I graded the second set of papers for the class. The most significant challenge that the students demonstrated was the ability to give detailed explanation and justifications for their educational decisions. I think that some of the students simply did not read the secondary material. I think that some of them are not really at the level of analysis and argumentation that they should be at this level. There was a marked gap between the achievement level of the Middle Grades Education students and the Secondary English Education students. It seems like the MGED students just aren't used to applying a theoretical lens to their own work. I felt challenged by grading the papers for a class that I didn't design. There's something interesting about working in someone else's classroom. I felt more pressure to maintain Dr. Insenga's standards. While that was challenging for me, I think it also helped me keep a high standard for my own work.
One student was shocked by her grade, and is contesting it. I met with her to discuss her grade. Below is the email that I sent Dr. Insenga summarizing our meeting and detailing the situation.
*********************************************************************************
Dr. Insenga--
I talked with ________ after class about her paper. She was shocked to get a C+ and told me that she cried. She basically wanted me to change her grade. I went through the paper and explained my reasoning--mostly that she didn't give detailed justifications or demonstrate a clear understanding of the theory. I also noted a few qualities on the rubric that justifies a B that I thought her paper just didn't demonstrate--essentially why I couldn't confidently grade that paper a B. I explained that I cannot change her grade, and I suggested that she make an appointment to talk with you. She explained that she didn't feel prepared for that type of pedagogical justification. She suggested that she wasn't prepared due to lack of in class modeling. She also explained that she's never written a paper like this or taken an English class since composition. I suggested then that maybe a C+ was pretty good given those circumstances. At that point I told her that she was doing the right thing in coming to talk with me and that she has legitimate concerns and reaffirmed that she should talk with you.
She mentioned also that you and I were saying different things, which she didn't give particular evidence of or explain very clearly. I'm not really sure what's going on there, but that worries me a bit.
Also, I do think that I gave you __________'s paper.
Whew! I'll stop by on Wednesday to chat.
Jessica
**********************************************************************
and Dr. Insenga's response:
**********************************************************************
Hi, Jessica--
You did the right thing in explaining that we cannot just change grades, despite the fact that someone is upset.
I never spoke to ________ about a draft, and she only asked me questions after class.
Regarding her feeling unprepared: she is certainly doing well to justify in her Anatomy of a Lesson Plan assignments, so I am unsure if that is a valid reason for her upset. I'll need to look at her work to talk further about any specifics.
In short, she should come see me. However, no grade change will be possible for her.
Thanks for keeping me in the loop, here. It sounds like you handled it quite well.
See you soon.
ai
*******************************************************************************
It does seem that in this classroom with two instructors, some students tend to create a gap between the teachers. A few students seem to turn my words against Dr. Insenga's or vise versa. For that reason, maintaining close contact with Dr. Insenga has really helped.
20 April 2010
ENGL 3400 April 12
We actually did the roundtable discussion in class on Monday April 12. Below is a list of the readings that I thought connected in some thematic way to the novel.
********************************************************************************
Yellow Horse Brave Heart, Maria. “The Historical Trauma Response Among Natives and its Relationship to Substance Abuse: A Lakota Illustration.” Journal of Psychoactive Drugs. 35.1 (2003): 7-14.
Adams, David Wallace. “Classroom.” Education for Extinction: American Indians and the Boarding School Experience. Lawrence, KS: University Press of Kansas, 1995. 136-163. Print.
Hayden Taylor, Drew. “Indian Love Call.” Me Sexy. Ed. Drew Hayden Taylor. Vancouver, British Columbia: Douglas & McIntyre, 2008. 20-32. Print.
O’Brien, Sharon. “Federal Indian Policies and the International Protection of Human Rights.” American Indian Policy in the Twentieth Century. Ed. Vine Deloria, Jr.
Norman, OK: University of Oklahoma Press, 1985. 35-62. Print.
Deloria, Jr., Vine. “The Disastrous Policy of Termination.” Custer Died for Your Sins. Norman, OK: Univ. of OK Press, 1988. 54-77. Print.
Deloria, Jr., Vine. “Indians Today, the Real and the Unreal.” Custer Died for Your Sins. Norman, OK: Univ. of OK Press, 1988. 1-27. Print.
Deloria, Jr., Vine. “Anthropologists and Other Friends.” Custer Died for Your Sins. Norman, OK: Univ. of OK Press, 1988. 78-100. Print.
Deloria, Jr., Vine. “Indian Humor.” Custer Died for Your Sins. Norman, OK: Univ. of OK Press, 1988. 146-167. Print.
Deloria, Philip. “Counter Culture Indians and the New Age.” Playing Indian. New Haven, CT: Yale Univ. Press, 1998. 154-180. Print.
Smith, Paul Chaat. “On Romanticism.” Everything You Know About Indians is Wrong. Minneapolis, MN: Univ. of MN Press, 2009. 13-27. Print.
Smith, Paul Chaat. “Land of a Thousand Dances.” Everything You Know About Indians is Wrong. Minneapolis, MN: Univ. of MN Press, 2009. 37-42. Print.
Smith, Paul Chaat. “Americans without Tears.” Everything You Know About Indians is Wrong. Minneapolis, MN: Univ. of MN Press, 2009. 69-78. Print.
LaDuke, Winona. “Life of a Powwow Emcee: Vince Beyl, the Man behind the Microphone.” The Winona LaDuke Reader. Sillwater, MN: Voyageur Press, 2002. 181-185. Print.
Hofmann, Sudi. “Pushing Some Buttons: Helping Students Understand the American Indian Mascot Issue”
http://www.aimovement.org/ncrsm/pushingsomebuttons.html
Teters, Charlene. “American Indians are People, not Mascots”
http://www.aimovement.org/ncrsm/index.html
***********************************************************************************
And here are the discussion questions that I created to link the secondary readings with Alexie's Absolutely True Diary
*****************************************************************************
Why might Alexie consider reservations “death camps”? Consider policy.
What does Mr. P refer to when he talks about killing Indians? Why is he so upset?
Discuss the significance of Ted’s collecting Indian artifacts. Why does the group laugh at him?
Why might Alexie make a point to emphasize that Ted’s “expert” was completely wrong?
Who does Alexie think are the experts? How is this a political statement?
How does Alexie revise the romanticized image of the Native American? Or does he?
Discuss Alexie’s use of humor. What purpose does humor serve in The Absolutely True Diary?
Discuss the character to whom your article seems most applicable. How might your article inform or change the way we read this character and his/her decisions?
Give an example of how your article complicates our opinion of a character.
Why might Alexie give both basketball teams racialized names? Consider the significance of the team members’ race. How does Alexie stage Arnold as a mascot? Why might he do this?
Why might Arnold’s dad spend Christmas getting drunk?
Consider Arnold’s drawing of the romance novel that he imagines Mary writing. What sort of racial stereotypes and expectations does Alexie illustrate? How does the novel challenge or affirm this type of representation? Consider romantic relationships in the text.
Why might Alexie stage Arnold’s beating by the three drunken triplets at the annual powwow? Consider the combination of tradition and ceremony with alcoholism and violence.
How much control over their lives and futures do people on the reservation have? How does the novel suggest people do take control of their lives and futures? How does your article relate to concepts of control and freedom?
********************************************************************************
Overall, the discussion went well. Next time I would spend more time setting it up, making it clear that students lead the discussion. It was a challenge for me to not jump into the conversation.
********************************************************************************
Yellow Horse Brave Heart, Maria. “The Historical Trauma Response Among Natives and its Relationship to Substance Abuse: A Lakota Illustration.” Journal of Psychoactive Drugs. 35.1 (2003): 7-14.
Adams, David Wallace. “Classroom.” Education for Extinction: American Indians and the Boarding School Experience. Lawrence, KS: University Press of Kansas, 1995. 136-163. Print.
