digital media tools. A digital story can be viewed as a merger between

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traditional storytelling and the use of multimedia technology (Normann 2011).

Technological advances, such as digital cameras, editing software and authoring

tools, have increased the use of technology in the classroom to help students in

constructing their own knowledge and ideas to present and share them more

effectively (Standley 2003).

The importance of listening skills should not be disregarded by teachers in

language classrooms because it is crucial to develop other language skills and

somehow they are bonded to each other (Hansan, 2000, Rost, 2002, Wolvin &

Coakley, 1997, Smidt & Hegelheimer, 2004). If an example is needed to be given,

better speaking skills can be taught through listening skills because people cannot

communicate face to face unless both types of skills are developed together (Rost,

2002). As Hansan (2000) stated that “listening comprehension provides the right

conditions for language acquisition and development of other language skills”

(p.138).

Learning strategies deal with all aspects of the subject which are learned in

all levels of education and become one of the essential aspect in achieving the

learning objectives, including English proficiency and achievement. One of the

strategies which has attracted many attention for its ability to support the learning

of reading and listening comprehension is digital storytelling. Various studies

display a positive relation between the use of digital storytelling and learners’

comprehension, (Choi, 2012; Bakar, & Zubir, 2014; Slikhord, Gorjian, & Pazhakh,

2013; Royer, & Richard, 2007) on reading comprehension as well as, (Sandarana, &

Kiab, 2013; Ramireaz, & Alonso, 2007; Jafre et al., 2011) on listening

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comprehension. The studies conducted reveal the information to support the

implementation of digital storytelling in the EFL classrooms, especially in aiding the

students’ comprehension development.

Moreover, instructional materials must be properly selected and organized to

give opportunities for children develop their language and proficiency in a playful

and enjoyable context . Such idea correlates with the Department of Education’s

goals which are to emphasize the importance of the learners’ receptive and

productive skills in such a way that viewing must support listening and reading. It is

for this reason that the researchers have selected this problem for study. In this

study the researchers have made an effort to identify the effectiveness digital

storytelling strategy improves the listening comprehension of the students.

Theoretical Framework

i+1 Krashen’s hypothesis

This hypothesis comes from Krashen’s theory (1983) about language

acquisition in which input – what is received as a stimulus- develops intake

enhances learners’ acquisition of a second language when it takes place in a

communicative environment. It is important to bear in mind the Krashen’s definition

about intake"… it is, simply, where language acquisition comes from, that subset of

linguistic input that helps the acquirer acquire language’’. (Krashen, 2002 p 101). It

advocates that intake is what allows both, learners’ acquisition of the target

language and the improvement these people acquire being enrolled in a language

acquisition programme. The mentioned author states that for achieving

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comprehension, learners need to be exposed to understanding input for having

recognition of the elements they are dealing with.

Complementing Krashen’s postulates, Schutz (2014) claims that for input to

become comprehensible some strategies need to be applied. These involve a brief

about the context, clarification from the unknown parts, and use of audiovisual

resources and meaning negotiation. It takes English teachers to generate suitable

conditions for students to achieve a better level of comprehension from the

materials which elicit the foreign language along the classes.

The Conceptual Framework

This study aims to determine the digital storytelling as a strategy in

improving students listening comprehension. It further intends to find out the

students’ listening comprehension performance in pre-test and post-test using

digital storytelling strategy.

Figure 1 shows the speculated relationships among the variables of the study.

Independent Variable Intervening Variable

Dependent Variable

Digital Storytelling
Pre-test in listening Post-test in listening
Strategy as Learning
Comprehension Comprehension
Aid

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Figure 1.The Research Paradigm

Statement of the Problem

Generally, this study is geared to determine the digital storytelling strategy in

improving listening comprehension.

Specifically, it aims to answer the following questions:

1. What is the pre-test performance in listening comprehension of the

respondents before using digital storytelling strategy?

2. What is the post-test performance in listening comprehension of the

respondents after using digital storytelling strategy?

3. Is there a significant difference in the pre-test and post-test performance of

the respondents in listening comprehension using digital storytelling

strategy?

Hypothesis

In view of the foregoing questions, the following null hypothesis will be

advanced:

1. There is no significant difference in the pre-test and post-test performance of

the respondents in listening comprehension.

Definition of Terms

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For better and clear understanding of the study, the following terms

are herein defined conceptually and operationally:

Digital Storytelling. Digital storytelling is defined by The Digital Storytelling

Association, as a “modern expression of the ancient art of storytelling” (The Digital

Storytelling Association 2011).

As used in the study, digital storytelling refers to the intervention to be used in

the study in improving the listening comprehension of the respondents.

Grade Seven Learners. The seventh year of school, when students are 11 to 13

years old (https://www.thefreedictionary.com).

As used in the study, grade seven learners refers to the researchers target

respondents for the study.

Listening Comprehension. Listening comprehension is some process of

comprehension and defining spoken language (Nadig 2013).

As used in the study, listening comprehension refers to the result of the listening

comprehension test given to the respondents.

Pre-test. A pre-test is a test to evaluate the preparedness of the students for

further studies (Meriam-Webster’s Dictionary, 2012).

As used in the study, pre-test refers to the test that will be given to the

respondents prior to the conduct of this study in order to measure their listening

comprehension.

Post-test. Test after instruction: a test administered after a lesson or instruction

to see what has been assimilated (Encarta Dictionaries, 2008).

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As used in the study, post-test refers to the test that will be given to measure

the respondents’ listening comprehension.

Strategy. Strategy is a set of plans or decisions made in an effort to help

organizations achieve their objectives (Miller & Dess 1996).

As used in the study, strategy refers to a plan of action to be used in the study.

Significance of the Study

The information gathered from this investigation may offer valuable

information to the following:

The DepEd.

Principal. It can encourage the teachers to improve teaching and learning

process by implementing Digital Storytelling in the class. It also can be expected to

be useful as additional knowledge, experience, and option on how to improve

students‘ ability if they want to teach English, especially in teaching listening.

The Participants. It can make the participants interested in learning English

that helps them to improve their listening ability by using Digital Storytelling. It also

can give them a lot of learning and knowledge from the stories.

The Present Researchers. As future teachers, these researchers were able to

reap the benefits that the results of this investigation may offer to teachers. In

addition, completing this investigation gave these researchers a profound sense of

satisfaction in having accomplished something as worthwhile as this research work.

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Future Researchers. This research may serve as springboard for other related

investigations. Information that gathered from this study can be valuable reference

materials for other researchers who may be interested in conducting studies

focused on the improving listening comprehension using digital storytelling strategy

and other related fields.

Delimitation of the Study

This study determines the digital storytelling as a strategy in improving

listening comprehension. The respondents were sixty grade seven learners enrolled

for the school year 2021-2022 at Mary Immaculate Academy in Brgy. Libot, Calinog,

Iloilo.

This study will be conducted during the school year 2021-2022. The

respondents were identified through convenience sampling, the research

instrument were composed of a digital storytelling from YouTube, a personal data

sheet, and a researcher-made thirty items identical pre-test and post-test in

listening comprehension. It was designed to suit the purpose of the present

investigation.

The gathered data will be processed and analysed using the following

statistical tools: a) the mean; and b) the t-test. The level of significance is set at

0.05 alpha.

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In view of the foregoing, the generalizations in this investigation will be based

only on the aforementioned variables.

Chapter 2

Review of Related Literature

This chapter contains the preview pertaining to concepts and findings of

previous researchers that are relevant to the present investigation. It is composed

of three parts: (1) Conceptual Literature, (2) Related Studies, (3) Summary.

