VOL. 4 (2024)
ISSN 2952-2013 pp. 54-64
https://doi.org/10.33776/linguodidactica.v4.7966
Cervantes VR or the possibility of including virtual
reality in the teaching-learning process of Don Quixote
Cervantes VR o la posibilidad de incluir la realidad virtual en el proceso
de enseñanza-aprendizaje de Don Quijote
Alba Calo Blanco
University of Santiago de Compostela (Spain)
Resumen:
En un mundo ya plenamente digitalizado y virtualiza-
do como en el que vivimos, la innovación en materia
educativa pasa cada vez más a menudo por introducir
en el proceso de enseñanza-aprendizaje las TIC. Así, se
podría decir que algunos de los retos prioritarios de
nuestra sociedad son la educación digital y el desarro-
llo de competencias digitales. La realidad virtual, quizás
nuestro medio de más reciente nacimiento, apenas está
consolidándose en nuestra vida cotidiana, y aun así son
ya numerosísimas las opciones que ofrece de cara a la
enseñanza de muy distintas disciplinas.
El presente artículo pretende explorar algunas de las po-
sibilidades del uso de la realidad virtual en el contexto
educativo, y más específicamente en el ámbito de la di-
dáctica de la lengua y la literatura. Para ello, se presenta
como caso de estudio la aplicación de RTVE e Iralta VR
Cervantes VR, cuya voluntad es acercar la vida y obra de
Cervantes, y en concreto el Quijote, al público general.
Quedará patente a lo largo de estas líneas, por tanto,
cómo la realidad virtual se presenta como un valioso
recurso de cara a su empleo en metodologías activas
de enseñanza como la gamificación o ludificación, y se
intentará contribuir a consolidarla como posible herra-
mienta eficaz de enseñanza.
Palabras claves:
Realidad virtual; proceso de enseñanza-aprendizaje; di-
dáctica de la lengua y la literatura; gamificación; Quijote.
Fecha de aceptación: 02 de septiembre de 2024
Abstract:
In an already fully digitalized and virtualized world like
the one we live in, innovation in education increasin-
gly involves introducing ICT into the teaching-learning
process. Thus, it could be said that some of the priority
challenges facing our society are digital education and
the development of digital skills. Virtual reality, perhaps
our newest medium, is only just becoming established
in our daily lives, and yet it already offers a wealth of op-
tions for teaching a wide range of disciplines.
This article aims to explore some of the possibilities of
using virtual reality in the educational context, and more
specifically in the field of language and literature tea-
ching. To this end, the RTVE and Iralta VR Cervantes VR
app is presented as a case study. The aim of the app is
to bring the life and work of Cervantes, and specifically
his work Don Quixote, closer to the general public. It
will be clear throughout these lines, therefore, how vir-
tual reality is presented as a valuable resource for its use
in active teaching methodologies such as gamification,
and we will try to contribute to consolidate it as a possi-
ble effective teaching tool.
Keywords:
Virtual reality; teaching-learning process; language and
literature teaching; gamification; Quixote.
Fecha de recepción: 01 de julio de 2024
Cervantes VR or the possibility of including
virtual reality in the teaching-learning process
of Don Quixote
Cervantes VR o la posibilidad de incluir la
realidad virtual en el proceso de enseñanza-
aprendizaje de Don Quijote
Alba Calo Blanco
University of Santiago de Compostela (Spain)
Contacto:
albacaloblanco@gmail.com
https://doi.org/10.33776/linguodidactica.v4.7966
[ 56 ]
The 21st century has ushered in significant innovations in education, including new methodologies
promoting active student involvement and the integration of ICT into the teaching-learning process.
While gamification is feasible without technological tools, the natural synergy between gamification
and digital tools has been remarkably evident. Regarding this issue, Miguélez -Juan et al. (2019, p.
158) defend the following:
Innovation in education is not only about introducing more technology into a greater number of
classrooms (Shleicher, 2015). ICT in itself does not lead to any innovation in education and lear-
ning (Coll & Monereo, 2008) nor does it ensure effectiveness in student learning. ICT, above all,
must offer the possibility of teaching and learning in a new and different way (Coll, 2019). It is its
correct application and use that is vital for students to acquire the appropriate skills to face the
demands of a terribly competitive globalized world. Educational centers have been configured
as the main places to teach and learn (Gee, 2018), but they are no longer the primary source of
learning.