Hayden Taylor, Drew. “Indian Love Call.” Me Sexy. Ed. Drew Hayden Taylor. Vancouver, British Columbia: Douglas & McIntyre, 2008. 20-32. Print.
O’Brien, Sharon. “Federal Indian Policies and the International Protection of Human Rights.” American Indian Policy in the Twentieth Century. Ed. Vine Deloria, Jr.
Norman, OK: University of Oklahoma Press, 1985. 35-62. Print.
Deloria, Jr., Vine. “The Disastrous Policy of Termination.” Custer Died for Your Sins. Norman, OK: Univ. of OK Press, 1988. 54-77. Print.
Deloria, Jr., Vine. “Indians Today, the Real and the Unreal.” Custer Died for Your Sins. Norman, OK: Univ. of OK Press, 1988. 1-27. Print.
Deloria, Jr., Vine. “Anthropologists and Other Friends.” Custer Died for Your Sins. Norman, OK: Univ. of OK Press, 1988. 78-100. Print.
Deloria, Jr., Vine. “Indian Humor.” Custer Died for Your Sins. Norman, OK: Univ. of OK Press, 1988. 146-167. Print.
Deloria, Philip. “Counter Culture Indians and the New Age.” Playing Indian. New Haven, CT: Yale Univ. Press, 1998. 154-180. Print.
Smith, Paul Chaat. “On Romanticism.” Everything You Know About Indians is Wrong. Minneapolis, MN: Univ. of MN Press, 2009. 13-27. Print.
Smith, Paul Chaat. “Land of a Thousand Dances.” Everything You Know About Indians is Wrong. Minneapolis, MN: Univ. of MN Press, 2009. 37-42. Print.
Smith, Paul Chaat. “Americans without Tears.” Everything You Know About Indians is Wrong. Minneapolis, MN: Univ. of MN Press, 2009. 69-78. Print.
LaDuke, Winona. “Life of a Powwow Emcee: Vince Beyl, the Man behind the Microphone.” The Winona LaDuke Reader. Sillwater, MN: Voyageur Press, 2002. 181-185. Print.
Hofmann, Sudi. “Pushing Some Buttons: Helping Students Understand the American Indian Mascot Issue”
http://www.aimovement.org/ncrsm/pushingsomebuttons.html
Teters, Charlene. “American Indians are People, not Mascots”
http://www.aimovement.org/ncrsm/index.html
***********************************************************************************
And here are the discussion questions that I created to link the secondary readings with Alexie's Absolutely True Diary
*****************************************************************************
Why might Alexie consider reservations “death camps”? Consider policy.
What does Mr. P refer to when he talks about killing Indians? Why is he so upset?
Discuss the significance of Ted’s collecting Indian artifacts. Why does the group laugh at him?
Why might Alexie make a point to emphasize that Ted’s “expert” was completely wrong?
Who does Alexie think are the experts? How is this a political statement?
How does Alexie revise the romanticized image of the Native American? Or does he?
Discuss Alexie’s use of humor. What purpose does humor serve in The Absolutely True Diary?
Discuss the character to whom your article seems most applicable. How might your article inform or change the way we read this character and his/her decisions?
Give an example of how your article complicates our opinion of a character.
Why might Alexie give both basketball teams racialized names? Consider the significance of the team members’ race. How does Alexie stage Arnold as a mascot? Why might he do this?
Why might Arnold’s dad spend Christmas getting drunk?
Consider Arnold’s drawing of the romance novel that he imagines Mary writing. What sort of racial stereotypes and expectations does Alexie illustrate? How does the novel challenge or affirm this type of representation? Consider romantic relationships in the text.
Why might Alexie stage Arnold’s beating by the three drunken triplets at the annual powwow? Consider the combination of tradition and ceremony with alcoholism and violence.
How much control over their lives and futures do people on the reservation have? How does the novel suggest people do take control of their lives and futures? How does your article relate to concepts of control and freedom?
********************************************************************************
Overall, the discussion went well. Next time I would spend more time setting it up, making it clear that students lead the discussion. It was a challenge for me to not jump into the conversation.
05 April 2010
Native Lit Syllabus
This is the comprehensive Native Lit reading list from UNM phd student:
************************************************************************************
Fiction, Poetry, Drama, Ethnography, Nonfiction, & Other
Alexie, Sherman. The Toughest Indian in the World, Ten Little Indians, The Lone Ranger and Tonto Fistfight in Heaven, Reservation Blues, Indian Killer
Allen, Paula Gunn. The Woman Who Owned the Shadows
Anderson, Karen. Chain Her By One Foot: The Subjugation of Native Women in Nineteenth-Century New France
Apess, William. A Son of the Forest and Other Writings
Boudinot, Elias. Cherokee Editor
Brant, Beth. Food and Spirits: Stories
Broker, Ignatia. Night Flying Woman
Callahan, S. Alice. Wynema: A Child of the Forest
Deloria, Ella. Speaking of Indians
Eastman, Charles. Indian Boyhood and From Deep Woods to Civilization
Erdrich, Louise. Four Souls, Tracks, Love Medicine, The Last Report on the Miracles at Little No Horse
Gansworth, Eric. Mending Skins
Geronimo. His Own Story: The Autobiography of a Great Patriot Warrior
Glancy, Diane. Claiming Breath
Harjo, Joy. In Mad Love and War, A Map to the Next World.
Hogan, Linda. Mean Spirit, Solar Storms, Dwellings, The Woman Who Watched Over the World
Johnson, E. Pauline. The Moccasin Maker
Jones, Stephen Graham. Bleed Into Me
King, Thomas E. Medicine River; Green Grass, Running Water; One Good Story, That One
Linderman, Frank B. Pretty Shield
Maracle, Lee. I am Woman
Mathews, John Joseph. Sundown
Momaday, N. Scott. The Way to Rainy Mountain, House Made of Dawn, The Ancient Child, The Man Made of Words
Morris, Irvin. From the Glittering World: A Navajo Story
Mourning Dove. Cogewea
McNickle, Darcy. The Surrounded, Runner in the Sun, Wind from an Enemy Sky
Occom, Samson. Sermons and Oratory
Ortiz, Simon J. Woven Stone
Reichard, Gladys. Spider Woman: A Story of Navajo Weavers and Chanters
Riggs, Lynn. The Cherokee Night and Other Plays
Silko, Leslie Marmon. Storyteller, Ceremony, Almanac of the Dead, Yellow Woman and a Beauty of the Spirit
Smith, Andrea. Conquest
Standing Bear, Luther. My People the Sioux
Tecumseh. Oratory
Tapahonso, Luci. Blue Horses Rush In, Sáanii Dahataal, The Women Are Singing : Poems And Stories
Tohe, Laura. No Parole Today
Ward, Nancy. Oratory
Watts, Eva Tulane. Don’t Let The Sun Step Over You
Welch, James. Fools Crow, Winter in the Blood
Winnemucca, Sarah. Life Among the Piutes
Vizenor, Gerald. Hotline Healers
Zapeda, Ophelia. Ocean Power: Poems From The Desert
Zitkala Sa. American Indian Stories, Old Indian Legends
Critical Work, Anthologies & Other:
Allen, Paula Gunn. Voice of the Turtle: American Indian Literature 1900-1970, The Sacred Hoop, Studies in American Indian Literature
Battiste, Marie. Reclaiming Indigenous Voice and Vision
Cook-Lynn, Elizabeth. New Indians, Old Wars, Why I Can’t Read Wallace Stegner
Deloria, Philip. Indians in Unexpected Places
Deloria, Vine. The World We Used to Live in: Remembering the Powers of the Medicine Men, God Is Red, Custer Died for Your Sins, Red Earth, White Lies
Green, Joyce. Making Way for Indigenous Feminism
Harjo, Joy and Gloria Bird. Reinventing the Enemy’s Language
Kilcup, Karen. Native American women's writing c. 1800-1924 : an anthology
Klein, Laura F. and Lillian A. Ackerman. Women and Power in Native North America
Lincoln, Kenneth. Native American Renaissance
Mihesuah, Devon. Indigenous American Women: Decolonization, Empowerment, Activism
Nabakov, Peter. Native American Testimony
Owens, Louis. Mixedblood Messages, Other Destinies
Pesantubbee, Michelene. Choctaw Women in a Chaotic World
Povinelli, Elizabeth. Cunning of Recognition
Purdy, John (ed). Nothing But The Truth
Sarris, Greg. Keeping Slug Woman Alive
Shoemaker, Nancy. Negotiators of Change: Historical Perspectives on Native American Women
Walker, Cheryl Indian Nation: Native American Literature and Nineteenth-Century Nationalisms
Warrior, Robert. The People and the Word
Weaver, Jace. American Indian Literary Nationalism
Womack, Craig. Red on Red
Vizenor, Gerald. Native American Literature, Manifest Manners
Articles:
All of the articles from Denetdale, Archuleta, Alemán, and Brandon classes (quite extensive)
***********************************************************************************
Now I guess my goal is to see how much we have and how much we don't.