Part 0ne, Conceptual Literature, presents literatures that are applicable to the

issues about the topic.

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Part Two, Related Studies, features the findings of the researcher’s relevant

about the topic.

Part Three, Summary, present a synthesis of what has been said about the

study.

Conceptual Literature

Definition of Digital Storytelling

According to Ellis and Brewster (in Mujizat, 2016), storytelling technique can

motivate students to develop positive attitudes towards the foreign language and

language learning. In every story, there will be a moral message can be taken,

whether it is negative or positive. The importance of storytelling is about

visualization, so storytelling mentally stimulates students as they naturally begin to

imagine and make sense of the story while they listen.

In recent years, the computer, along with internet and hypermedia

capabilities has become a powerful addition to second and foreign language

teachers‘ resources. Multimedia offers a variety of means to meet the needs of

students with different learning styles and strategies (Sandaran and Kia, 2013). The

use of computer-based multimedia leads to enhanced learning on criteria such as

acquisition of content, development of skills, efficiency of learning and satisfaction

with instruction (Falk et al. in Sandaran and Kia, 2013). As Ramirez and Alonso

(2007), points out, multimedia applications provide a more realistic picture of the

new language. To this end, digital stories are ideal for listening comprehension as

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they incorporate new technologies and are visually interesting, attractive,

interactive and reiterative (Ramirez et al. in Sandaran and Kia, 2013).

Digital Storytelling is a technology application that is well-positioned to take

advantage of user contributed content and to help teachers overcome some of the

obstacles to productively using technology in their classrooms (Robin, 2008). Digital

Storytelling is the modern expression of the ancient art of storytelling. Digital

Storytelling is not a new idea even though the current emphasis on multimedia

technology.

According to Robin (2008), Joe Lambert and the late Dana Atchley helped

create the Digital Storytelling movement in the late 1980s as cofounders of the

Center for Digital Storytelling (CDS), a non-profit, community arts organization in

Berkeley, California. Since the early 1990s, the CDS has provided training and

assistance to people interested in creating and sharing their personal narratives.

Thus, Digital Storytelling emerged in the 1990s as a powerful storytelling tool.

In fact, Robin (2008) states that, ―in the early days of Digital Storytelling,

Lambert was impressed by how easily average people were able to capture their

story in a really powerful way in a relatively short amount of time for a relatively

small amount of money‖. Digital Storytelling is quite a huge field: due to the focus

of this paper, we shall concentrate here on systems that allow authoring multimedia

digital stories rather than passive consumption.

Digital Storytelling is a flexible and adaptable tool which can fit most

purposes and can be used in almost all the subjects being taught (Signes in Hamdi,

2017). Digital stories may be utilized for topics as diverse as demonstrating how to

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construct a pinhole camera, to recounting events from history, to the telling of a

personal life event. In terms of student involvement, groups may collaborate to

produce a single digital story, but this form of storytelling is very well-suited to

individuals.

Digital Storytelling Association (2002) describes Digital Storytelling as giving

new expression to old forms of storytelling in a modern way. In traditional

storytelling, the storyteller controls all elements of the story, such as narration,

movements, sound effects etc, and the story itself might differ in terms of length

and originality depending on the memory of the story teller. In comparison, digital

stories might include animation, moving pictures, graphic etc. that are combined

with soundtrack, audio and images that bring the story alive. Therefore, both

traditional storytelling and Digital Storytelling are important in teaching and

learning.

Today, new generation storytelling starts with Digital Storytelling which

integrates pictures, music and audio through computers (Hett in Yamaç and Ulusoy,

2017). Digital Storytelling is a process that blends media to enrich and develop

spoken language. According to Robin (in Yamaç and Ulusoy, 2017), the common

definition focuses on the blend of storytelling with multimedia elements such as

pictures, audios and videos.

The term Digital Storytelling refers to the use of technical tools to manipulate

images, music, sound, graphics and the author‘s voice to express and explore the

author‘s artistic expression (Porter in Yamaç and Ulusoy, 2017). Thus, all digital

stories combine digital graphics, audios, videos and music to present information,

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and they have a certain theme and viewpoint as in the traditional stories. However,

Digital Storytelling has more potential to facilitate teaching and learning process.

Digital Storytelling in Education

Digital storytelling has been used in a variety of learning activities in

education. For instance, it can be implemented in the curriculum as a medium of

instruction applied by the teachers, or as the tools created by the students. Some

educators may prefer the first mentioned and show them to their students as a way

to present new material.

In this research, digital storytelling refers to the medium of instruction which

is used by the teacher in the classroom. Burmark (2004) finds that integrating visual

images with written text enhances and accelerates student comprehension. Digital

storytelling is an especially good technology tool for collecting, creating, analyzing,

and combining visual images with written text. Digital storytelling is a flexible and

adaptable tool which can fit most purposes and can be used in almost all the

subjects being taught (Signes, 2007). Its flexibility comes from the fact that it can

be create by a range of tools from the simplest to more complicated ones

depending on the purpose of the activity.

Robin (2008) implies that in education, digital storytelling is a medium to

connect and to collaborate teachers and students. It helps them harness the power

of voice and imagery by using technology that is relevant to the way of the modern

live. It can be used not only as an anticipatory set or hook to capture the attention

of students and increasing their interest in exploring new ideas, but also as a way to

enhance current lessons within a larger unit, as a way to facilitate discussion about

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the topics presented, and as a way to make abstract or conceptual content more

understandable. He adds by elaborating that digital storytelling allows students and

teachers not only to help them to cultivate the ability to cooperate with others, but

also to foster the information gathering and problem-solving skills.

Definition of listening

According to Howatt and Dankin in Assaf (2015) listening is a basic of

language skill and ability to identify and understand what the speakers say. The

listening process includes understanding what the speakers mean by the accent,

grammar, and vocabulary. It is not a simple thing because it is an important

medium of information gathering in daily life (Sari et al., 2013). People spend most

of their communication time in listening because listening plays an important role in

communication, being a language skill that most frequently used, and as a primary

medium of learning at all of education.

Listening is very important skill in second and foreign language study

because it is a skill that looks like passive activity but it is not. It is not only listening

to what the speaker says but the listener also processes what he/she has listened to

the speaker (Adawiyah, 2017). By listening, the listeners can process information

which they have listened before conducting speaking and writing. The listeners at

least do five elements inside the process of hearing, attending, understanding,

responding, and remembering to process the information (Stewart in Adawiyah,

2017).

Helgesen in Permatasari (2013) states that listening is an active, purposeful

process of making sense of what we hear. More often we hear, more we can

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understand something. Regarding that citation, listening is receptive, it is very

active because listeners can think and understand things at higher levels than what

they have heard. The process of listening is not only what they hear but also

connect and understand with the information that they have already known.

Rost in Permatasari (2013) defines listening as a process of receiving what

the speaker actually says; constructing and representing meaning; negotiating

meaning with the speaker and responding; and, creating meaning through

involvement, imagination and empathy. So, it can be told that listening is an active

mental ability because it helps the listener to understand the meaning of what the

speaker says and gains the information easily that informed by the speaker.

Rivers in Hasyuni (2006: 8) states that listening is a creative skill. It means

we comprehend the sound falling on our ears, and take the raw material of words,

arrangements of words, and the rise and fall the voice, and from this material we

create significance. It also helps us to understand the other languages by doing an

effort and practice in order to make communication successful.

Based on the definitions above, it can be concluded that listening is basic skill

as a creative skill that has purposeful process of receiving what speaker says by

understanding the speakers‘ meaning by the accent, pronunciation, and vocabulary.

