narrative-based understanding by designonlinepresent.org/proceedings/vol115_2015/17.pdfroot metaphor...

Narrative-based Understanding by Design

Hyeon-Suk Kang, Ho-Jae Jeon

Kyungpook National University, Department of Education, Teachers‟ College, 80 Daehakro, Bukgu, Daegu, 702-701, Korea

[email protected]

[email protected]

Abstract. This article suggests new ways for overcoming the problems of

knowledge delivery and developing the ability of deep understanding of learn-

ers. At the flow of new pedagogy of knowledge, there are many problems in

changing classroom instructional setting under the theoretical and practical

mode. So, we intended to discuss and suggest the backward design as new

mode of knowledge education. The backward design means new method for

unit level design through objectives-evaluation-learning activities loops. In this

mode of design, narrative can be discussed as a tool of backward design.

Backward design as UbD(Understanding by Design) is characterized as innova-

tive method for promoting learner‟s understanding and changing the conven-

tions of classroom.

Keywords: Backward design, Understanding by design, Narrative, Deep un-

derstanding, Unit design

1 Problems and Limits of Traditional Mode of Design

1.1 Delivery of Message: Forward Design as Conduit Design

It cannot be emphasized enough that the problem of school curriculum is very im-

portant in schooling. Curriculum is a substance in schooling and teaching. Tradition-

ally the conception of schooling has been changed into knowledge education and

teaching method. Since 1890, the main stream of schooling focuses on the delivery of

knowledge without inner psychic process. By the benefit of the rapid growth of mass

communication, the mode of knowledge delivery is one-way pattern from instructor

to learner.

But we should recognize another pattern of schooling in teaching and learning set-

ting. Especially the new introduction of educational theory, learning theory, and so-

cial structure, the innovative change of schooling has been emphasized with a view to

re-construct mode of knowledge delivery. In accordance with new paradigm of peda-

gogy, we may emphasize another model of knowledge education. Furthermore we

Advanced Science and Technology Letters Vol.115 (Education 2015), pp.87-92

http://dx.doi.org/10.14257/astl.2015.115.17

ISSN: 2287-1233 ASTL Copyright © 2015 SERSC

should indicate the limits of traditional mode of design and suggest more coherent

mode of design in curriculum development.

As we mentioned above, conduit model as traditional mode has many weaknesses

in designing a curriculum. They are as follows: positivistic stance, lack of co-

construction of knowledge, one-way teaching without interaction between teacher

and student, direct delivery educational content without meaning making, and old-

fashioned epistemological stance. For overcoming these problems, we should search

new method and strategy of educational pedagogy.

Conduit model premises the forward pattern of educational events and elements:

educational objectives- content and learning experience- teaching method- evaluation.

We call this pattern forward design in this article. Forward design adopts Tyler's

rationale as guiding principles of schooling. As everyone knows, Tyler's forward

model has many strong points in curriculum development: specific establishment of

objectives, linear approach, rational stance, and systemic loop of curricular elements

1.2 The Twin Sins of Design

In general we may see classroom at level of elementary school. In classroom, teacher

teach student by a variety of activity with apples: paly with apples, apple painting,

making apple jam, listening music relating to apples etc. The exemplar unit on apples

presents a familiar scene- the activity-oriented curriculum- in which students partici-

pate in a variety of hands-on activities. Such units are often engaging for students.

They may be organized, as in this case, around a theme and provide interdisciplinary

connections. But questions about the value of the work remain (Wiggins and

McTighe, 2005). To what ends is the teaching directed? What are the big ideas and

important skills to be developed during the unit? Do the students what the learning

targets are? To what extent does the evidence of learning from the unit reflect worth-

while content standards? What understandings will emerge from all this process?

According to Wiggins and McTighe (2005), nearly every teacher can empathize

with the world history teacher's struggle, given the pressures to cover material. The

challenge is exacerbated by the natural increase of knowledge in fields such as sci-

ence and history, not to mention external testing obligations and additions to the cur-

riculum in recent years. But as its worst, a coverage orientation- learner‟s needs and

interests, or apt assessment evidence- may defeat its own aims. For what do students

remember, much less understand, when there no only teaching with no opportunity to

really learn the key ideas and points of connection? Such an approach might correctly

be labeled, „teaching to the test‟, and „more is less‟.