************************************************************************************
Fiction, Poetry, Drama, Ethnography, Nonfiction, & Other
Alexie, Sherman. The Toughest Indian in the World, Ten Little Indians, The Lone Ranger and Tonto Fistfight in Heaven, Reservation Blues, Indian Killer
Allen, Paula Gunn. The Woman Who Owned the Shadows
Anderson, Karen. Chain Her By One Foot: The Subjugation of Native Women in Nineteenth-Century New France
Apess, William. A Son of the Forest and Other Writings
Boudinot, Elias. Cherokee Editor
Brant, Beth. Food and Spirits: Stories
Broker, Ignatia. Night Flying Woman
Callahan, S. Alice. Wynema: A Child of the Forest
Deloria, Ella. Speaking of Indians
Eastman, Charles. Indian Boyhood and From Deep Woods to Civilization
Erdrich, Louise. Four Souls, Tracks, Love Medicine, The Last Report on the Miracles at Little No Horse
Gansworth, Eric. Mending Skins
Geronimo. His Own Story: The Autobiography of a Great Patriot Warrior
Glancy, Diane. Claiming Breath
Harjo, Joy. In Mad Love and War, A Map to the Next World.
Hogan, Linda. Mean Spirit, Solar Storms, Dwellings, The Woman Who Watched Over the World
Johnson, E. Pauline. The Moccasin Maker
Jones, Stephen Graham. Bleed Into Me
King, Thomas E. Medicine River; Green Grass, Running Water; One Good Story, That One
Linderman, Frank B. Pretty Shield
Maracle, Lee. I am Woman
Mathews, John Joseph. Sundown
Momaday, N. Scott. The Way to Rainy Mountain, House Made of Dawn, The Ancient Child, The Man Made of Words
Morris, Irvin. From the Glittering World: A Navajo Story
Mourning Dove. Cogewea
McNickle, Darcy. The Surrounded, Runner in the Sun, Wind from an Enemy Sky
Occom, Samson. Sermons and Oratory
Ortiz, Simon J. Woven Stone
Reichard, Gladys. Spider Woman: A Story of Navajo Weavers and Chanters
Riggs, Lynn. The Cherokee Night and Other Plays
Silko, Leslie Marmon. Storyteller, Ceremony, Almanac of the Dead, Yellow Woman and a Beauty of the Spirit
Smith, Andrea. Conquest
Standing Bear, Luther. My People the Sioux
Tecumseh. Oratory
Tapahonso, Luci. Blue Horses Rush In, Sáanii Dahataal, The Women Are Singing : Poems And Stories
Tohe, Laura. No Parole Today
Ward, Nancy. Oratory
Watts, Eva Tulane. Don’t Let The Sun Step Over You
Welch, James. Fools Crow, Winter in the Blood
Winnemucca, Sarah. Life Among the Piutes
Vizenor, Gerald. Hotline Healers
Zapeda, Ophelia. Ocean Power: Poems From The Desert
Zitkala Sa. American Indian Stories, Old Indian Legends
Critical Work, Anthologies & Other:
Allen, Paula Gunn. Voice of the Turtle: American Indian Literature 1900-1970, The Sacred Hoop, Studies in American Indian Literature
Battiste, Marie. Reclaiming Indigenous Voice and Vision
Cook-Lynn, Elizabeth. New Indians, Old Wars, Why I Can’t Read Wallace Stegner
Deloria, Philip. Indians in Unexpected Places
Deloria, Vine. The World We Used to Live in: Remembering the Powers of the Medicine Men, God Is Red, Custer Died for Your Sins, Red Earth, White Lies
Green, Joyce. Making Way for Indigenous Feminism
Harjo, Joy and Gloria Bird. Reinventing the Enemy’s Language
Kilcup, Karen. Native American women's writing c. 1800-1924 : an anthology
Klein, Laura F. and Lillian A. Ackerman. Women and Power in Native North America
Lincoln, Kenneth. Native American Renaissance
Mihesuah, Devon. Indigenous American Women: Decolonization, Empowerment, Activism
Nabakov, Peter. Native American Testimony
Owens, Louis. Mixedblood Messages, Other Destinies
Pesantubbee, Michelene. Choctaw Women in a Chaotic World
Povinelli, Elizabeth. Cunning of Recognition
Purdy, John (ed). Nothing But The Truth
Sarris, Greg. Keeping Slug Woman Alive
Shoemaker, Nancy. Negotiators of Change: Historical Perspectives on Native American Women
Walker, Cheryl Indian Nation: Native American Literature and Nineteenth-Century Nationalisms
Warrior, Robert. The People and the Word
Weaver, Jace. American Indian Literary Nationalism
Womack, Craig. Red on Red
Vizenor, Gerald. Native American Literature, Manifest Manners
Articles:
All of the articles from Denetdale, Archuleta, Alemán, and Brandon classes (quite extensive)
***********************************************************************************
Now I guess my goal is to see how much we have and how much we don't.
ENGL 3400 April 5
Today I discussed Dr. Carolyn Kyler's Roundtable Pedagogical Device with the class. She presented this method at the College English Association 2010 Conference in San Antonio. I explained the activity & created a handout applying this method to Sherman Alexie's The Absolutely True Diary of a Part Time Indian Here is my handout
*******************************************************************************
Using the Round Table Model to teach cultural context for Sherman Alexie’s The Absolutely True Diary of a Part Time Indian
Readings that would be put in a hat and drawn by students:
1.Chapter 5 “Classroom” of Education for Extinction: American Indians and the Boarding School Experience by David Wallace Adams
2.“Indian Education” from The Lone Ranger and Tonto Fistfight in Heaven by Sherman Alexie
3.“Indian Love Call” in Me Sexy by Drew Hayden Taylor: Native Americans and the romance novel
4."The historical trauma response among natives and its relationship to substance abuse: A Lakota illustration." Journal of Psychoactive Drugs by Maria Yellow Horse Brave Heart
5.“Federal Indian Policies and the International Protection of Human Rights” by Sharon O’Brien in American Indian Policy in the Twentieth Century edited by Vine Deloria, Jr.
6.“The Disastrous Policy of Termination” in Custer Died for your Sins by Vine Deloria, Jr.
7.“Anthropologists and Other Friends” in Custer Died for your Sins by Vine Deloria, Jr.
8.“Indian Humor” in Custer Died for your Sins by Vine Deloria, Jr.
9.“Indians Today, the Real and the Unreal” in Custer Died for your Sins by Vine Deloria, Jr.