Listening also is being the first skill that we have got when we are born.

Listening Ability

Rost in Permatasari (2013), listening ability is the ability in receiving

messages, constructing meaning, responding the utterances of the speakers in

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various ways depending on the purpose of communication. It needs to be attentive

in order to get the messages of the

talk. Tyagi (2013), listening ability is an important ability in understanding, paying

attention, analyzing, and evaluating the messages for someone or something in

order the communication with the others easily and running well. It develops before

a child speaks.

Hidayat in Solihat and Utami (2014) argues that listening ability is also

important to be mastered for its benefit in building a good communication. In

building a good communication with others, individuals have to understand the

meaning of the messages conveyed by their partners when they have a

conversation. In comprehending the message conveyed by others, listening ability

is needed.

In another article said that listening ability is the ability to understand and

distinguish all sounds in the language and discriminate between them and similar

sounds in the native language. It uses human sense, ears, as the first part to

entrance the information in audio form before it comes to human brain.

Using Digital Stories to Teach Listening Comprehension

A good way to introduce new language is through stories. Stories help

present and contextualize new language especially to make it meaningful and

memorable for younger learners (Wright, 2008). Wright (2008) affirms that stories

help children become aware of the general feel and sound of the foreign language.

Every feature of the language such as linguistic items, grammar, vocabulary,

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sentence construction, etc can be presented through stories (Koisawalia, 2005;

Glazer and Burke, 1994). Others have also reported on the multitude of benefits of

stories for language acquisition, especially for younger learners. Stories and tales

help children develop listening comprehension and literacy (Dickinson, 2001). As

stories engage the listeners through feelings, memories, values and perceptions,

this enhances general

comprehension (Ramirez & Alonso, 2007). While stories enhance listening

comprehension and acquisition of the target language, methods that incorporate a

combination of both auditory and visual elements, such as digital stories, have been

affirmed as being more effective.

Digital stories are the new version of storytelling. The Digital Storytelling

Association (2002) describes digital storytelling as giving new expression to old

forms of storytelling in a modern way. In traditional storytelling, the storyteller

controls the narration, movements, sound effects etc., and the story itself might

differ in terms of length and originality depending on the memory of the story teller.

In comparison, digital stories might include animation, moving pictures, graphic etc.

that are combined with soundtrack, audio and images that bring the story alive.

Digital storytelling, therefore, has the potential to facilitate teaching and learning in

the classroom. At the same time, it provides a creative and open-ended

environment (Sadik, 2008). In relation to theoretical research, Barrett (2006) affirms

that digital storytelling facilitates the union of four student-centered learning

strategies: student engagement, reflection for deep learning, project- based

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learning, and the effective integration of technology into instruction. Additionally,

Jonassen and Hernandez-Serrano (2002) illustrate three ways in which students can

learn via digital stories. First, digital stories could be used as visual and conceptual

examples of concepts/principles being taught via direct instruction. Second, they

can be used as problem cases that need to be solved by students. Thirdly, stories

can be used as personal advice for students in how they approach problem solving.

Digital storytelling have been commonly used in teaching history, arts, or

humanities (Combs and Beach, 1994), in recent years, it has gained importance in

the teaching of sciences and mathematics. For example, Schiro (2004) used using

digital storytelling to teach algorithms and problem solving, and found that the

material skills which the students needed to learn could be presented within a more

interesting and engaging context. This made the lesson more meaningful for the

students. In a study designed to determine the effects of using digital stories across

the entire curriculum, (Social Studies, Mathematics, Reading, Writing and Science)

Sadik (2008) found that the digital program Photo Story made it easy for students to

become involved and active participants, thus becoming autonomous learners who

take responsibility for their own learning. The value of digital stories in education

has been studied repeatedly with qualitative reports demonstrating a positive

learning experience and an improved teaching process. Researchers have found

that digital stories are a powerful tool in language education that improves the level

of learning in all fours skills, i.e. reading, writing, speaking and listening (Tsou et al.,

2006, Gregori-Signs, 2008).

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Mello (2001) who exposed her subjects to bimonthly storytelling sessions

over the course of a full nine month school year, based on the information provided

by the students during the multitude of interviews conducted by the researcher

found that in general, students found storytelling to be enjoyable, entertaining and

interesting, they appeared to place more emphasis on how the story was told. Mello

explains that the students were reacting on a much deeper level that revealed a

more reflective and critical analysis of the information inherent in the story.

Additionally, students began reacting on a much more emotional level by linking

their emotional responses with their thinking or cognitive abilities. Mello’s study also

found that students were able to connect with the visual imagery where they

revealed immersion in the story itself. They also could link new information to

previously learned knowledge. Mello reports that students displayed evidence of

transformational connections as they learned more about themselves and others. In

general, the students showed improved overall learning comprehension, listening

skills and improved interactions with other classmates and adults (Mello, 2001).

Mello's findings relate to the Reflective Learning through Storytelling Model

presented by McDrury and Alterio (2003) that students progress from their initial

reactions towards making deeper understandings and personal associations as they

reflectively engage in critical analysis, this leads to change in behaviours or

knowledge about themselves and others. Similarly, the brain-based learning

theories support these findings that digital stories enable students to be more at

ease in their classrooms (relaxed alertness), and the level of immersion in course

content creates active visual imagery. Thus, the active processing of the stories by

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the students results in various levels of self-reflection, transformation. This leads to

improved overall learning of the material being taught. Both traditional storytelling

and digital storytelling are important in teaching and learning. However, researches

show that that it is digital stories that is more effective in improving listening

comprehension when compared to the traditional method of storytelling.

Related Studies

Use of Audiovisual resources

Contemporary children present a kinesthetic visual cognitive style according

to the multiple intelligences Gardner’s theory (1983) in this sense Jewit & Kress

(2003) assert that young learners create knowledge by interacting with different

types of text such as visual, oral and somatic. Videos and images are resources that

provide visual input, these are a suitable complement for the auditory texts due to

these permit students’ comprehension. It suggests that materials which are related

to students’ cognitive characteristics enhance both language learning and

motivation.

Regarding to the use of videos in the EFL classroom, Mamun (2014) quoting

to Çakir (2006) claims that “ the use of video in language teaching ensures

authentic language input to the learners’’ (Mamun, 2014 p. 11). On one hand, these

audiovisual materials are a support to the auditory texts due to these permit that

students appreciate through animated images the actions that occur. On the other

hand, the language learning process is more dynamic and reduces students’ anxiety

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because this activity of listening and watching videos is similar to their everyday

practices.

In addition to the use of image and video as a possibilities for providing

comprehensible input to young learners, in this research project, the digital

storytelling is the way, fables and tales are presented to children. Hronova (2011)

defines this concept as the adherence of video and audio recording to narratives.

This combination of children stories and technology attends to children cognitive

style –visual and Kinesthetic. It enhances motivation due to is more fun for young

learners to appreciate a video in a TV or a video beam than listening to the

teacher’s reading aloud. These two reasons become meaning and innovative the act

of listening to stories.

The Elements of Digital Storytelling

Lambert in Robin (2008) identifies seven elements of Digital Storytelling that

are being critical components to effective digital stories which are often cited as a

useful time to start working by using digital stories. The first element is point of

view. It outlines the point of the

story and the perspective from which the story is told for a specific purpose. Next, a

dramatic question is a key question that keeps the viewer‘s attention and will be

answered by the end of the story. It sets the tension of the story by identifying

issues to be resolved. Next, emotional content is serious issues that come alive in a

personal and powerful way and connects the story to the audience. It engages the

audience through common emotions and themes.