In the current ICT context, the most recent revolution is arguably the emergence of virtual reality
(VR), predicted to have a prosperous future. However, it is still in its experimental phase, particularly
in everyday contexts. Notably, in Spain’s cultural and educational realm, the RTVE Lab has been pro-
ducing accessible VR content since around 2015. This includes the Cervantes VR application (2017),
which will be thoroughly analyzed in this study, exploring its potential in the teaching-learning pro-
cess of Don Quixote, with a focus on secondary school students.
Gamification is an active teaching methodology, with the term coined by Nick Pelling in 2002. Though
not widely popular until the new millennium, it wasn’t fully standardized until 2011 when Deterding,
Dixon, Khaled, and Nacke provided a definition. Presently, the RAE (Real Spanish Academy, hereafter
RAE) recommends using the term “ludificación” (gamification) in Spanish. The Dictionary of the Spa-
nish Language defines “ludificar” (to gamify) as applying game techniques to non-recreational envi-
ronments to enhance motivation and learning (Royal Spanish Academy, n.d.). Regarding this, Martí
Climent and Garcia Vidal (2021, p. 110) state:
But gamification or ludification is not new in education. The use of games as an educational resour-
ce has always existed. Piaget (1961) and Vygotsky (1933, 1966) already defended the use of ele-
ments of play in education as a learning strategy, an instrument for the child’s mental development,
highlighting that it helps create worlds of imagination.
Gamification, like any other innovative methodology in education, aims to enhance learning, speci-
fically by creating a more engaging experience for students through game-like elements. Analyzing
the situation reveals that the integration of entertainment into learning has been common in tradi-
tionally considered subjects such as Physical Education, Plastic and Visual Education, or Music. While
the recent pandemic has led to a proliferation of digital and virtual resources across all curriculum
subjects, noteworthy examples of successful gamification-ICT integration existed even before the
pandemic. Examples can be found in works such as Sánchez Rivas et al. (2017), Guardia Hernández
and Pesqueira Zamora (2017), Ternero Fernández (2018), Carrión Candel (2018), Quintero González
1. Introduction
2. Education and virtual reality
https://doi.org/10.33776/linguodidactica.v4.7966
[ 57 ]
et al. (2018), etc. The inevitable union between ICT and gamification is reinforced by the continued
global growth of the video game industry each year.
New educational trends integrate active and participatory methodologies where students acquire
a dynamic stance in their learning. In this sense, gamification emerges as a tool for educational
transformation. Furthermore, current students belong to a generation that handles digital tools
with great ease, knows how the world of social networks works and is used to performing several
tasks simultaneously with the support of technology. As Ríos, Muñoz, Castro and Arroyo (2019)
point out, several authors have shown that the way this generation learns is conditioned by their
technological culture and that they want to actively participate and control their training. (Martí
Climent and Garcia Vidal, 2021, p. 110)
Prensky (2010) advocates the concept of digital natives, referring to ‘native speakers of the digital
language of computers, video games, and the Internet’ (p. 2), namely current students who ‘have
spent their entire lives surrounded by [...] toys and tools of the digital age’ (p. 1). In contrast, Gubern
(1996, p. 180) defines virtual reality as ‘a perceptual illusion that acquires the status of pseudo rea-
lity within a reality eclipsed by it. [...] A simulation that includes the subject itself and its topological
location in a simulated three-dimensional space.’ Virtual reality has been employed for decades in
military and aeronautical training, and more recently in fields like medicine. Notably, it occupies a
significant space in the video game sector for high-performance equipment. In education, its inte-
gration is in its early stages, hindered by the high cost of technical productions and a lack of training
among involved parties. Hence, experiences designed for more affordable cardboard-type glasses,
such as Cervantes VR, are gaining traction. These glasses are cost-effective, often constructed from
cardboard or inexpensive plastic, featuring two lenses corresponding to the mobile device screen
division in VR mode.