10.“Counter Culture Indians and the New Age” in Playing Indian by Philip Deloria
11.“On Romanticism” in Everything You Know about Indians is Wrong by Paul Chaat Smith
12.“Land of a Thousand Dances” in Everything You Know about Indians is Wrong by Paul Chaat Smith: Native Americans and representation in film
13.“American Indians are People, not Mascots” by Charlene Teters http://www.aimovement.org/ncrsm/index.html
Student Preparation
Reading: Read the assigned section of Alexie’s The Absolutely True Diary of a Part Time Indian (1-151) and your assigned article. Take notes of points you may want to raise.
Written Work: Prepare a two page written response to your article that includes the following:
1.Describe purpose of your article. What does it objectively communicate?
2.How is this purpose important to the primary text?
3.What sorts of complexities might your secondary text reveal about a character(s) perspective?
4.How does Alexie stylistically communicate these complexities?
5.How does your article’s issue or topic affect Arnold?
6.Does the primary text suggest any argument about the main issue of your secondary text? For example, does Alexie embed an argument about Indian humor in this text? (If your were reading “Indian Humor”)
Roundtable Questions
1.Why might Alexie consider reservations “death camps”?
2.Discuss Arnold’s educational experience in terms of cultural dominance.
3.How is education a negotiation of cultural power?
4.Discuss the significance of Ted’s collecting Indian artifacts.
5.How does Alexie revise the romanticized image of the Native American?
6.What are interracial relationships like in Alexie’s text?
7.Discuss Alexie’s use of humor. What purpose does humor serve in The Absolutely True Diary?
8.Discuss which character to whom your article seems most applicable.
9.Give an example of how your article informs a character(s) perspective.
*************************************************************************************
The discussion went well. We talked about how to modify this for different class and grade levels. I think this would be a particularly applicable model for the ENGL 1102 classroom wherein I teach research skills. A few students--Heather, Jess--came up with a graduated method where the provided list of secondary texts really introduces students to the use of research. The second roundtable day could focus on the process of creating that list--a library day--where I model and we all practice doing the actual research. Finally, on the last roundtable day students would find their own articles to bring to the discussion. I want to do this. It seems like such an effective tool for introducing composition students to confident research.
We are going to actually do this activity on Monday next week. Tomorrow I'll photocopy all the articles and prepare for the distribution of reading assignments on Wednesday. Also, I'll give Dr. Insenga a copy of the secondary sources and discussion questions on Wednesday.
I also prepared discussion questions for a talk on exploring Alexie's representation of the reservation, which we didn't have time for. I might be able to open this discussion on Wednesday. Here is a copy of my discussion planning:
*************************************************************************************
April 5, 2010
Discuss “The Roundtable”: Present concept
Applied to Alexie text
What sort of purpose does it serve?
Could this be modified for a lower level classroom?
How low could we go with this?
How might it be different?
What types of texts might be on the list?
Is there a way to modify the reading list to go even lower, like middle school?
Concepts of Reservation: geographic reservation
Let’s look at the language Alexie uses when he describes the reservation:
30: “My reservation which is located approximately one million miles north of Important and two billion miles west of Happy”
33: The world’s smallest reservation drawing
43: picture of reservation: road sign says hope: geographic location & mental location
“you have to leave this reservation [. . .] No, I mean you have to leave the rez forever”
“You’re going to find more and more hope the farther and farther you walk away from this sad, sad, sad reservation”
Why does Mr. P tell Arnold to leave the reservation? Everyone has given up.
So leaving the reservation also means leaving desperation.
The language that Alexie uses when describing the reservation: hope, happy, sad.
Do those describe geography? What does this language really describe? Mental interiority. How does this language change our ideas about where the reservation is?
So Arnold’s leaving the reservation is also a mental journey, or a developmental one.
So since Arnold’s move away from the reservation is a developmental move, then how does art and literature fit in to his journey?
A tool for change.
What sort of a case does Alexie make about reading and creativity for adolescent readers?
6: So I draw because I feel like it might be my only real chance to escape the reservation.
Drawing and literature / poetry:
95: Reading: “Wow, this dude was a poet. My cartoons weren’t just good for giggles; they were also good for poetry. Funny poetry, but poetry nonetheless. It was seriously funny stuff.”
How might we link this text’s argument about literature with what we already know about adolescent development?
If students were to see themselves in this text, what might Alexie be persuading them of?
Using this theme,
Could we bridge to Blake’s “London”?
Could we bridge to The Narrative of the Life of Frederick Douglass?
London
by William Blake
I wander thro' each charter'd street,
Near where the charter'd Thames does flow,
And mark in every face I meet
Marks of weakness, marks of woe.
In every cry of every Man,
In every Infant's cry of fear,
In every voice, in every ban,
The mind-forg'd manacles I hear.
How the Chimney-sweeper's cry
Every black'ning Church appalls;
And the hapless Soldier's sigh
Runs in blood down Palace walls.
But most thro' midnight streets I hear
How the youthful Harlot's curse
Blasts the new born Infant's tear,
And blights with plagues the Marriage hearse.
*********************************************************************************
I will grade papers this weekend mostly and plan to meet with Dr. Insenga before I return them. That will hopefully be on Monday April 12. Wednesday would put me at two weeks past the due date, and I consider that my absolute latest.
*******************************************************************************
Using the Round Table Model to teach cultural context for Sherman Alexie’s The Absolutely True Diary of a Part Time Indian
Readings that would be put in a hat and drawn by students:
1.Chapter 5 “Classroom” of Education for Extinction: American Indians and the Boarding School Experience by David Wallace Adams
2.“Indian Education” from The Lone Ranger and Tonto Fistfight in Heaven by Sherman Alexie
3.“Indian Love Call” in Me Sexy by Drew Hayden Taylor: Native Americans and the romance novel
4."The historical trauma response among natives and its relationship to substance abuse: A Lakota illustration." Journal of Psychoactive Drugs by Maria Yellow Horse Brave Heart
5.“Federal Indian Policies and the International Protection of Human Rights” by Sharon O’Brien in American Indian Policy in the Twentieth Century edited by Vine Deloria, Jr.
6.“The Disastrous Policy of Termination” in Custer Died for your Sins by Vine Deloria, Jr.
7.“Anthropologists and Other Friends” in Custer Died for your Sins by Vine Deloria, Jr.
8.“Indian Humor” in Custer Died for your Sins by Vine Deloria, Jr.
9.“Indians Today, the Real and the Unreal” in Custer Died for your Sins by Vine Deloria, Jr.
10.“Counter Culture Indians and the New Age” in Playing Indian by Philip Deloria
11.“On Romanticism” in Everything You Know about Indians is Wrong by Paul Chaat Smith
12.“Land of a Thousand Dances” in Everything You Know about Indians is Wrong by Paul Chaat Smith: Native Americans and representation in film
13.“American Indians are People, not Mascots” by Charlene Teters http://www.aimovement.org/ncrsm/index.html
Student Preparation
Reading: Read the assigned section of Alexie’s The Absolutely True Diary of a Part Time Indian (1-151) and your assigned article. Take notes of points you may want to raise.
Written Work: Prepare a two page written response to your article that includes the following:
1.Describe purpose of your article. What does it objectively communicate?
2.How is this purpose important to the primary text?
3.What sorts of complexities might your secondary text reveal about a character(s) perspective?
4.How does Alexie stylistically communicate these complexities?
5.How does your article’s issue or topic affect Arnold?
6.Does the primary text suggest any argument about the main issue of your secondary text? For example, does Alexie embed an argument about Indian humor in this text? (If your were reading “Indian Humor”)
Roundtable Questions
1.Why might Alexie consider reservations “death camps”?
2.Discuss Arnold’s educational experience in terms of cultural dominance.
3.How is education a negotiation of cultural power?
4.Discuss the significance of Ted’s collecting Indian artifacts.
5.How does Alexie revise the romanticized image of the Native American?
6.What are interracial relationships like in Alexie’s text?
7.Discuss Alexie’s use of humor. What purpose does humor serve in The Absolutely True Diary?
8.Discuss which character to whom your article seems most applicable.