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Next, the gift of your voice is a way to personalize the story to help the

audience understand the meaning of image and context of the story. Next, the

power of the soundtrack is music or other sounds that support and embellish the

storyline, and convey emotion. It sets the mood of the story. Next, economy

balances the auditory and visual tracks of meaning. It uses just the necessary

elements to tell the story without overloading the viewer. Last, pacing sustains the

attention of the audience by establishing and modifying the rhythm of the story. It

controls how slowly or quickly it progresses.

The Benefits of Digital Storytelling

Based on the study conducted by Jenkins and Lonsdale (2007) on higher

institution students‘ community, Digital Storytelling is capable to inspire deep and

reflective learning. By constructing digital stories, it acts as a platform for students

to connect with others thought process by giving and receiving critiques. The

critiques received and given would stimulate the possibility of occurrences of

reflective learning among peers. Through the critiques on the stories, students

understanding is no longer implicit and they can reflect selves and others

understanding better.

Robin (2008) sees the benefits of using Digital Storytelling in classroom from

both perspectives between the educator and the students. He stated that Digital

Storytelling can be an effective instructional tool by educators and an effective

learning tool for the students. Teachers can use a multimedia with digital story at

the beginning of class to serve as an anticipatory set in order to know the students‘

attention and interest in the class.

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Lowenthal in Bin Harun (2009) enlist a couple of benefits of Digital

Storytelling in education which some of them are redundant with Robin‘s, Jenkin‘s

and Lonsdale‘s. Firstly, he states that by including multimedia in storytelling,

teachers can expand students‘ engagement in class. Students in twenty first

century generation are exposed to technology and digital media. Therefore, it is a

good way to engage students in learning process using Digital Storytelling.

Secondly, students‘ digital stories will not only reach in the local classroom but also

to the global audience with the available online technology. This is one of the

strengths of Digital Storytelling. It can be accessed wherever and whenever they

are.

One may start by examining the concept of story when considering Digital

Storytelling. It is clear that stories have great power. Many adults can still name

their favorite bed time story or recall the name of a great storyteller from their lives.

Additionally, we share our personal stories with each other through letters, phone

conversations, instant messaging and emails. For children, storytelling and dialogue

are an essential component of their early lives. Not only does storytelling introduce

children to the initial stages of communication and literacy, it also helps them to

―share experiences and feelings in an engaging and entertaining way (Huffaker,

2004).

Sadik (2008) says that the fact of Digital Storytelling offers many potential

learning benefits, including increased student motivation, makes it an ideal strategy

to consider utilizing for the telling of personal stories. For example, many teachers

find that motivating students to produce quality pieces of writing in any subject

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area can be quite difficult. When teaching full-time, he found that each of his

classes contained a handful of students who truly enjoyed writing and were

intrinsically motivated to produce quality pieces. However, just as great a number

of his students were unenthusiastic about putting the students‘ best efforts into

writing projects. Digital Storytelling can decrease many of these issues because it

gives the opportunity to personalize a story that already has deep individual

meaning, data suggest that this strategy is motivating and productive for many

students.

Therefore, the other benefits of Digital Storytelling have been categorised

into themes. These themes are that Digital Storytelling has the potential to support

learner centred activities, promotes the acquisition of multiple skills in learners,

encourages voice/self-expression, motivates and engages learners, encourages

deep reflection, and encourages collaboration.

The other benefits of Digital Storytelling for all students: studies have found

that utilizing Digital Storytelling not only helps to bridge disconnect between the

high-tech world outside of school and the traditionally low-tech school setting, but

also provides a number of benefits to students that could not be as well achieved

through traditional storytelling (Ohler in Smeda et al., 2014). These benefits include

increasing motivation in students, especially struggling readers and writers, and

allowing for personalization of the learning experience.

Additionally, students gain experience with reading for depth and

understanding, and may become more proficient at the technical aspects of

language. Ohler in Smeda et al. (2014) posits that being able to read new media,

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including digital stories is not just a matter of literacy, it is also a matter of survival

in that the sort of critical thinking required to read new text is essential for success

in the workplace where employees are often required to obtain new information by

searching multimedia environment.

Types of Listening

Tyagi (2013) divides the types of listening based on objective and manner in

which the listener takes and respond to the process of listening. There are some

types of listening which can be known if somebody wants to learn listening.

According to Tyagi in Feueacmrq (2013), the types of listening are first, appreciative

listening is listening for pleasure and enjoyment. It is looking for ways to accept and

appreciate the other person through what they say. It is also seeking opportunity to

praise, such as listening to music.

The second, critical listening is listening in order to evaluate a message of

purposes what the speaker says, criticize or otherwise pass judgment on what

someone else says based on your evaluation. It focuses on evaluating whether the

messages are logical and reasonable or not. The third, active listening is listening in

a way that demonstrates interest and encourages continued speaking. It is probably

the most important listening skill because it combines the skills of listening and

responding the speaker‘s comments, giving the speaker your personal opinion or

advice, or drawing the ownership of the conversation away from the speaker.

The fourth, discriminative listening is the most basic form listening. It is type

of listening for something specific but nothing else. It means that it does not involve

the understanding of the words or phrases meaning but only the different sounds

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that are produced. The last, this type has similar with discriminative listening. That

also is the fundamental to all sub types, but the difference is comprehension

listening involves understanding and seeking meaning of the messages that are

being communicated.

Components of Listening

Chastain in Ahmadi (2016) states that listening ability is divided into some

components. The first is understanding whole messages that is delivered by the

speaker. Understanding messages depend on comprehension of the meaning and

move from one comprehends in the sounds sequence when the meaning is not

understandable.

The second is to hold that message in one‘s auditory memory until it can be

processed. Teachers should know that the learners hear other language as much as

possible in order to develop their auditory memory. It means most of the class time

should be carried out in the language learning. The speed of presentation and

difficulty level of the content must be adjusted to the learners in order the language

activities that are understandable can increase auditory memory. The significant

point here is improvement the idea from the simpler to the more difficult sentences

should be slow and continuous.

The third is comprehension that involves in different types. The steps are

establishing the context, activating the message that related with background

knowledge to anticipate the general content, to sample the important meaning of

the material, and using the samples to confirm or reject before made anticipations.

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Factors Affecting Listening

There are some factors that affecting the listener‘s ability to listen to different

language because the listeners sometimes have difficulties in facing other

language, like English. Bloomfield et al. in Adawiyah (2017) divides some factors

affecting listening. First, the characteristic of listener that is included the working of

listener‘s memory, strategy, experience, and anxiety. Second, the characteristic of

material that is to be listened. It is relating to the length, complexity, organization,

and auditory of the material. Third, the characteristic of the testing condition that is

include of the limit time when doing the test.

While, Norflee (2014) has the other factors that affecting listening. First, the

listener can improve their listening ability when they are interested to the topic. If

the listeners are interested in the topic it will make them easier to listen to the topic

that the speaker delivers. The listeners also can bring the topic discussion with

relating lesson those are familiar with to make them easy to understand the lesson.

Next, speaking style means the manners in which people speak have an

effect on listening. It may be difficult to keep up and understand the lesson if you

use the fast rate speech in improving your listening ability. It will be better if you

use the slow rate and speaking distinctly in order to focus on the content of the

lesson.

Last, visual input means that the listener can be supported to listen to new

information by the aid of listening, for example watching movies. It will help the

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listener who has poor listening ability to know and understand the new information

by watching.