In the national production of virtual experiences accessible to the general public due to ease and
affordability, the work of RTVE Lab stands out. Their website features a section exclusively dedica-
ted to virtual reality, complemented by a mobile phone application, RTVE RV 360, collecting these
works. The app is described as a space hosting experiences “of an informative and entertaining
nature – to be experienced in first person by looking around, moving the device, or sliding your
finger on your mobile or tablet, or using your phone in “VR mode” with virtual reality glasses” (RTVE
Corporation, n.d.).
Based on Janet Murray’s (1999) previous categories of immersion – “the feeling of being surrounded
by a completely different reality” (p. 111) –, performance – “when our actions have visible results” (p.
139) – and transformation – “it offers us countless opportunities to change” (p. 167) -, Gil González
(2020, p. 322) establishes a model for classifying experiences for virtual reality as immersive (“sen-
sory immersion in a virtual environment”), interactive (“capacity for action and interaction with fic-
tional objects and agents”) and narrative (“capacity to choose between different possibilities, paths
and even narrative outcomes”). Except for a couple of complex productions aimed at higher per-
formance equipment such as transmedia content for the television series El Ministerio del Tiempo,
RTVE’s projects are, for the most part, immersive, stereoscopic, 360º videos whose experimentation
can be carried out from the usual devices such as a computer, a tablet and a mobile phone, or with
https://doi.org/10.33776/linguodidactica.v4.7966
[ 58 ]
the incorporation of the latter to a cardboard style viewer. This includes them mostly in the category
of immersive virtual experiences (Gil González, 2020), since the users live the experience firsthand,
feeling involved in the interaction, although decision-making is limited to choosing where to look or
focus attention.
Cervantes VR is a project launched on April 23, 2017, in commemoration of Book Day and the Fourth
Centenary of Cervantes’s Death. Developed by RTVE Lab in collaboration with Iralta VR and subsidi-
zed by the Spanish Ministry of Education, Culture, and Sports, the application allows users to access
its content directly on their mobile devices or through the VR option. For the latter, users can use
cardboard and download the program from the App Store and Google Play or opt for more specia-
lized glasses like Gear VR or Gear Go through the Oculus store. This experience employs a combina-
tion of theatrical, virtual, and immersive techniques, along with animations and digital illustrations to
“describe the life of Cervantes, his thoughts, works, and characters, as well as some of the mysteries
surrounding his life” (Iralta VR, n.d.).
An app with stories and characters, landscapes and cultural heritage surrounded in 360º-3D with
360º binaural sound and that you can enjoy in a virtual, immersive and interactive way. The viewer
will travel inside the mind of Cervantes, to his overflowing imagination and to the very moment of
the creation of his characters Don Quixote and Sancho. We will live an incredible adventure in the
Spanish Golden Age. We will discover from the hand of Miguel de Cervantes some of the scenes
of his life: Alcalá de Henares, the battle of Lepanto against the Turks, the prison of Algiers or his
fight against the giants. Cervantes VR is an entertainment and educational App that seeks to bring
the figure of Cervantes closer to the public and facilitate the reading of his work supported by the
humor and humanity of his characters. (Iralta VR, sf)
After launching the application, users encounter a menu prompting them to choose their preferred
viewing mode: either the standard mobile device usage or the option involving attachment to virtual
reality glasses and pairing with headphones, enabling the enjoyment of stereoscopic/3D imagery
and 360º holophonic sound. Once this choice is made, the immersive experience begins. The fore-
ground features the figure of Cervantes seated at a desk, joined by actors portraying Don Quixote
and Sancho Panza. The three engage in a conversation, addressing both themselves and the viewers.
In an effort to enhance immersion, the characters directly interact with users through words and gaze,
breaking the fourth wall and creating a shared space. After this introduction, a series of icons appear,
allowing users to navigate in the order they choose through different episodes available in the appli-
cation. These episodes provide insight into the life and work of the most renowned writer in our lite-
rary history.
This distinctive approach to Cervantes comprises six clearly delineated episodes in the initial menu.
Starting with his house in Alcalá de Henares, the application delves into the writer’s biography, pro-
vides a brief contextualization of his historical period, detailing aspects of both his contemporary
society and the recognized Golden Age. Additionally, fundamental information necessary for a pro-
per understanding of his writings is included.