9.Give an example of how your article informs a character(s) perspective.
*************************************************************************************
The discussion went well. We talked about how to modify this for different class and grade levels. I think this would be a particularly applicable model for the ENGL 1102 classroom wherein I teach research skills. A few students--Heather, Jess--came up with a graduated method where the provided list of secondary texts really introduces students to the use of research. The second roundtable day could focus on the process of creating that list--a library day--where I model and we all practice doing the actual research. Finally, on the last roundtable day students would find their own articles to bring to the discussion. I want to do this. It seems like such an effective tool for introducing composition students to confident research.
We are going to actually do this activity on Monday next week. Tomorrow I'll photocopy all the articles and prepare for the distribution of reading assignments on Wednesday. Also, I'll give Dr. Insenga a copy of the secondary sources and discussion questions on Wednesday.
I also prepared discussion questions for a talk on exploring Alexie's representation of the reservation, which we didn't have time for. I might be able to open this discussion on Wednesday. Here is a copy of my discussion planning:
*************************************************************************************
April 5, 2010
Discuss “The Roundtable”: Present concept
Applied to Alexie text
What sort of purpose does it serve?
Could this be modified for a lower level classroom?
How low could we go with this?
How might it be different?
What types of texts might be on the list?
Is there a way to modify the reading list to go even lower, like middle school?
Concepts of Reservation: geographic reservation
Let’s look at the language Alexie uses when he describes the reservation:
30: “My reservation which is located approximately one million miles north of Important and two billion miles west of Happy”
33: The world’s smallest reservation drawing
43: picture of reservation: road sign says hope: geographic location & mental location
“you have to leave this reservation [. . .] No, I mean you have to leave the rez forever”
“You’re going to find more and more hope the farther and farther you walk away from this sad, sad, sad reservation”
Why does Mr. P tell Arnold to leave the reservation? Everyone has given up.
So leaving the reservation also means leaving desperation.
The language that Alexie uses when describing the reservation: hope, happy, sad.
Do those describe geography? What does this language really describe? Mental interiority. How does this language change our ideas about where the reservation is?
So Arnold’s leaving the reservation is also a mental journey, or a developmental one.
So since Arnold’s move away from the reservation is a developmental move, then how does art and literature fit in to his journey?
A tool for change.
What sort of a case does Alexie make about reading and creativity for adolescent readers?
6: So I draw because I feel like it might be my only real chance to escape the reservation.
Drawing and literature / poetry:
95: Reading: “Wow, this dude was a poet. My cartoons weren’t just good for giggles; they were also good for poetry. Funny poetry, but poetry nonetheless. It was seriously funny stuff.”
How might we link this text’s argument about literature with what we already know about adolescent development?
If students were to see themselves in this text, what might Alexie be persuading them of?
Using this theme,
Could we bridge to Blake’s “London”?
Could we bridge to The Narrative of the Life of Frederick Douglass?
London
by William Blake
I wander thro' each charter'd street,
Near where the charter'd Thames does flow,
And mark in every face I meet
Marks of weakness, marks of woe.
In every cry of every Man,
In every Infant's cry of fear,
In every voice, in every ban,
The mind-forg'd manacles I hear.
How the Chimney-sweeper's cry
Every black'ning Church appalls;
And the hapless Soldier's sigh
Runs in blood down Palace walls.
But most thro' midnight streets I hear
How the youthful Harlot's curse
Blasts the new born Infant's tear,
And blights with plagues the Marriage hearse.
*********************************************************************************
I will grade papers this weekend mostly and plan to meet with Dr. Insenga before I return them. That will hopefully be on Monday April 12. Wednesday would put me at two weeks past the due date, and I consider that my absolute latest.
29 March 2010
ENGL 3400 Mar 29
This is my reflection email to Dr. Insenga on teaching--March 29th. I really didn't prepare as much as I would've like to for this class, mostly because I was out of town at the CEA conference. It's hard for me to really stay on track with work while I travel. I felt ok about class, not great but not bad. I am happy that we geared the conversation toward justification of teaching methods--context.
************************************************************************************
Hey Dr. Insenga,
So I gave them an extension on their papers until Wednesday the 31st. I told them that I'd put a box outside my office and to turn them in by 5:00. Class went ok. A couple of people--Jess, Maegan, Zhirine, Heather--were really engaged, but I think most of them had not started reading. More than a couple didn't have the book and those who did seemed to kind of look at it like they'd never seen it. We talked mostly about representations of race, the disconnect between cultural assumptions about Native Americans and Alexie's representation of Indians. We first generated a list of characteristics of Native Americans that we gather from popular culture--the expectations that most students have of Indians. Then I asked them take a couple of minutes find textual representations of Indian culture in the opening of the text, kind of the first stagings of race. Since most of them had not read at all, they didn't really come up with much. I said that I was still in the middle of the book, too, but we are still capable of discussing the ideas that we've encountered in the novel this far. I guess I was expecting them to have started reading more than they had.
We did have a really discussion about bringing in context. Since most of us and our students don't have experience with Native American culture, we talked about when and how to bring that into the classroom and why. I'm happy with that part of the class. Overall, I think I wanted to talk more about the text than they were prepared for.
I'm planning on--ideally--getting the papers graded this weekend. I thought it would be good to meet with you to talk about the papers before I give them back. Hopefully, that will be Monday, but it might be Wednesday.
Have a good one,
Jessica
************************************************************************************
This is a rough lesson plan
*********************************************************************************
Talk about paper: Extension until Friday?
How do they feel about it?
Alexie:
List of popular assumptions about Indians: look to popular culture. How do we collectively imagine them?
How does Alexie represent them?
Close reading exercise: First two-three chapters and find examples of how Alexie represents race.
How does humor fit in here? How do the drawings fit in? Does the humor work like his drawings, everyone understands?
What is Alexie up to here? Is he revising assumptions? Does his work stereotype Indians? Why? Why not?
How do we teach race, especially a race that is most likely not represented in class? How do we avoid the exclusive “them” conversation? Or, how do we avoid just sitting around making assumptions of our own?
How does the absence of Indian students affect teaching Indian literature?
Because there’s most likely no Indian students in class and we know such insufficient info about Indian culture, do we go in and talk about Indian culture in introducing the book?
I have lots of experience with students like Arnold, should I have given you a bunch of information about that? What would the effect be?
************************************************************************************
************************************************************************************
Hey Dr. Insenga,
So I gave them an extension on their papers until Wednesday the 31st. I told them that I'd put a box outside my office and to turn them in by 5:00. Class went ok. A couple of people--Jess, Maegan, Zhirine, Heather--were really engaged, but I think most of them had not started reading. More than a couple didn't have the book and those who did seemed to kind of look at it like they'd never seen it. We talked mostly about representations of race, the disconnect between cultural assumptions about Native Americans and Alexie's representation of Indians. We first generated a list of characteristics of Native Americans that we gather from popular culture--the expectations that most students have of Indians. Then I asked them take a couple of minutes find textual representations of Indian culture in the opening of the text, kind of the first stagings of race. Since most of them had not read at all, they didn't really come up with much. I said that I was still in the middle of the book, too, but we are still capable of discussing the ideas that we've encountered in the novel this far. I guess I was expecting them to have started reading more than they had.
We did have a really discussion about bringing in context. Since most of us and our students don't have experience with Native American culture, we talked about when and how to bring that into the classroom and why. I'm happy with that part of the class. Overall, I think I wanted to talk more about the text than they were prepared for.
I'm planning on--ideally--getting the papers graded this weekend. I thought it would be good to meet with you to talk about the papers before I give them back. Hopefully, that will be Monday, but it might be Wednesday.
Have a good one,
Jessica
************************************************************************************
This is a rough lesson plan
*********************************************************************************
Talk about paper: Extension until Friday?
How do they feel about it?
Alexie:
List of popular assumptions about Indians: look to popular culture. How do we collectively imagine them?