Advanced Science and Technology Letters Vol.115 (Education 2015)

88 Copyright © 2015 SERSC

2 Narrative and Curriculum Design

2.1 The Meaning of Narrative

According to recent survey and research, we can find the problems and limits of cur-

riculum design and teaching. There are such that it is inclined to linear approach,

positivistic logic, paradigmatic mode of thought, and algorithmic tint in design pro-

cess. Hereinafter we search the new basis and rationale to overcome the problems

mentioned as above (Hopkins, 1994: 126-128). In its process and structure, narrative

as articulated learning is almost perfectly isomorphic to reconstructive query; as a

root metaphor it contains most the elements of learning as appropriated experience.

According to Polkinghorne (1998: 143), Narrative involves the gathering together of

events into a plot in which signification is given to the events as they relate to the

theme of the story.

Because the narrative process yields history, literature, and myth, and because it is

central to the development of social and personal identity, it has inescapably to do

with education and learning. Narrative can be related to the entire spectrum of sub-

ject matter as well as the processes of education. Bruner (1986) is seeking here the

philosophical grounds for a new „cultural psychology‟. He suggests that the testing

paradigm, because it freezes its subjects in time and space, denies the fluidic narrative

that is the lived-life and denies "meaning making as a vital human process, looking at

human beings mainly as information processors (Hopkins, 1994: 129).

Narrative is a story or account of event in the sequence and flow of time. Narrative

is composed of a series of events and is sequenced by affiliation. Thus, narrative is

featured by both the affiliation of events and the story that those series of events pro-

duce. One notable thing is that stories could be interpreted in numeral ways unless

they are explained. Unlike verified scientific theory or argumentation, stories are

proved to be appropriate by „likelihood‟

Bruner premises two sets of thought mode while preaching on narrative mode of

thought; paradigmatic mode of thought and narrative mode of thought (Bruner, 1990;

1996; 2002). The mode of thought is not only cognitive function, but a method to

construct human experiences or phenomenon. The former, structured as logical

statements, is scientific knowledge with a causal relationship. The latter is arbitrary

and illogical. Humans have differently developed their experiences with their context

and surroundings within diffident cultural bases. The former deals with an absolute

and physical world which have nothing to do with human intentions and beliefs

(Kang, 2014a: 258-259).

2.2 Narrative Learning as the Basis of New Design

For Bruner, the term mind means the process within which a person actively con-

structs knowledge by relating incoming information to a previously acquired psycho-

logical frame of reference or model of reality. The use of amplifiers of mind-skills,


Copyright © 2015 SERSC 89

images, and conceptions-requires a commonly shared human capacity, but each socie-

ty fashions and perfects this capacity to its own needs. But, Bruner warns, there is a

respect in which a lack of means for understanding one matter places out of reach

other matters that are crucial to man's condition whatever his culture (Bigge and

Shermis, 2004: 142-143).

Bruner thinks that narrative-story telling-is one of the most ubiquitous and power-

ful forms of human communication and learning. Within his interpretive, meaning-

making psychology, narrative is the key concept and intentional states and meanings

are the central ones (Bigge and Shermis, 2004: 143). A narrative requires that (1) a

means for emphasizing human action be directed toward goals controlled by agents;

(2) a sequential order be established and maintained; (3) a sensitivity to what is ca-

nonical and what is noncanonical in human interaction; and (4) something approxi-

mating a narrator's perspective.

According to Bigge and Shermis (2004), Bruner notes that the prevailing practices

of today's schools often foster weakened self-images in students/ and he thinks that

the one most pervasive aspect that prevents humankind from reaching its full poten-

tial is a lack of confidence not only in its own capacities but also in the ability to

develop them further. Hence, schools, first of all, should encourage students to dis-

cover the value and amendability of their own guesses, to discover the utility of first-

order approximations in their approaching a problem, and to realize the activating

effect of their trying out hypotheses even when they, at first sight, may seem to be

wrong ones.

