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American Literature

A Public Literary Twitter Role-Play - Digital Writing Month. ’s research and teaching interests include the European and transatlantic fin de siècle and modernism (including literature, the visual arts, opera, dance, and film); feminist and queer theory; LGBTQ literary and cultural studies; and literary theory.

A Public Literary Twitter Role-Play - Digital Writing Month

Her book, , was published by The University of Michigan Press in Spring 2011. Petra recently used Twitter for a role play exercise in her class on Oscar Wilde. In this piece, posted first on , she discusses the effect of that exercise, and its relationship to authorship and digital writing. A Public Literary Twitter Role-Play: Oscar Wilde’s The Picture of Dorian Gray By On Friday, October 26, 2012, my Stanford class tried out a new and slightly crazy idea: a one-day public literary Twitter role-play, impersonating characters from . And that’s exactly what I did, chuckling like a happy fool.

Only three of my students had had a Twitter account in the beginning, so it seemed a tall order at first. The Twitterverse did not disappoint. Ralph Ellison on Race and the Power of the Writer in Society: A Rare 1966 Interview. By Maria Popova “Power, for the writer….lies in his ability to reveal if only a little bit more about the complexity of humanity.”

Ralph Ellison on Race and the Power of the Writer in Society: A Rare 1966 Interview

In 1953, celebrated novelist Ralph Ellison gave a remarkable National Book Award acceptance speech, arguing for fiction as a soapbox for injustice and a chariot of hope. Thirteen years later, in 1966, he gave a rare interview for the National Education Television, in which he discusses a number of timeless, timely topics — national identity, race, the purpose of literature — with extraordinary eloquence and grace, complementing E.B. White’s insights on the role and responsibility of the writer and George Orwell’s thoughts on the writer’s motives and political purpose. Power, for the writer, it seems to me lies in his ability to reveal if only a little bit more about the complexity of humanity. Donating = Loving Bringing you (ad-free) Brain Pickings takes hundreds of hours each month. You can also become a one-time patron with a single donation in any amount. Scholarly Work on Teaching and Learning Award Takes on “Content Coverage”

June 6, 2012 By: Maryellen Weimer, PhD in Teaching Professor Blog Each year Magna Publications sponsors an award recognizing an outstanding piece of scholarly work on teaching and learning.

Scholarly Work on Teaching and Learning Award Takes on “Content Coverage”

Authors received the award and its $1,000 stipend at the 9th annual Teaching Professor Conference this past weekend in Washington, D.C. The winning article for this year’s Maryellen Weimer Scholarly Work on Teaching and Learning Award is well worth reading. It addresses the issue of content coverage—specifically content coverage in introductory history survey courses.

Objections are raised to what authors call the “coverage model” which “casts the professor (and his or her chosen texts) in the role of historical authority, with students assigned the task of absorbing and reproducing expert knowledge.” It’s a history article and so it includes some history. The authors propose that “argument must become the organizing principle of the course.” Reference: Sipress, J. The Best of the Humanities on the Web. Ten Fun Ways to Use YouTube Videos in an Online Literature Class. April 2, 2012 By: Yvonne Ho in Teaching with Technology I have always enjoyed watching YouTube videos and when I noticed that some of the videos dealt with serious literary topics and had re-enactments of Shakespeare plays, I began to wonder if I could incorporate them into my literature classes.

Ten Fun Ways to Use YouTube Videos in an Online Literature Class

Instead of students just reading a text version of Othello, why not have them also watch a live performance of Othello to get them more motivated to learn literature? I started exploring YouTube and found many different kinds of videos that I could use to supplement my online literature classes. Student feedback has been very positive as they love hearing about the author’s take on why they wrote their latest work.

Here are ten ways literature instructors can use YouTube in class. 1. 2. 3. 4. 5. 6. 7. 8. 10. Yvonne Ho is a full time Associate English Composition/Literature French Professor at American Public University System (APUS) Tags: classroom videos, online video Recent Trackbacks Fun. iPads (or other devices) and Literature Circles – co-starring Edmodo. CC Licensed Literature Circles have been around forever.

iPads (or other devices) and Literature Circles – co-starring Edmodo.