How does Alexie represent them?
Close reading exercise: First two-three chapters and find examples of how Alexie represents race.
How does humor fit in here? How do the drawings fit in? Does the humor work like his drawings, everyone understands?
What is Alexie up to here? Is he revising assumptions? Does his work stereotype Indians? Why? Why not?
How do we teach race, especially a race that is most likely not represented in class? How do we avoid the exclusive “them” conversation? Or, how do we avoid just sitting around making assumptions of our own?
How does the absence of Indian students affect teaching Indian literature?
Because there’s most likely no Indian students in class and we know such insufficient info about Indian culture, do we go in and talk about Indian culture in introducing the book?
I have lots of experience with students like Arnold, should I have given you a bunch of information about that? What would the effect be?
************************************************************************************
19 March 2010
ENGL 3400 Mar 17
This is my response email to Dr. Insenga about teaching class on Wednesday:
*******************************************************************************
Hi Dr. Insenga,
Class Wednesday went well. At the beginning we took a few minutes to reflect on Charles Shields's talk. They were really full of responses. Some people didn't like him. I asked what they though about his take on using biography with texts. We all agreed that his type of reading literary characters as people in the author's life--that sort of laying biography over literature--wasn't the most useful way to use biography with students, but they came up with strategies that would work better in the classroom and reflected on methods that did and didn't work in their past classes. That was a great discussion, I thought.
Oh my, I think that I forgot to email you the worksheet. I'll send you a copy. Before they got in pairs I reminded them about the combination of textual analysis and pedagogical methods. The workshop itself went well. They were great, engaged and asking questions.
The only complication was Jacquelyne. Your response does help so much. I agree that it seems really unreasonable to discuss teaching the model to students, but she was under the impression that she could have none of that emphasis on students seeing themselves. I think she misunderstood your advice, and she thought my advice contradicted yours. Right when they broke up into pairs she came to ask me questions and we talked for a couple of minutes about it. Then she had no partner. I asked her to get a three-way thing going, but people were already into the reading process and so she was stuck waiting. Of course, then time became an issue, so I told her that I'd talk with her about her paper. One of the things I would've changed would be just telling her to get a partner and ask me questions later.
I'm meeting with her in a few hours. So, I think she should be right on track.
Have a great break!
Jessica
************************************************************************************
This is my worksheet for peer review:
*********************************************************************************
ENGL 3400
March 17
Peer Review: Paper 2
1.Read your partner’s introduction. Read the assignment sheet. Write down which assignment option your partner chose.
2.Are there any opportunities to be more specific in the introduction?
3.Don’t read the rest right now. Using what you know from your partner’s introduction, predict how the rest of the paper will flow. Do this verbally with each other.
4.Read through the rest of the paper. Circle any concepts or terms that one of our secondary sources might support. Mark opportune place to include secondary support. Name which text or chapter if possible.
5.Throughout the paper, underline all sentences that discuss pedagogy. Estimate a ratio between pedagogy discussion and textual analysis.
6.What is your partner’s pedagogical reasoning for using the specific section(s) of To Kill a Mockingbird?
7.Look at your partner’s thesis statement and topic sentences. Circle textual language and pedagogical language.
*******************************************************************************
Hi Dr. Insenga,
Class Wednesday went well. At the beginning we took a few minutes to reflect on Charles Shields's talk. They were really full of responses. Some people didn't like him. I asked what they though about his take on using biography with texts. We all agreed that his type of reading literary characters as people in the author's life--that sort of laying biography over literature--wasn't the most useful way to use biography with students, but they came up with strategies that would work better in the classroom and reflected on methods that did and didn't work in their past classes. That was a great discussion, I thought.
Oh my, I think that I forgot to email you the worksheet. I'll send you a copy. Before they got in pairs I reminded them about the combination of textual analysis and pedagogical methods. The workshop itself went well. They were great, engaged and asking questions.
The only complication was Jacquelyne. Your response does help so much. I agree that it seems really unreasonable to discuss teaching the model to students, but she was under the impression that she could have none of that emphasis on students seeing themselves. I think she misunderstood your advice, and she thought my advice contradicted yours. Right when they broke up into pairs she came to ask me questions and we talked for a couple of minutes about it. Then she had no partner. I asked her to get a three-way thing going, but people were already into the reading process and so she was stuck waiting. Of course, then time became an issue, so I told her that I'd talk with her about her paper. One of the things I would've changed would be just telling her to get a partner and ask me questions later.
I'm meeting with her in a few hours. So, I think she should be right on track.
Have a great break!
Jessica
************************************************************************************
This is my worksheet for peer review:
*********************************************************************************
ENGL 3400
March 17
Peer Review: Paper 2
1.Read your partner’s introduction. Read the assignment sheet. Write down which assignment option your partner chose.
2.Are there any opportunities to be more specific in the introduction?
3.Don’t read the rest right now. Using what you know from your partner’s introduction, predict how the rest of the paper will flow. Do this verbally with each other.
4.Read through the rest of the paper. Circle any concepts or terms that one of our secondary sources might support. Mark opportune place to include secondary support. Name which text or chapter if possible.
5.Throughout the paper, underline all sentences that discuss pedagogy. Estimate a ratio between pedagogy discussion and textual analysis.
6.What is your partner’s pedagogical reasoning for using the specific section(s) of To Kill a Mockingbird?
7.Look at your partner’s thesis statement and topic sentences. Circle textual language and pedagogical language.
15 March 2010
ENGL 3400 March 15
Today we have a guest speaker: Charles Shields, the author of two biographies of Harper Lee
I've read the introduction to one biography and composed a few questions for him:
Questions for Charles Shields
How do you see biography used most skillfully in scholarly work and also in the classroom?
How do you see the equation of Scout with Harper Lee or of other characters with people in the author’s life as helpful or a potential pitfall in terms of teaching and scholarship?
Why did you segue from teaching to writing biographies for young adults?
What topics do you choose to overlook in the biography and why? How do you make that choice?
In researching for the biography, you say that you relied on unorthodox methods such as google searchs, online reunion searches, etc., but then also pair that with first hand interviews, visiting locations, and examining materials. Given that most scholarship these days seems increasingly limited to online databases and print sources, do you have a particular stance on current research methods? Do you see research methods evolving and do you attach ideas about quality with the evolution?
Two years of re-writing—writing process
I've read the introduction to one biography and composed a few questions for him:
Questions for Charles Shields
How do you see biography used most skillfully in scholarly work and also in the classroom?
How do you see the equation of Scout with Harper Lee or of other characters with people in the author’s life as helpful or a potential pitfall in terms of teaching and scholarship?
Why did you segue from teaching to writing biographies for young adults?
What topics do you choose to overlook in the biography and why? How do you make that choice?
In researching for the biography, you say that you relied on unorthodox methods such as google searchs, online reunion searches, etc., but then also pair that with first hand interviews, visiting locations, and examining materials. Given that most scholarship these days seems increasingly limited to online databases and print sources, do you have a particular stance on current research methods? Do you see research methods evolving and do you attach ideas about quality with the evolution?
Two years of re-writing—writing process
10 March 2010
Native American Lit
My notes from meeting with Dr. Newton about the syllabus research:
Bibliography of Renaissance to Contemporary Native Literature, all genres. I'm planning to email Leah at UNM and Brianna at Tufts to see if they'll send me their phd reading lists in Native Lit. I think that would be the best place to start building.
Figure out what's in our library & make a list of stuff we need to buy
Bibliography of scholarship: what's in our library (studies on authors and theoretical texts)
What's in our references that works
Create a list of journals: SAIL, AIQ, Wicazo Sa, U of Nebraska has another...
Collect syllabi from the internet. I know I've already done this last summer.
Carol Goodson is my contact at the library who can help me. I've designated time for this work this weekend. Finally.