Using Multimedia Technologies for Language Learning

Multimedia computers have been used extensively to teach target languages

in non-target language speaking regions (Amaral and Meurus, 2011; Liaw, 2007;

Lim and Shen, 2006). The use of multimedia has many advantages for learners,

particularly in activities consisting of listening comprehension. It is more directed

towards student-centred learning which allows students to be more collaborative

and interactive in the classroom. The use of technology resources enhances

learning and is viewed as one of the best approaches to help increase students’

competence in their learning process.

Teachers have always made efforts to raise students’ interest and attention

by using pictures, realia and gestures to convey meaning to what is taught. In

recent years, the computer, along with internet and hypermedia capabilities has

become a powerful addition to second and foreign language teachers’ resources.

Multimedia offers a variety of means to meet the needs of students with different

learning styles and strategies. The use of computer-based multimedia leads to

enhanced learning on criteria such as acquisition of content, development of skills,

efficiency of learning and satisfaction with instruction (Falk and Carlson, 1991). The

success of the use of multimedia for language learning is explained by Mayer’s

(2001) Cognitive Theory of Multimedia Learning.

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Mayer (2001) explains that multimedia learning involves two modes of

matching representations of information which may be processed via two separate

channels, namely, the auditory and visual channels. The two modes and the dual

channels of auditory and visual involve three theoretical basis, such as dual

channel, limited capacity and most importantly, active processing. AlShehri and

Gitsaki (2010) state that active processing enables the individual to select the most

relevant information as input during information processing, followed by the

integration of that information with prior knowledge. Within the language learning

context, this means that if L2 learners are challenged by the listening content they

are exposed to, they may choose to attend to the available visual cues. In this way,

the presented language becomes more easily understood, and more relevant. In

this way, both the audio and visual stimuli enhance and enable the learning of the

language.

Studies show second language learners have high levels of anxiety and thus

face difficulties when it comes to listening comprehension (Graham, 2006; Hedge

2006). And one way of alleviating anxiety during listening is through the use of

visual materials (e.g. Chung, 2002). This affirms that listening comprehension is

enhanced when accompanied with visual cues especially via multimedia

technology. As Ramirez and Alonso (2007), pointed out, multimedia applications

provide a more realistic picture of the new language. To this end, digital stories are

ideal for listening comprehension as they incorporate new technologies and are

visually interesting, attractive, interactive and reiterative (Ramirez, Allonso and

Chung, 2002).

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Summary

Humans are “storytelling organisms who, individually and collectively, lead

storied lives… and tell stories of those lives” (Connelly & Clandinin, 1990, p. 2).

Stories contain accumulated experiences; for this reason, they are one of the

platforms for humans to make sense of the world around them. A story is a way of

constructing and representing knowledge and experience sociohistorically situated

in a particular social context (Lee, 2015). In the context of child language learning,

children learn language through reading or listening to stories (Loukia, 2006). From

a social semiotic perspective (Halliday, 1978), children are active meaning makers

who engage with the construction of knowledge with their playmates, siblings, and

adults. As active meaning makers, children grow as they receive language

affordances and interact with others in order to (re)construct stories, which

represent their knowledge and experience. Naturally, children live with a myriad of

stories as they participate in different social practices in varied social settings (e.g.,

at play, at school, on the farm).

The emergence of Web 2.0 technology has revolutionized the ways one

learns a foreign language and afforded myriad opportunities to explore functional

use of a target language (TL) and use this language within classrooms and beyond.

With this technology, both language learners and language practitioners can

optimize use of TL beyond the classroom walls (Lee, 2014). From a social

constructivist perspective (Vygotsky, 1978), technology-enhanced language

learning (TELL) allows both teachers and learners to construct, share, and build

language knowledge and content knowledge together. Lee (2011) argues that TELL

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can be a catalyst for learner autonomy because students are involved in decision

making and problem solving within a virtual language learning community.

Affectively, learners feel less anxious and more confident in expressing themselves

than with face-to face interaction. Many young learners may be reluctant to speak

in front of their classmates, particularly in a foreign language because this can be

extremely face-threatening. For this reason, one form of TELL, digital storytelling,

can minimize this threat.

Digital stories are one type of multimodal narrative genre, which is created

with a blend of different elements: visual, text, audio, and video (Vinogradova,

Linville, & Bickel, 2011). Digital storytelling has gained popularity as instructional

methodology in the educational landscape, including second and foreign language

learning because socially it can allow learners to share and exchange personal

narratives and accounts of historical events and discussions of a wide range of

topics. In the creation of digital stories, learners have the opportunity to use

multiple skills, such as searching (navigating and viewing) and organizing

information (knowledge building); writing a script (text construction); weaving

together voice, images, and music; and publishing a finished version online. Digital

storytelling is a multidimensional skill, which requires learners to be literate in

technology, interact with a variety of texts, and to make meaning digitally (Burnett,

2010). With this in mind, students can build and enhance critical thinking (e.g.,

collecting, evaluating, and synthesizing information), collaborative creativity (e.g.,

the blend of audio, video, and animation), problem solving (e.g., identifying and

solving problems), and multiliteracies (e.g., technological literacy, genre literacy,

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and information literacy). Some empirical studies show that digital storytelling

enhances learner-centered learning and build a learner community of practice.

Equally important, when working on digital storytelling, learners engage in “the

story making and sharing process” (Lee, 2014, p. 339). This social engagement

creates a supportive learner-centered learning environment.

Chapter 3

Research Design and Methodology

This chapter three contains of three parts: 1) Purpose of the Study and

Research Design, 2) Method, and 3) Data Analysis Procedure.

Part One, Purpose of the Study and Research Design, restates the purpose of

the study and describes the research design and variables that will be used in the

research.

Part Two, Method, describes the participants, the data gathering materials,

and the research procedure that will be employed.

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Part Three, Data Analysis Procedure, reports on the procedure for scoring and

the statistical analyses that will be used to test the hypothesis.

Purpose of the Study and Research Design

This study, which will be conducted during the school year 2021-2022, aims

to determine the digital storytelling strategy in improving listening comprehension.

It further seeks to determine the pre-test and post-test performance of students in

listening comprehension when using digital storytelling strategy.

According to Lewin (2012), action research is “a comparative research on the

conditions and effects of various forms of social action and research leading to

social action”; this type of research uses “a spiral step,” each of which is

“composed of a circle of planning, action and fact-finding about the result of the

action”.

Method

The Respondents

The respondents in this investigation are 30 grade seven students enrolled at

Mary Immaculate Academy during the school year 2021-2022. According to

Fraenkel and Wallen (2003), a sample size of 30 respondents is sufficient for an

experimental (quasi-experimental) research. The respondents will be identified

through convenience sampling.

Table 1 shows the respondents which are 30 grade seven students (100.00).

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Table 1

Profile of the Respondents

Categories Frequency Percentage

Entire Group 30 100.00

Year level

Grade Seven 30 100.00

The Research Instrument

The research instrument of this study are digital storytelling from YouTube

entitled: 1) Hansel and Gretel, 2) The Ugly Duckling and 3) Jack and the Beanstalk.

The questionnaires were composed of two parts: personal data sheet, a researcher-

made multiple choice tests based on the digital storytelling that they listened and

watch. It is designed for the purpose of this investigation.

The personal data sheet is designed to elicit information regarding the

respondent’s name (optional), and sex.

The researcher-made multiple choice tests contains 30 items multiple choice

questions relevant to the digital storytelling that they will watched and listened to.

On the other hand, this questionnaire about listening comprehension will be

subjected for content and face validation to a panel of experts prior to the conduct

of the study.

For answers, the respondents will be requested to choose the correct letter

that corresponds to the given questions.