Cervantes VR app
https://doi.org/10.33776/linguodidactica.v4.7966
[ 59 ]
Among the episodes, the Battle of Lepanto is one of the two chapters represented with compu-
ter-generated images. It offers insights into Cervantes’ participation in the battle, during which he
lost the mobility of his left hand. Another segment focuses on the iconic windmills episode, featuring
a narration of the relevant part of Don Quixote with character voices and digital images superimpo-
sed on an actual recording in a mill field. The recreation of Cervantes’ time spent captive in Algiers
involves digital images and a voice-over by the actor portraying him reflecting on freedom.
A theater scene depicts an actor rehearsing one of Cervantes’ works, introducing information about
other literary genres cultivated by the writer, his jealousy, and rivalry with Lope de Vega. Finally, the
application explains the characteristics that define Don Quixote as the first modern novel, presen-
ting and characterizing its two most famous characters, Don Quixote and Sancho. This elucidates
the contrast between the two, exemplified through fragments of the work performed by the actors
in this virtual experience. The overall duration of approximately 20 minutes is strategically designed
to mitigate potential side effects of VR, such as dizziness.
Cervantes VR offers a fully immersive experience, allowing students to explore various environ-
ments on a journey with Cervantes, Don Quixote, and Sancho Panza. The dialogues often consist
of fragments from both Don Quixote and other works by the author, recited by different charac-
ters. Similar to the increasing relevance of audiobooks in recent years, this represents an original
and enjoyable method of introducing young individuals to the essence of literary texts. In fact, due
to the natural conversations of the actors and the immersive environment facilitated by the glasses
and headphones – representing the Golden Age – users may not fully realize or might overlook the
explicit literariness of the experience.
Certain tactics and resources, such as incorporating fragments of Cervantes’ work through dialo-
gues, may go unnoticed, yet they showcase the attention and care invested in the application’s
development. Presumably, these elements will linger in the imagination of young people, forming a
solid foundation for acquiring more detailed and conscious knowledge. For instance, in scenes like
the one set in the writer’s old house, Sancho’s questions, mirroring events in Don Quixote, guide the
actor portraying Cervantes in presenting information about that episode. This approach transforms
the transmission of knowledge into a more playful form through dialogue.
Overall, this method effectively prepares students to immerse themselves in classic works or kindles
their interest in them. Beyond the setting and dialogue style, the characters themselves contribute
to the isolation from the real world, fostering a connection to the virtuality and an exploration of the
life and work of Cervantes. Despite the lack of true interactivity, a characteristic not entirely absent in
this work either, users have the freedom to create their own viewing layout. Although the narrative
lacks objects or characters for direct interaction, users can choose the order in which they watch the
episodes from the initial menu. Only after exploring the six main icons does the seventh and final
one unlock, previously visible but inaccessible.
https://doi.org/10.33776/linguodidactica.v4.7966
[ 60 ]
At this point, the implementation of virtual reality in the classroom as a gamification resource seems
a feasible fact, to say the least. This is what Miguélez -Juan et al. (2019, p. 159) present:
The economic reason why until now this technology was out of reach of educational centers (An-
dolsek, 1995; Riva, 2003) and the poor design of virtual learning environments (Chen, Toh &
Ismail, 2005) already belong to the past. The possibilities of VR as a useful instrument in the edu-
cational field are becoming increasingly stronger. Currently, a viewer, a smartphone, an Internet
connection and applications aimed at different educational levels that are designed to improve
student learning are required (Molina-Carmona et al., 2018). Various authors confirm the improve-
ment in the assimilation of content and the rapid growth of the learning curve by applying virtual
environments in education (Vera- Ocete, Ortega-Carrillo & Burgos-González, 2003). […] Students
learn in various contexts and situations, even without being aware of it, in a playful and social way.
Some might consider the lack of interactivity, as discussed in previous sections and reiterated by
other authors in relation to virtual experiences with viewers and mobile devices, a potential weak-
ness. Perspectives, such as Carlos A. Scolari’s (2022), argue that “after half a century of video games,
any immersive digital production should incorporate this “grammar of interaction,” and that “ente-
ring into an immersive world and not being able to explore it is frustrating.” However, in the specific
context of education, this limitation might serve as an opening for their initial integration into class-
rooms and individual homes.