Bibliography of Renaissance to Contemporary Native Literature, all genres. I'm planning to email Leah at UNM and Brianna at Tufts to see if they'll send me their phd reading lists in Native Lit. I think that would be the best place to start building.
Figure out what's in our library & make a list of stuff we need to buy
Bibliography of scholarship: what's in our library (studies on authors and theoretical texts)
What's in our references that works
Create a list of journals: SAIL, AIQ, Wicazo Sa, U of Nebraska has another...
Collect syllabi from the internet. I know I've already done this last summer.
Carol Goodson is my contact at the library who can help me. I've designated time for this work this weekend. Finally.
ENGL 3400 March 10
Today I taught class. We looked at chapter five of Deborah Appleman's Critical Encounters in High School English: Teaching Literary Theory to Adolescents & chapter nine of To Kill a Mockingbird. I overestimated the amout of stuff I'd have time to talk about. Here is a copy of my lesson plan. It's rough.
*********************************************************************************
March 10
Tell them my plan for what we’re doing today.
Pair Chapter 9 of To Kill a Mockingbird with Appleman Chapter 5
1.How student’s view female characters and appraise author’s stance towards them
What’s literally going on here? What’s figuratively going on?
What does this text suggest about the relationship between genders?
How does Scout / Finch’s Landing reflect reality?
How does her character reinforce or resist social attitudes toward women?
How are we implicated in this reading? Do we want Scout to be more lady-like?
So, what is the message in this text about gender?
Does the message about Finch’s Landing reinforce the message about Scout?
Multiple perspectives: Write a description of Scout from Aunt Alexandra’s perspective, Uncle Jack, Atticus, Jack, Francis, Scout.
Who might represent the traditional perspective? Who might represent a feminist perspective?
Traditional v. Feminist lists: (79 &80) Recasts the women as victims, passive. What is the effect of this? Is there a way to make these active? Is there a purpose to making them active? Might this encourage activism or bring feminism into present?
Analysis of Scout / House: situation, author’s intent, consider audience, and what meaning derived from text
2. From text to context: Read gendered patterns in the world
Can men only see things from a male perspective? How might the reader’s gender affect his or her reading?
How might we teach it? Act it out staging opposite gender roles? To get younger students to identify gender as an issue instead of just providing them with the focus.
Give an example of some thing in real life—outside of the text—and ask students to describe it from each character’s perspective.
Example: There’s only one male in this education class.
3. Can we link the message about gender to any other binary discrimination in the text? Racism? Classism? Is the message linked? Francis’s name-calling
How does Lee’s gender affect this text then? Identify her with black people
What is feminism? Have students generate a list of impressions
Reading through the lens of gender
The goal of feminism is to “attend to the cultural imprint of patriarchy as we read” What does this really mean?
What assumptions about feminism might we encounter in the classroom? Why resistance? How do we address that in the classroom? Feminism is over. When do we say the F word? Do we start with the theory overview or the text? Does that change in different circumstances?
Exercise for students: Personal experience that is similar to the text. Also, key to linking text and context.
Why teach it?
Recognizing other perspectives
Ask questions about the construction of culture, of texts, and of meaning in the process of constructing interpretations. Why is that important?
Become aware of the ideologies with which texts and the world are inscribed
It does aim at changing the world and the consciousness of people in it. Are you making little feminists?
Consider characters from more than one point of view
Help interpret, understand, and respond to life
How does this approach fit with Reader Response or New Critical approaches that are so common? Reader Response: Focus on how reader’s gender affects interpretation
New Critical:
How does it move past both of those?
Focuses on abstraction by connecting the text to the world; it’s a tool to aid the process of learning to abstract.
**********************************************************************************
We spent most of the class time looking at the text. I was happy with the close reading of Finch's Landing. Some of the students' interpretations were exciting because I had never considered them. It was a good time to learn from the students. I wish that I had gotten to the pedagogy focus a bit sooner. The class is so engaged with textual analysis that it was actually hard to move out of the primary text. I'm excited that I can continue talking some about this maybe next Wednesday. We have a speaker on Monday. I'm planning to do some research on him to prepare. I think toward to end of class a couple of students on the left side of the room disengaged. I know that students do that in general when the end of class approaches. However, I do feel that if we transitioned into the secondary text sooner, maybe they would've hung on better. I feel comfortable with this group of students. I like them.
*********************************************************************************
March 10
Tell them my plan for what we’re doing today.
Pair Chapter 9 of To Kill a Mockingbird with Appleman Chapter 5
1.How student’s view female characters and appraise author’s stance towards them
What’s literally going on here? What’s figuratively going on?
What does this text suggest about the relationship between genders?
How does Scout / Finch’s Landing reflect reality?
How does her character reinforce or resist social attitudes toward women?
How are we implicated in this reading? Do we want Scout to be more lady-like?
So, what is the message in this text about gender?
Does the message about Finch’s Landing reinforce the message about Scout?
Multiple perspectives: Write a description of Scout from Aunt Alexandra’s perspective, Uncle Jack, Atticus, Jack, Francis, Scout.
Who might represent the traditional perspective? Who might represent a feminist perspective?
Traditional v. Feminist lists: (79 &80) Recasts the women as victims, passive. What is the effect of this? Is there a way to make these active? Is there a purpose to making them active? Might this encourage activism or bring feminism into present?
Analysis of Scout / House: situation, author’s intent, consider audience, and what meaning derived from text
2. From text to context: Read gendered patterns in the world
Can men only see things from a male perspective? How might the reader’s gender affect his or her reading?
How might we teach it? Act it out staging opposite gender roles? To get younger students to identify gender as an issue instead of just providing them with the focus.
Give an example of some thing in real life—outside of the text—and ask students to describe it from each character’s perspective.
Example: There’s only one male in this education class.
3. Can we link the message about gender to any other binary discrimination in the text? Racism? Classism? Is the message linked? Francis’s name-calling
How does Lee’s gender affect this text then? Identify her with black people
What is feminism? Have students generate a list of impressions
Reading through the lens of gender
The goal of feminism is to “attend to the cultural imprint of patriarchy as we read” What does this really mean?
What assumptions about feminism might we encounter in the classroom? Why resistance? How do we address that in the classroom? Feminism is over. When do we say the F word? Do we start with the theory overview or the text? Does that change in different circumstances?
Exercise for students: Personal experience that is similar to the text. Also, key to linking text and context.
Why teach it?
Recognizing other perspectives
Ask questions about the construction of culture, of texts, and of meaning in the process of constructing interpretations. Why is that important?
Become aware of the ideologies with which texts and the world are inscribed
It does aim at changing the world and the consciousness of people in it. Are you making little feminists?
Consider characters from more than one point of view
Help interpret, understand, and respond to life
How does this approach fit with Reader Response or New Critical approaches that are so common? Reader Response: Focus on how reader’s gender affects interpretation
New Critical:
How does it move past both of those?
Focuses on abstraction by connecting the text to the world; it’s a tool to aid the process of learning to abstract.
**********************************************************************************
We spent most of the class time looking at the text. I was happy with the close reading of Finch's Landing. Some of the students' interpretations were exciting because I had never considered them. It was a good time to learn from the students. I wish that I had gotten to the pedagogy focus a bit sooner. The class is so engaged with textual analysis that it was actually hard to move out of the primary text. I'm excited that I can continue talking some about this maybe next Wednesday. We have a speaker on Monday. I'm planning to do some research on him to prepare. I think toward to end of class a couple of students on the left side of the room disengaged. I know that students do that in general when the end of class approaches. However, I do feel that if we transitioned into the secondary text sooner, maybe they would've hung on better. I feel comfortable with this group of students. I like them.