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The Data Gathering Procedure

After the pre-oral defense the researchers will secure a permission to conduct

the study from the campus administrator, from the dean of instruction, and from the

dean of the college of education of WVSU-CC a similar permission will be secured

from the principal of Mary Immaculate Academy.

Data collection is the most important thing because it determines the result

of the research. The researcher used listening test in collecting data as the primary

instrument. The procedures of collecting the data are as follows:

1. Pre-test

The researcher will give a pre-test before giving treatment to the students.

The test consists of 30 items which will be related to the digital storytelling. The aim

of this pre-test is to know the students‘ prior knowledge in listening.

2. Post test

The researcher will give post-test to the students in the last meeting. The aim

of this post-test is to find out the result of treatments if there is an improvement or

non to students‘ listening ability by comparing pre-test and post-test.

Statistical Data Analysis Procedure

The raw data will be processed and analysed using the mean and the t-test.

The Mean. This will be used as an indicator in describing the respondents’

pre-test and post-test performance in listening comprehension.

The t-test. This will be used to determine the significance of the differences

between pre-test and post-test performance in listening comprehension of the

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respondents. The level of significance was set as 0.05. all of the computation were

perform using Statistical Package for the Social Sciences Software (SPSS).

The following scale will be used to interpret the means obtained:

Mean Description

24.01 – 30.00 Very High

18.01 – 24.00 High

12.01 - 18.00 Average

6.01 – 12.00 Low

0.00 – 6.00 Very Low

References

Seyed, J., & Masoud, Q. (2014). Digital Storytelling in EFL Classrooms: The Effect on
the Oral

Performance. Retrieved June 9, 2021 from

file:///D:/10.11648.j.ijll.20140204.12.pdf

Handoyo, P. (2016). Engaging young learners of English in a genre-based digital

storytelling

project. Retrieved June 9, 2021 from 2021 from

file:///D:/2015-16_Widodo_CUP_TRP_final_report.pdf

Sandaran, S., & Lim C. (2013). The Use of Digital Stories for Listening
Comprehension among

Primary Chinese Medium School Pupils: Some Preliminary Findings. Retrieved

June 9,

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2021 from file:///D:/2358-5579-1-SM.pdf

Juvrianto, C., Atmowardoyo, H., & Sukardi, W. (2018). The Use of Digital Storytelling
in Teaching Listening

Comprehension: An Experimental Study on the Eighth Grade Students of SMP

Negeri 4

Parepare. Retrieved June 9, 2021 from file:///D:/5763-13883-1-PB.pdf

Nurjanah, S. (2019). Using Digital Storytelling to Improve Students’ Listening Ability.

Retrieved

June 9, 2021 from file:///D:/8562-Full_Text.pdf

Loniza, A., Saad, A., & Mustafa, A. (2018). The Effectiveness Of Digital Storytelling
On

Language Listening Comprehension of Kindergarten Pupils. Retrieved June 9,

2021 from

file:///D:/10618ijma11.pdf

Smeda, N., Dakich, E., & Nalin, S. (2014). The Effectiveness of Digital Storytelling in
the

Classroom: A Comprehensive Study. Retrieved June 9, 2021 from

file:///D:/81542489.pdf

Verdugo, D., & Belmonte, I. (2007). Using Digital Stories to Improve Listening
Comprehension

With Spanish Young Learners of English. Retrieved June 9, 2021 from

file:///D:/84321084.pdf

Banaszewski, T. (2005). Digital Storytelling: Supporting Digital Literacy in Grades 4 –

12.

Retrieved June 9, 2021 from

file:///D:/banaszewski_thomas_m_200505_mast.pdf

Ciğerci, F., & Gultekin, M. (2017). Use of digital stories to develop listening
comprehension

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skills. Retrieved June 9, 2021 from file:///D:/cigerci.pdf

Köroğlu, Z. (2020). Effects of Digital Short Stories on the Development of Listening

Skills: An

Action Research. Retrieved June 9, 2021 from file:///D:/EJ1262690-1.pdf

Hamdy, M. (2017). The Effect of Using Digital Storytelling on Students’ Reading

Comprehension

and Listening Comprehension. Retrieved June 9, 2021 from

file:///D:/Hamdy%20(2017)%20JEALT.pdf

Acevedo, N. (2017). Digital Storytelling and Top down Strategies for Enhancing
Listening

Comprehension Skills. Retrieved June 9, 2021 fromfile:///D:/TE-21109.pdf

Altawil, A. (2019). Exploring how digital media technologies can foster Saudi EFL
students’

English language learning. Retrieved June 9, 2021 from

file:///D:/Thesis_ALTAWIL_A_SignatureRedacted%20-%20Copy.pdf

Belmonte, M. (2007). Using digital stories to improve listening comprehension with

Spanish

young learners of English. Retrieved June 9, 2021 from

file:///D:/Using_digital_stories_to_improve_listening_compreh%20-
%20Copy.pdf

Syafi, M. (2018) Using Online Short Stories to Improve the Reading Comprehension
Ability.

Retrieved July 9, 2021 from

file:///D:/Using_Online_Short_Stories_to_Improve_the_Reading_%20-
%20Copy.pdf

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Appendices

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Appendix A

The Research Instrument

Pre-Test

I. Personal Data Sheet

Name (Optional): _____________________________________________ Date: ____________

Male: ( ) Female: ( ) Score: ____________

II. Examination Proper

Direction: Encircle the letter of the correct answer.

Items 1 - 10. From the story “The Ugly Duckling”

1. How many eggs does the mama duckling have?

A. 5 B. 6 C. 7 D. 4

2. Why did the yellow ducklings doesn’t want to play with the ugly duckling?

A. Because he is ugly C. Because he is not ugly

B. Because he doesn’t know how to play D. Because he is sad

3. Why did the dog doesn’t want to eat the ugly duckling?

A. Because he is frozen C. Because mama dog came to scold

him

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B. Because he flew away D. Because he is ugly

4. Who caught the ugly duckling?

A. Farmer B. A white bird C. Mama duck D. The

old woman

5. What animal is this story about?

A. Ducks B. Dogs C. Chickens D. Lions

6. What did the other animals do when they saw the ugly duckling?

A. Cry B. Laugh C. Eat D. Lonely

7. How did this make the ugly duckling feel?

A. Sad B. Mad C. Happy D. Great

8. The ugly duckling decided to do what?

A. Stay with the other ducks C. Go find someone who would

accept him

B. Go to sleep D. Becomes angry

9. The ugly duckling saw his reflection in the water. Who was in the reflection?

A. His mama C. He saw himself and he was

beautiful B. A dog D. A human

10. He was not an ugly duckling at all. He was a beautiful _________.

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A. Swan C. Pig

B. Cow D. Goat

Items 11 - 15. From the story “Jack and the Beanstalk”

11. What was the cow’s name?

A. Maybelle C. Milky White

B. Babe D. Whitey

12. When Jack shows his mother the magic beans, she is

A. scared of Jack C. angry with Jack

B. proud of Jack D. happy with Jack

13. When Jack told his mother he had exchanged Milky White for the beans, Jack’s

mother was so angry she threw the beans out of the window and into the garden.

What was the result?