Done well, the strategy is an effective way of engaging children in reading, while teaching them specific skills and behaviours we use when immersing ourselves in a text. With clear foci during the instructional part of the Literature Circle session, teachers can direct children to use these strategies to improve their comprehension and how they respond to text. One of my main concerns ( and the concerns of many I have worked with in implementing Literature Circles) is monitoring the independent reading and meetings as well as the work done by children in between sessions. Technology can play a big part in this and can also be used to enhance, simply and streamline the whole process. The Organisation Traditionally, from my experience, students have a quick meeting to decide how much of the book they will read before the discussion meeting and what role/s each member will prepare for during the discussion.

Edmodo. Final Thoughts. To Tweet or Not to Tweet  Over the past twelve years, I’ve watched my students progress from MySpace to Facebook to Twitter, not to mention the hundreds of other apps-of-the-moment.

To Tweet or Not to Tweet 

The one constancy in this trend is that students are online, interacting all day, every day. In fact, most of their social lives are now taking place digitally. Sure, they still meet up for a basketball game or to go to a party, but the days of phone call invites has ended. Instead, they Facebook message or tweet each other. This year, I finally realized that if I wanted to reach these students where they “live,” I was going to have to get with it and embrace the “classroom with no walls.” In January, as I began to outline my lesson plans for Shakespeare’s Hamlet, I realized that I was no longer excited about teaching something that I’d always loved.

In an early morning, wait-for-the-alarm-clock moment, it struck me like one of those orange angry birds. Would it meet the benchmark requirements? Why Shakespeare? Why Tweeting? Results?

Teaching Graphic Novels

Open Shakespeare. Shakespeare Works When Shakespeare Plays - UC Davis School of Education. August 29 – 31, 2014 Early Bird Registration: $349 (Register by May 15).

Shakespeare Works When Shakespeare Plays - UC Davis School of Education

After May 15: Registration is $375. Click here to register. Teaching Artists from some of the world’s most respected Shakespeare theaters will share active and playful approaches to enliven the teaching of Shakespeare. All workshops are aligned with Common Core Standards. Share this event with your colleagues. Meeting Common Core Standards The ELA/literacy standards in the Common Core State Standards highlight the growing complexity of the texts students must read to be ready for the demands of college, career, and life. The standards include certain critical types of content for all students, including classic myths and stories from around the world, foundational U.S. documents, seminal works of American literature, and the writings of Shakespeare.

In fact, Shakespeare is the only author included specifically in the ELA standards for the Common Core. Continuing Education Units Invited Presenters and Sponsors. Film.

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Lab Day! « Lisa’s. Over the last few years of developing a technique I’m happy with in discussion forums (see Discussion Goodness from 2009), I’ve also been experimenting with something similar in the classroom at San Elijo.

Lab Day! « Lisa’s

I’ve done it for three semesters now, and I’m happy with it too. The idea is that every two weeks, we have “Lab Day”. On that day, everyone who has a laptop has to bring one (a smartphone is OK, just not as good for searching images), and Media Services brings me a batch of old clunker PCs without batteries for everyone else. There are cords all over the floor, and students arranged in small groups. The task, during our 75 minute class, is to create a collection of three primary sources related to that week’s era, then develop athesis and present it to the class with the evidence. Students search the web for primary sources related to, say, the French Revolution.

The class website (here’s the one from last spring) is on a WordPress platform, and the students have basic accounts. What could a new anthology of American literature look like? By Werner Sollors In currently available anthologies of American literature there appears to be a general double standard at work, as “general American” texts by “mainstream authors” are selected primarily for their aesthetic accomplishment and historical-political significance as well as for the cultural fascination they hold, whereas African American, multiethnic, and many women’s works are chosen primarily for their authenticity.

What could a new anthology of American literature look like?

That means that a particular burden is placed upon authors included to represent racial, ethnic, or gender categories: their texts must not only be authored by members of these groupings (which is why it is so embarrassing when a false ethnic or gender ascription is discovered), but their works are also expected to be mostly about themes of race, ethnicity, and (perhaps to a slightly less intense degree) gender.

Werner Sollors is the Henry B. and Anne M. Like this: Like Loading... Literature Study Guides (A) Log In | My Passes | Sign Up Literature Bible Poetry Shakespeare Mythology Bestsellers Dr.

Literature Study Guides (A)

Seuss Pre-Algebra Algebra Algebra II Geometry Biology US History Flashcards DMV Careers SAT ACT AP Exams En Español Essay Lab Videos Literary Critics Shmoop Shtuff Photos Site Map | Help | Advertisers | Jobs | Partners | Contact Us | About Shmoop © 2014 Shmoop University, Inc. . © 2014 Shmoop University, Inc. @import url(//assets.zendesk.com/external/zenbox/v2.6/zenbox.css); The English Faculty. Anna smith: I spy #literacies learning... Teacher's Guides and Analysis Tool - For Teachers.