Virtual reality in the form of videos and stereoscopic 360º content without additional motion
controllers faces challenges in providing a truly interactive and participatory experience. While
users can explore the virtual environment, their collaboration and dialogue with the interface remain
limited. However, this simplicity works in its favor, making it more accessible and affordable for
classrooms or leisure hours with 25 students.
Furthermore, gamification characteristics are not entirely lost in these environments. The lower cost
of equipment and content production, along with the continued surprise factor of immersion, are
favorable aspects. Despite the current limitations, this nascent technology has the potential to rein-
vent itself by exploring new forms, techniques, and resources that captivate users.
In general, virtual reality is a medium in its infancy, seeking foundations to establish itself, and
evolving rapidly alongside technological advances. The production of less ambitious projects of
this nature remains beneficial in educational contexts and for pedagogical purposes, particularly in
constrained situations, at least for the present moment.
Now, in addition to the viability of virtual reality as a tool in the literature teaching-learning process,
several factors support its use. The motivation and increased engagement obtained through active
and participatory methodologies, along with the integration of ICT in the classroom, are indisputable.
This aligns with the definition of gamification provided by the RAE, as mentioned at the beginning
of this work. Indeed, this innovation facilitates significant learning, as students not only have fun
experiencing it but also enjoy feeling like protagonists of discovery. Learning through exploration is
encouraged.
4. Towards the teaching-learning of literature
through the use of virtual experiences
https://doi.org/10.33776/linguodidactica.v4.7966
[ 61 ]
Furthermore, virtual reality, with its constitutive characteristic of immersion, can elicit emotional in-
volvement in the experience, introducing feelings and emotions into the teaching-learning process.
Murray (1999, p. 21) previously argued that “new technologies extend our capabilities faster than
we can assimilate” and emphasized that “the computer promises to give a new form to knowledge,
sometimes complementing and sometimes replacing the work of the book and the class” (p. 22).
Decades later, this issue remains central to the debate.
As Moreno Martínez et al. (2018, p. 142) contend, “machines, technology, robots, are means, instru-
ments that facilitate our work of creation, communication, interaction, discovery, problem-solving,
and access to unlimited information (big data) to build our knowledge autonomously or indepen-
dently, collectively in a network (connectivist model) to eradicate the digital divide.” While educatio-
nal innovation must be considered in the teaching profession, it is not intended to replace traditional
procedures but rather to serve as a complementary support.
Projects like Cervantes VR can be invaluable aids for Spanish Language and Literature teachers. These
teachers are tasked not only with transmitting the basic knowledge established in the curriculum on
the History of Literature but also with encouraging text reading and promoting Literary Education
through various media. As stated in the previous section, this specific application not only provides
relevant and necessary information about the context and the author’s work to appreciate, potentially
encouraging future reading, but also introduces users to the texts themselves without requiring
direct engagement with them.
Another crucial aspect of employing virtual reality in the literature classroom is noteworthy: its
inevitable expansion towards transversal and interdisciplinary knowledge. Take Cervantes VR, for
instance. It proves beneficial not only for teaching Spanish Language and Literature but also, through
the immersive experience it offers, students acquire extensive knowledge related to the author’s era.
This, in turn, enhances their understanding of subjects such as Geography and History, Technology
and Digitalization, Philosophy, among others.
Moreno Martínez and Leiva Olivencia (2018, p. 530) assert that “applications based on augmented
reality and virtual reality [...] offer the possibility of visiting historical places, meeting characters and
works from past eras, and studying objects very difficult to achieve in reality. This environment allows
students to carry out their fieldwork, interacting with elements generated virtually.” Although the
authors initially present this idea in the context of teaching Art History, it is easily applicable and ex-
tendable to various other areas and subjects.
To successfully implement this learning method in classrooms, it is imperative to educate not only with
new technologies but in new technologies. Digital natives must develop genuine digital competence,
avoiding becoming technologically illiterate individuals who use the Internet through various devices
without understanding the impact of their actions and the true potential of these tools for both
consumption and creation.