2.3 Consideration of the Design Principles

According to Rossiter and Clark (2007), to help students begin to envision possibili-

ties for their own project, various organizing scheme are suggested:

First, the thematic involves what are pattern and themes that you have discussed in

the story of your learning? Does your experience seem to reflect an enduring theme

such as overcoming obstacles, or perseverance, or something else? Second, the

chronological involves the portfolio can be organized sequentially, presenting events

according to time frames within which they occurred. Third, the developmental in-

volves Do you recognize periods of transition and growth throughout your learning

life? The portfolio can be organized into section that represents different levels or

periods within your development as a learner. Fourth, the critical moments involves

the portfolio can be resolve around nuclear episodes that stand out in memory and

define your educational experience. What are the best learning experiences, worst

learning experience or turning point experience?

3 Backward Design through Narrative

We call three-stage approach to planning backward design. First is concerned with

the establishment of objectives. Second is concerned with assesment and evaluation.



Third is concerned with planning of learning experience and activities (Wiggins &

McTighe, 2005).

First of all, Stage 1: identify desired results. What should students know, under-

stand, and be able to do? What content is worthy of understanding? What enduring

understandings are desired? In stage 1, we consider our goals, examine established

content standards (national, state, district), and review curriculum expectations. Se-

cond, Stag2 2: Determine acceptable evidence. How will we know if students have

achieved the desired results? What will we accept as evidence of student understand-

ing and proficiency? Third, Stage 3. Plan learning experience and instruction. With

clearly identified results and appropriate evidence of understanding in mind, it is now

the time to fully think through the most appropriate instructional activities.

The logic of backward design applies regardless of learning goals. When starting

from a state content standard, curriculum designers need to determine the appropriate

assessment evidence started or implied in the standard. Many educators have ob-

served that backward design is common sense. We think of Understanding by Design

as software. A practical cornerstone of Understanding by Design is a design template

that is meant to reinforce the appropriate habits of mind needed to complete designs

for student understanding and to avoid habits that are at the heart of the twin sins of

activity-based and coverage-based design.

In this stage, we need to design backward approach through the narrative strategy

discussed previous section 2. There are various methods which focus modes of story -

telling, story-making, and tale with learning experience and content construction.

According to Egan (1988), curriculum and teaching are reconstructed by story

form line approach. He suggests the story form models as the tool of curriculum de-

velopment. They are as follows: First, identifying importance; what is most important

about this topic? Why should it matter to children? What is affectively engaging

about it? Second, finding binary opposites: what powerful binary opposite best catch

the importance of the topic? Third, organizing content into story form: What content

most dramatically embodies the binary opposites, in order to provide access to the

topic? What content best articulates the topic into a developing story form? Fourth,

conclusion: What is the best way of resolving the dramatic conflict inherent in the

binary opposites? What degree of mediation of those opposites is it appropriate to

seek?

References

1. Bigge, M., & Shermis, S.: “Learning theories for teachers(6th),” New York: An Imprint of

Addison Wesely Lonhman, Inc (1999)

2. Bruner, J. S.: “The Culture of Education,” Cambridge, Mass.: Harvard Univ. Press (1996)

3. Bruner, J. S.: “Acts of meaning,” Cambridge, Mass.: Harvard Univ. Press (1990)

4. Bruner, J. S.: “Making Stories: Law, Literature, Life,” New York: Farrar, Straus and

Giroux (2002)

5. Egan, K.: “Teaching as Story Telling,” Ontario: Routledge (1988)

6. Hopkins, R. L.: “Narrative Schooling: Experiential Learning and the Transformative of

American Education,” Chicago: Teachers College Press (1994)


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7. Kang, H.: “Bruner's educational theory since structure of knowledge: Narrative turn,”

ASTL, 47, 258-269 (2014a)

8. Kang, H.: “Bruner's narrative theory and its educational meaning,” ASTL, 47, 258-269

(2014b)

9. Polkinghorne, D.: “Narrative knowing and the human science,” Albany: SUNY Press

(1988)

10. Rossiter, M. & Clark, C. M.: “Narrative and the practice of adult education,” Florida:

Krieger Publishing Company (2007)



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