A. Jack had to search for the beans the next day.

B. A great beanstalk grew in the garden.

C. The butcher came back to get his beans.

D. A beautiful flower grew.

14. What is the ogre doing each time Jack steals from him?

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A. He is sleeping C. He is shouting

B. He is reading D. He is singing

15. Jack probably does not hide in the oven on his third visit to the ogre’s house

because

A. he thinks another boy is hiding in the oven.

B. he knows the ogre’s wife will look for him in the oven.

C. he cannot get to the oven in the time.

D. there is no more oven in his third visit to the ogre’s wife.

16. Which of these things happens on Jack’s second trip up the beanstalk?

A. Jack steals the golden hen.

B. Jack steals the golden harp.

C. Jack steals the bag of gold.

D. Jack steals the ogre’s wife.

17. This story is mostly about

A. an ogre who eats little boys and grows fat.

B. a boy who gets rich by tricking an ogre.

C. a mother who learns to trust her son.

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D. a cow who jack sells to an old man

18. Jack’s decision to exchange Milky White for the beans was a wise one. What

evidence from the text best support this conclusion?

A. After first climbing the beanstalk that grew from the beans, Jack met the

maiden who

informed him of his family secret.

B. Jack greatly upset his mother when she learned Jack exchanged Milky

White for the

beans.

C. The beanstalk that grew from the beans allowed Jack to reach the castle.

D. As a result, Jack was able to take things that belonged to him from the

giant and

become rich.

19. Who tells Jack to sells the cow?

A. His mom C. His brother

B. His dad D. His sister

20. Why are they selling the cow?

A. To get more money C. To get rid of the cow

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B. To become rich D. Because the cow is unhealthy

Items 21 - 30. From the story “Hansel and Gretel”

21. Why did the woodcutter and his wife take Hansel and Gretel to the forest?

A. They didn’t think they could feed the children

B. They wanted to go to party

C. They didn’t love them anymore

D. The children love to go to the forest

22. What did Hansel use to find his way home the first time they were taken into the

forest?

A. Pebbles C. Rocks

B. Charms D. Stones

23. What did Hansel use the second time he and his sister were taken into the

forest?

A. Cookie crumbs C. Bread crumbs

B. Cracker crumbs D. Crumbs

24. What did Hansel and Gretel find in the middle of the forest?

A. A little house made of cake and bread C. A brick house

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B. A big house made of candy and fish D. A golden house

25. What did the witch do to children?

A. She killed both of them C. She fed them to fatten them

up B. She let them go D. She cooked them

26. How did Hansel trick the witch into keeping him alive?

A. Everyday he told her to come back again tomorrow

B. Every time she went to see if he was fat yet, he stuck out a little bone

C. He didn't trick her at all

D. She told the witched good stories

27. How did Gretel kill the witch?

A. She never killed her, the witch killed her C. She shoved her into

the oven

B. She stabbed her D. She cooked her

28. Who is to blame for what happened to Hansel and Gretel?

A. The woodcutter's wife (stepmother) C. The woodcutter

B. Themselves D. The witch

29. In the beginning of the story, what does the woodcutter lay in bed worrying

about?

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COLLEGE OF EDUCATION
Calinog, Iloilo

A. a storm C. eating a dog

B. feeding the children D. a hurricane

30. Whose idea is it to leave the children in the woods?

A. Hansel C. The woodcutter

B. The woodcutter's wife (stepmother) D. The Witch

Post-Test

I. Personal Data Sheet

Name (Optional): _____________________________________________ Date: ____________

Male: ( ) Female: ( ) Score: ____________

II. Examination Proper

Direction: Encircle the letter of the correct answer.

Items 1-10. From the story “The Ugly Duckling”

1. The ugly duckling decided to do what?

A. Stay with the other ducks C. Go find someone who would

accept him

B. Go to sleep D. Becomes angry

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Calinog Campus
COLLEGE OF EDUCATION
Calinog, Iloilo

2. The ugly duckling saw his reflection in the water. Who was in the reflection?

A. His mama C. He saw himself and he was

beautiful B. A dog D. A human

3. Why did the yellow ducklings doesn’t want to play with the ugly duckling?

A. Because he is ugly C. Because he is not ugly

B. Because he doesn’t know how to play D. Because he is sad

4. Who caught the ugly duckling?

A. Farmer B. A white bird C. Mama duck D. The

old woman

5. Why did the dog doesn’t want to eat the ugly duckling?

A. Because he is frozen C. Because mama dog came to scold

him

B. Because he flew away D. Because he is ugly

6. He was not an ugly duckling at all. He was a beautiful _________.

A. Swan C. Pig

B. Cow D. Goat

7. How many eggs does the mama duckling have?

A. 5 B. 6 C. 7 D. 4

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Calinog Campus
COLLEGE OF EDUCATION
Calinog, Iloilo

8. How did this make the ugly duckling feel?

A. Sad B. Mad C. Happy D. Great

9. What animal is this story about?

A. Ducks B. Dogs C. Chickens D. Lions

10. What did the other animals do when they saw the ugly duckling?

A. Cry B. Laugh C. Eat D. Lonely

Items 11 - 15. From the story “Jack and the Beanstalk”

11. Jack’s decision to exchange Milky White for the beans was a wise one. What

evidence from

the text best supports this conclusion?

A. After first climbing the beanstalk that grew from the beans, Jack met the

maiden who

informed him of his family secret.

B. Jack greatly upset his mother when she learned Jack exchanged Milky

White for the

beans.

C. The beanstalk that grew from the beans allowed Jack to reach the castle.

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Calinog Campus
COLLEGE OF EDUCATION
Calinog, Iloilo

D. As a result, Jack was able to take things that belonged to him from the

giant and

become rich.

12. Who tells Jack to sells the cow?

A. His mom C. His brother

B. His dad D. His sister

13. Why are they selling the cow?

A. To get more money C. To get rid of the cow

B. To become rich D. Because the cow is unhealthy

14. What is the ogre doing each time Jack steals from him?

A. He is sleeping C. He is shouting

B. He is reading D. He is singing

15. When Jack told his mother he had exchanged Milky White for the beans, Jack’s

mother was so angry she threw the beans out of the window and into the garden.

What was the result?

A. Jack had to search for the beans the next day.

B. A great beanstalk grew in the garden.

C. The butcher came back to get his beans.

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Calinog Campus
COLLEGE OF EDUCATION
Calinog, Iloilo

D. A beautiful flower grew.

16. Why are they selling the cow?

A. To get more money C. To get rid of the cow

B. To become rich D. Because the cow is unhealthy

17. What was the cow’s name?

A. Maybelle C. Milky White

B. Babe D. Whitey

18. This story is mostly about

A. an ogre who eats little boys and grows fat.

B. a boy who gets rich by tricking an ogre.

C. a mother who learns to trust her son.

D. a cow who jack sells to an old man.

19. Jack probably does not hide in the oven on his third visit to the ogre’s house

because

A. he thinks another boy is hiding in the oven.

B. he knows the ogre’s wife will look for him in the oven.

C. he cannot get to the oven in the time.

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Calinog Campus
COLLEGE OF EDUCATION
Calinog, Iloilo

D. there is no more oven in his third visit to the ogre’s wife.

20. Which of these things happens on Jack’s second trip up the beanstalk?

A. Jack steals the golden hen.

B. Jack steals the golden harp.

C. Jack steals the bag of gold.

D. Jack steals the ogre’s wife.

Items 21 - 30. From the story “Hansel and Gretel”

21. Who is to blame for what happened to Hansel and Gretel?

A. The woodcutter's wife (stepmother) C. The woodcutter

B. Themselves D. The witch

22. In the beginning of the story, what does the woodcutter lay in bed worrying

about?

A. a storm C. eating a dog

B. feeding the children D. a hurricane

23. What did Hansel use to find his way home the first time they were taken into the

forest?

A. Pebbles C. Rocks

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Calinog Campus
COLLEGE OF EDUCATION
Calinog, Iloilo

B. Charms D. Stones

24. What did Hansel and Gretel find in the middle of the forest?

A. A little house made of cake and bread C. A brick house

B. A big house made of candy and fish D. A golden house

25. What did Hansel use the second time he and his sister were taken into the

forest?