Literary Analysis as Scientific Method - On Hiring. For years I’ve tried to figure out how to get my “Introduction to Literature” students–99 percent of them not English majors–to appreciate literature. And by “appreciate,” I don’t mean “like.” That’s probably a lost cause. I just mean I want them to be able to understand what a writer is saying, how he or she goes about saying it, and what relevance it might have to their lives. As anyone who has taught a course like that knows very well, this is an uphill battle. Or at least it was for me until a couple of years ago, when I had an epiphany. I hope I won’t offend my science colleagues too much if I define the scientific method broadly here as consisting of three main steps: observe, hypothesize, and experiment.

I explain to my students that they can interpret a poem, for example, simply by applying the scientific method as defined above. So too when we read a text, we must read it multiple times, read it slowly and carefully, constantly asking ourselves, “What does this mean? Literary Appreciation + Literary Analysis: A Course Plan « Classroom as Microcosm. Regular commenter Crystal has asked for some more details about my Personal Narrative course, in which I focus less on literary analysis and more on literary appreciation.

Here’s some general info on how the course unfolds. Feel free to steal/adapt/query, etc. Module 1: Literary Analysis Review Text: The Glass Castle by Jeannette Walls In the first part of the course, we all read The Glass Castle and discuss the genre of the personal narrative. Module 2: Book Talks Texts: students have a course pack containing copies of the front cover, the back cover or inside flap, and the first chapter of eight book-length memoirs. I assign one book to each student, so each book is read by a group of 4-5 students. Plot summary: this is a challenging topic, because you will need to give a detailed enough summary to intrigue the audience, but you can’t give everything away! Module 3: Comparison Text: each student chooses a second book from the list above.

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EH 102 Textual Transformation (Summer 2012)

Lit Bits » Blog Archive » Teaching Literature: Student Contexts and Discussion Openers. Today’s guest blogger is Ben Bunting, a Ph.D. candidate in English literature at Washington State University where he teaches undergraduate courses in Composition and Literature. Bunting’s research and writing interrogates the concept of “wilderness” in 21st century America; he’s also interested in ecocriticism, game studies, and medieval literature.

He plans to graduate in the spring of 2012. After years of being one of the veritable army of literature graduate students who teach freshman composition, I was ecstatic to be given my first literature course in the spring of 2010. My excitement quickly turned to terror, though, when I realized that while I was teaching said class, I would also be preparing for my doctoral exams and beginning to draft my dissertation. I unashamedly admit that my first response to these complications was to try to design a class that minimized my day-to-day responsibilities as much as possible. Tags: assignment, Creative Writing. Providing Background Knowledge: Effective Scaffold or Spoon-feeding? Two weeks ago I looked at one of the recommendations found in the Common Core Standards Publisher’s Criteria for Grades K-2 and 3-5, which attempt to lay out some guidelines for designing Standards-based reading curriculum.

In addition to questioning strategy instruction, both Criteria also offer caveats against front-loading information or engaging students in pre-reading activities that provide them with access to a text’s ideas without actually grappling with the text itself. Like the criteria about comprehension strategies, questioning front-loading is a ‘biggie,’ especially when it comes to providing background knowledge which students might not have. No less an expert than Doug Lemov, for instance, the author of the hugely popular Teach Like a Champion, cites pre-teaching background material as one of the techniques effective teachers use. There are certainly times when I front-load information. We also don’t know where we are, other than some place called District 12. Like this: Lit Bits » Blog Archive » Student-directed Questioning. One of our challenges as teachers of literature is to encourage students to move from simply answering questions we ask to formulating their own questions.

To get at this, I have students write two discussion questions every day we meet as a class and e-mail them to me no later than 30 minutes before the class begins. From there, I take the questions, group them according to common themes and lead a seminar-style discussion. (This format works better in upper division courses, but this is easily adapted in larger first year courses by imposing earlier deadlines). Students need to learn how to ask discussion questions, because too frequently they simply ask questions that focus on plot points or basic facts. While it’s important, certainly, to make sure that everyone knows what exactly happens, that focus doesn’t get at the interpretive work that makes literary studies enjoyably challenging. So I give the students time to practice. Poor discussion question: Better discussion questions: TuckerReader%20Response.

Lit Bits » Blog Archive » What Do You Envision? Mashups in the Literature Classroom.