Educating in content and skills contributes to achieving comprehensive education, preparing indi-
viduals for all aspects of life. Naturally, teachers must also be technically prepared. Digital compe-
tence is a necessary requirement in both directions, as teachers serve as role models, projecting the
https://doi.org/10.33776/linguodidactica.v4.7966
[ 62 ]
principles they hope to instill. It will be difficult to guide students if you do not have the necessary
skills. This is how Espot and Nubiola (2019, p. 121) explain it:
Investment in new technologies continues to grow in schools. It goes without saying that you have
to know how to make good use of screens (laptop, tablet, mobile) in the classroom or in personal
study time, it means - among other things - overcoming the temptation to give the Internet a non-
academic use in those spaces of time dedicated to learning; We are referring to checking email
or messaging of any kind, entertaining yourself on social networks or video games, browsing sites
not related to the class subject, to give a few examples. In this sense, teachers must help students –
young people and adolescents – to be hardworking and responsible in the classroom and in their
individual personal study. The good use of screens seems excellent to us, if it is used for what it
is: another resource for learning. It should not take over – or even displace – the wonderful and,
above all, human teaching task of the teacher both in the classroom and outside of it.
The role of the teacher in the face of advancing ICT is indeed a key consideration. Writers such as
Prensky (2011) advocate for a pedagogy of co-association in which “the teacher’s job consists of acting
as a counselor and guide in the use of technology for effective learning” (p. 14). The author supports
the idea that, in this type of teaching-learning process, it is essential for teachers to understand ‘how
technology can and should be used by students to improve their own learning’ (Prensky, 2011, p.
14), perhaps not so much that teachers already possess the skills to do it themselves, at least in the
initial stages we find ourselves in.
Undoubtedly, not everything is an advantage when it comes to virtual reality, in the classroom and
outside of it. There are a series of drawbacks that, however, should not dissuade teachers from
implementing them, such as the expiration of support and software updates of the content and
resources used, so little can be done other than regularly renewing the tools that are available.
The case analyzed here, Cervantes VR, is a model in terms of the necessary costs for educational
innovation in relation to ICT, since, as it has been indicated throughout these pages, it only needs a
mobile phone and a virtual reality viewer, which can be more rudimentary, made with cardboard, or
more technical, based on good quality plastics.
However, in the course of this article writing (October 2022), it has shown some operating problems
during its testing in its versions for the last Android and iOS device models. These problems do not
seem to have extended, for the moment, to the software programmed for Oculus and only time
will tell if RTVE, which is committed to free access software and whose content is, therefore, easily
accessible, solves the compatibility failures with new systems and devices or considers the 2017
content as obsolete. Neither now nor in the near future, at least, can we completely depend on this
type of support, since they are, in essence, support for the teaching task, but never substitutes for the
teacher’s work as an element of transfusion and explanation of the knowledge.
In 2023, teachers must adapt to the prevailing social reality and the circumstances, situations, and
characteristics of their students. The evolution of education and the emergence of new student ge-
nerations necessitate innovative learning methods that incorporate active, participatory methodolo-
5. Conclusions
https://doi.org/10.33776/linguodidactica.v4.7966
[ 63 ]
gies, as well as technological resources and tools. This requires concerted efforts from various levels
of the school organization, with a particular focus on faculty members. The teacher of 2023 should
strive for continuous updating and curricular innovation. While adopting technologies like virtual
reality is not a standalone solution, their integration supports meaningful learning, aligning with
students’ reality and interests. The ultimate goal is to fully educate students, providing them with
the necessary tools for both academic and professional success, as well as navigating real-world
challenges.
In summary, this analysis aims to demonstrate the functional and beneficial aspects of employing
methods such as gamification and resources like virtual reality in and outside the classroom for the
teaching-learning process. The options in 2023 are numerous and more accessible than ever. The
future promises rapid advances, necessitating preparedness. It is crucial to solidify these methods
and tools as effective means in the education of young people, normalizing their use and fostering
education on their responsible utilization in the classroom.
Carrión Candel, E. (2018). Experiencias TIC en la enseñanza bilingüe mediante recursos digitales
musicales. Didáctica, innovación y multimedia, 36.
Cervantes VR (RTVE, 2017).