A. Cookie crumbs C. Bread crumbs

B. Cracker crumbs D. Crumbs

26. Whose idea is it to leave the children in the woods?

A. Hansel C. The woodcutter

B. The woodcutter's wife (stepmother) D. The Witch

27. Why did the woodcutter and his wife take Hansel and Gretel to the forest?

A. They didn’t think they could feed the children

B. They wanted to go to party

C. They didn’t love them anymore

D. The children love to go to the forest

28. How did Gretel kill the witch?

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 WEST VISAYAS STATE UNIVERSITY
Calinog Campus
COLLEGE OF EDUCATION
Calinog, Iloilo

A. She never killed her, the witch killed her C. She shoved her into

the oven

B. She stabbed her D. She cooked her

29. What did the witch do to children?

A. She killed both of them C. She fed them to fatten them

up

B. She let them go D. She cooked them

30. How did Hansel trick the witch into keeping him alive?

A. Everyday he told her to come back again tomorrow

B. Every time she went to see if he was fat yet, he stuck out a little bone

C. He didn't trick her at all

D. She told the witched good stories

In the intricate tapestry of literacy education, the research initiative titled

"Unlocking Literacy: A Comprehensive Exploration of Reading Comprehension

Enhancement Through the ReadTheory Application" emerges as a transformative

force in the educational landscape of 2023. In addition, the field of education has

been revolutionized and reshaped by technology. Unexceptionally, language

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Calinog Campus
COLLEGE OF EDUCATION
Calinog, Iloilo

pedagogy has been constantly changing due to technological development.

Nowadays, language learners can easily access literary texts, novels, short stories,

poems or teaching materials. Technological developments have changed the form

of these elements as well. That’s why, this study is not merely an academic inquiry;

it is a response to the multifaceted challenges that have persisted within traditional

literacy programs and an embrace of the burgeoning potential that technology

holds to redefine how we teach and learn.

Guiding this ambitious exploration is Dr. Elena Martinez, a luminary in the

field of literacy education. As 2023 unfolds, she steers her scholarly focus toward

unraveling the impact of digital applications on reading comprehension, with a

specific lens on the ReadTheory Application. Dr. Martinez's dedication to this

research is not isolated; it is an informed response to the changing dynamics of

literacy education, marked by a paradigm shift toward technology-infused

pedagogies. With a career steeped in understanding the nuances of literacy

development, Dr. Martinez stands at the forefront of this multidisciplinary endeavor,

poised to redefine the contours of literacy in the digital age.

Augmenting this research odyssey is Prof. Michael Thompson, an esteemed

researcher in educational technology. In the same temporal expanse of 2023, Prof.

Thompson brings his wealth of knowledge to bear on scrutinizing the efficacy of

learning applications, with a specific focus on the ReadTheory Application. His

contribution extends beyond the binary analysis of effectiveness; it delves into the

nuanced realm of age-specific learning outcomes, recognizing the multifaceted

nature of literacy development across different stages of education. According to

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Calinog Campus
COLLEGE OF EDUCATION
Calinog, Iloilo

KledeckaNadera (2001), reading texts can be transformed through computer

software programs, which enable to add sound, graphics, photographs, animations,

video, a direct link and reference to dictionaries for better understanding and

comprehension. These computer technologies make the target language more alive

and concrete (Warschauer & Healey, 1998). Additionally, all of these technologies

advance language learners’ skills such as listening, speaking, reading, writing,

grammar, pronunciation, and vocabulary. In this respect, new forms of teaching

materials lead to new teaching styles in language classrooms. Brown’s research

(2001) reveals that students mostly spend their time at school through listening.

Therefore, language teachers need to provide them with skills and strategies for

effective reading skills.

Adding a layer of depth and inclusivity to this expansive study is Dr. Sarah

Nguyen, an eminent psychologist specializing in cognitive development and

learning disabilities. In 2023, her research trajectory converges with the

overarching goals of the study as she endeavors to understand how technology-

based interventions, particularly the ReadTheory Application, can offer bespoke

support to learners with diverse cognitive profiles. Dr. Nguyen's inclusion in this

research team serves as a testament to the commitment to inclusivity,

acknowledging and addressing the unique challenges faced by individuals with

varying cognitive abilities in the intricate tapestry of reading comprehension.

According to Lehr (2013), reading comprehension is the process of

simultaneously extracting and constructing meaning through interaction and

involvement with written language. This means that reading comprehension is an

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Calinog Campus
COLLEGE OF EDUCATION
Calinog, Iloilo

active process, being able to read many different materials and being able to

understand them (Fitriani, 2015; Samad, Jannah, Fitriani, 2017).

Furthermore, Filipino students face challenges in learning the English

language particularly in reading comprehension. More than ever, changes in

learning environment now affect how students and teachers approach the language

education. Kirong and Tumaneng (2014) insist that teaching approaches and

methods have to fit 21st century learners.

Additionally, with expansion of the technology and its role in the educational

settings, our country, the Philippines is also doing its very best to go with the flow

and abreast the latest trends in our educational setting wherein school district

nationwide have been pushing teachers to used technology to supports literacy

instruction. With this, they would be knowledgeable enough to use computers,

either cell phone with educational apps in teaching different learning areas (Tacan,

2014). In this respect, new forms of teaching materials lead to new teaching styles

in language classrooms. Brown’s research (2001), as cited in Köroğlu (2020) reveals

that students mostly spend their time at school through reading and listening.

Therefore, language teachers need to provide them with skills and strategies for

effective reading skills.

The year 2023, as the temporal backdrop of this study, is not merely a

chronological marker but a crucible of educational evolution. It signifies a juncture

where the tendrils of technology intertwine with the imperative to redefine literacy

interventions. This study, therefore, is a dynamic response to the pedagogical

demands of contemporary education. It is a synthesis of theoretical discourse and

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Calinog Campus
COLLEGE OF EDUCATION
Calinog, Iloilo

practical implementation, grounded in the lived realities of educators, learners, and

the ever-evolving landscape of literacy education.

The envisioned impact of "Unlocking Literacy" extends far beyond the realms

of academic discourse. It aspires to be a catalyst for systemic change, influencing

policy frameworks, reshaping pedagogical approaches, and fundamentally altering

the narrative around literacy in the 21st century.

Likewise, developing creative technological tool must be properly selected

and organized to give opportunities for children develop their reading

comprehension and proficiency in a playful and enjoyable context. Like using

ReadTheory Application, is associated with the United Sates, by Ankur Gakhar on

2012. ReadTheory, is an online reading comprehension platform designed to

improve reading skills. Its main purpose is to provide adaptive reading exercises for

students of various proficiency levels. The platform uses artificial intelligence to

tailor content to individual abilities, helping users enhance their comprehension,

vocabulary, and critical thinking skills through engaging texts and questions.

This research project aimed to explore the impact of ReadTheory application

on student learning outcomes. It focuses on exploring the potential of ReadTheory

application in developing the creative tool as an innovative teaching and learning

approach, and investigates the impact of ReadTheory application in unlocking

literacy a comprehensive exploration of reading comprehension enhancement on

students. The research involved an action research of a Junior High School students

in Passi Montessori International School Inc., The outcomes of this research project

aim to help teachers and learners tap into the power of ReadTheory application in

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Calinog Campus
COLLEGE OF EDUCATION
Calinog, Iloilo

developing creative materials in unlocking literacy and partake in more engaged

teaching and learning.

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