Corporación RTVE (s.f.). RTVE VR 360 [digital app]. https://apps.apple.com/es/app/rtve-vr-360/
id1177402566.
Espot, M. R. & Nubiola, J. (2019). Alma de profesor. Editorial Desclée de Brouwer.
Guardia Hernández, J. J. & Pesqueira Zamora, M. J. (2017). Las pruebas electrónicas de opción múl-
tiple como herramienta para el desarrollo del pensamiento jurídico. En A. M. Delgado García & I.
Beltrán de Heredia Ruiz (coords.), Las TIC y las buenas prácticas en la docencia de Derecho (pp.
159-170).
Gil González, A. J. (2020). De la previrtualidad a las experiencias virtuales (EVs): una aproximación a
la narrativa del medio interactivo desde los estudios intermediales comparados. En A. Abuín Gon-
zález, F. Cabo Aseguinolaza & A. Casas (Coords.), Textualidades (inter)literarias: lugares de lectura
y nuevas perspectivas teórico-críticas (pp. 305-341). https://doi.org/10.31819/9783968690612-
009
Gubern, R. (1996). Del bisonte a la realidad virtual. La escena y el laberinto. Editorial Anagrama.
Iralta VR (s.f.). Cervantes VR [online web page]. https://iraltavr.es/trabajos/cervantes-vr/.
Martí Climent, A. & Garcia Vidal, P. (2021). Gamificación y TIC en la formación literaria. Una propues-
ta didáctica innovadora en Educación Secundaria. Didáctica. Lengua y literatura, 33, 109-120.
https://doi.org/10.5209/dida.77660
Miguélez-Juan, B., Núñez Gómez, P. & Mañas-Viniegra, L. (2019). La Realidad Virtual Inmersiva como
herramienta educativa para la transformación social: Un estudio exploratorio sobre la percep-
ción de los estudiantes en Educación Secundaria Postobligatoria. Aula Abierta, 48, (2), 157-166.
https://doi.org/10.17811/rifie.48.2.2019.157-166
6. References
https://doi.org/10.33776/linguodidactica.v4.7966
[ 64 ]
Moreno Martínez, N. M. & Leiva Olivencia, J. J. (2018). Realidad Aumentada y Realidad Virtual para la
formación en el Grado de Historia del Arte. En J. F. Durán Medina & I. Durán Valero (coords.), TIC
actualizadas para una nueva docencia universitaria (pp. 529-550). McGrawHill.
Moreno Martínez, N. M., López Meneses, E. y Leiva Olivencia, J. J. (2018). El uso de las tecnologías
emergentes como recursos didácticos en ámbitos educativos. International Studies on Law and
Education, 29/30, 131-146.
Murray, J. (1999). Hamlet en la holocubierta. El futuro de la narrativa en el ciberespacio. Ediciones
Paidós.
Prensky, M. (2011). Enseñar a nativos digitales. Una propuesta pedagógica para la sociedad del co-
nocimiento. Grupo SM.
Quintero González, L. E., Jiménez Jiménez, F. & Area Moreira, M. (2018). Más allá del libro de texto.
La gamificación mediada con TIC como alternativa de innovación en Educación Física. Retos: nue-
vas tendencias en educación física, deporte y recreación, 34, 343-348. https://doi.org/10.47197/
retos.v0i34.65514
Real Academia Española (s.f.). Diccionario de la lengua española, 23.ª ed., [versión 23.6 en línea].
https://dle.rae.es.
Sánchez Rivas, E., Ruiz Palmero, J. & Sánchez Rodríguez, J. (2017). Videojuegos frente a fichas impre-
sas en la intervención didáctica con alumnado con necesidades educativas especiales. Educar,
53, (1), 29-48. https://doi.org/10.5565/rev/educar.844
Scolari, C. A. (2022). Narrativas inmersivas: estado de la cuestión en Hipermediaciones [blog en lí-
Ternero Fernández, F. A. (2018). Aplicación de un laboratorio virtual para la mejora de la docencia
en Ciencias. En P. Murillo Estepa & C. Gallego Domínguez (coords.), Innovación en la Práctica
Educativa (pp. 46-62).
Thanks to the Iralta VR team for granting me access to the app content.
Acknowledgment