09 March 2010
ENGL 3400 March 8
I feel disoriented from traveling to the Native American Literature Symposium. I am behind in a lot of my work. However, I'm teaching class on Wednesday the 10th. I'm excited about that. I'm teaching the Appleman chapter on feminism and its connections with To Kill A Mockingbird. I have a notepad full of things from class that I need to get on here. I'm planning to connect the secondary reading to a particular textual moment in the same manner as Dr. Insenga. I've really gotten a lot out of having a professor model. I feel like I have learned more about teaching from this position. However, I think that I've gotten so much out of it because of my experience in a classroom alone. It's as though I know what to pay attention to because I remember those situations in my own class. Mostly, those situations have been odd circumstances with students: seeing how she talks with students who aren't doing their work, watching her interactions and how she allows students to maybe flounder in ideas a bit in order to allow them to get to the learning objective on their own. Also, she models a lot for her students. Basically, since the paper assignment she has been modeling approaches. I think this is more affective than discussing the paper itself constantly. It might be beneficial to mix that, though, with students' ideas about connections for the paper.
25 February 2010
EGADS / ENGL 3400 Feb 25
My goal for EGADS (in the Fall):
1. Beginning of semester party.
2. Orientation to the program for new students before beginning of semester party.
3. Practical job information at this orientation.
I've been really slack about working on research for that syllabus. I met with Dr. Newton and I'll type my notes up on our meeting.
Dr. Insenga really gave the class freedom to craft their own essay prompts for the second essay. The assignment is basically a teaching plan, or a pedagogical study linking the novel To Kill a Mockingbird with the theory that they've looked at. Here it is:
ENGL 3400
Insenga
Essay Two Assignment Sheet: Class Crafted
Assigned: February 24
Complete draft due for Peer Review: March 15
Final Essay Two packet due: March 29
Conferencing Opportunities: office hours or appointments from March 1 through March 17
Choose one option below. Using the writing process discussed in class, compose an argumentative essay that not only references but also analyzes textual evidence from primary and secondary texts. Your titled essay should be at least 3-4 pages long and must use correct MLA format and documentation. It should include a Works Cited page. Please keep all of your work, from brainstorming to final drafting, as you must evidence and turn in the entire writing process, from brainstorming to final draft.
1. Lee's novel, though renowned as a classic piece of American literature, has also been contested or even banned in several schools. For this option, mount a specific defense for teaching the novel in a specific secondary environment.
2. Choose one character from To Kill a Mockingbird and discuss how and why that character's evolution mirrors one of the adolescent developmental models outlined in either Blasingame and Bushman or on the class resource page.
3. Educators often face teaching a single text to several types of students, many of whom function at various learning levels. For this option, choose a specific type of secondary classroom setting and argue how you would differentiate instruction of Lee's novel for that group of students.
4. To Kill A Mockingbird provides teachers with an opportunity to help students understand how to locate and analyze dichotomies. For this option, locate a central dichotomy and argue a specific way to teach the concept to a specific group of secondary students.
5. Locate a specific sign or image from the novel and argue how one can teach students to trace that image throughout the text. Focus on why such close reading is imperative in English Studies is also important, here.
My response to the assignment taken from an email to Dr. Insenga:
Each prompt seems to be a good opportunity for them to think through practical classroom planning from a theoretical perspective. I could imagine a student who hasn't read the secondary material attempting prompt 1 or 5, not incorporating the resources. Do you ever require a certain number of secondary resources? Getting used to the upper level class is interesting for me because I'm used to 1101 expectations. What sort of ideas were you hoping for?
It does seem like some students just aren't doing that secondary reading. I think for the ones who haven't read the secondary material, it's harder for them to shift from textual analysis to situating their textual analysis in the classroom. That was really what I noticed about the homework.
After the class in which we discussed students' ideas for essay prompts, I collected and checked over their homework.
I'm excited about this paper, and I'm considering working on a similar one for myself when I teach the Sherman Alexie text. I think it would be a good learning experience. I'll type up my most recent notes from the class as well soon.
1. Beginning of semester party.
2. Orientation to the program for new students before beginning of semester party.
3. Practical job information at this orientation.
I've been really slack about working on research for that syllabus. I met with Dr. Newton and I'll type my notes up on our meeting.
Dr. Insenga really gave the class freedom to craft their own essay prompts for the second essay. The assignment is basically a teaching plan, or a pedagogical study linking the novel To Kill a Mockingbird with the theory that they've looked at. Here it is:
ENGL 3400
Insenga
Essay Two Assignment Sheet: Class Crafted
Assigned: February 24
Complete draft due for Peer Review: March 15
Final Essay Two packet due: March 29
Conferencing Opportunities: office hours or appointments from March 1 through March 17
Choose one option below. Using the writing process discussed in class, compose an argumentative essay that not only references but also analyzes textual evidence from primary and secondary texts. Your titled essay should be at least 3-4 pages long and must use correct MLA format and documentation. It should include a Works Cited page. Please keep all of your work, from brainstorming to final drafting, as you must evidence and turn in the entire writing process, from brainstorming to final draft.
1. Lee's novel, though renowned as a classic piece of American literature, has also been contested or even banned in several schools. For this option, mount a specific defense for teaching the novel in a specific secondary environment.
2. Choose one character from To Kill a Mockingbird and discuss how and why that character's evolution mirrors one of the adolescent developmental models outlined in either Blasingame and Bushman or on the class resource page.
3. Educators often face teaching a single text to several types of students, many of whom function at various learning levels. For this option, choose a specific type of secondary classroom setting and argue how you would differentiate instruction of Lee's novel for that group of students.
4. To Kill A Mockingbird provides teachers with an opportunity to help students understand how to locate and analyze dichotomies. For this option, locate a central dichotomy and argue a specific way to teach the concept to a specific group of secondary students.
5. Locate a specific sign or image from the novel and argue how one can teach students to trace that image throughout the text. Focus on why such close reading is imperative in English Studies is also important, here.
My response to the assignment taken from an email to Dr. Insenga:
Each prompt seems to be a good opportunity for them to think through practical classroom planning from a theoretical perspective. I could imagine a student who hasn't read the secondary material attempting prompt 1 or 5, not incorporating the resources. Do you ever require a certain number of secondary resources? Getting used to the upper level class is interesting for me because I'm used to 1101 expectations. What sort of ideas were you hoping for?
It does seem like some students just aren't doing that secondary reading. I think for the ones who haven't read the secondary material, it's harder for them to shift from textual analysis to situating their textual analysis in the classroom. That was really what I noticed about the homework.
After the class in which we discussed students' ideas for essay prompts, I collected and checked over their homework.
I'm excited about this paper, and I'm considering working on a similar one for myself when I teach the Sherman Alexie text. I think it would be a good learning experience. I'll type up my most recent notes from the class as well soon.
27 January 2010
Syllabus Jan 27
I'm trying to set a meeting with either Dr. Masters or Dr. Newton to discuss their expectations of this syllabus. I might be able to meet with Dr. Newton this week. I emailed him about it. I don't think a group meeting is likely to work.
ENGL 3400 Jan 27
Today the class workshopped their first draft of their first paper. The workshop guide that Dr. Insenga provided includes reading aloud. I like this because it reinforces the idea that students should write in a way that sounds logical, not like bogus weird stuff intending to sound smart. Also, it included summarizing the partner's argument from memory, reinforcing the emphasis on logical, clear argumentation. The workshop seems introduction-focused. It's new to me. It seems like a way to focus on structure and argumentation without all the talk about structure that intimidates students and potentially shuts them down before really beginning. Also something new to me, the workshop included a prediction of the rest of the partner's paper. Reinforces the logical progression of argumentation, that there's a strategy. It's not random or based on a list; it's intuitive. I noticed the student that didn't do much work on the draft. He tried to charm his way into disguise. This anxiety actually also made him a poor peer review partner. That pair was the least connected. I could tell that they didn't get much out of the peer review. Actually, his partner stayed after class and talked with me a bit about her argument development and interpretation. Dr. Insenga described a helpful way for me to think about conclusions: It should explain how the paper contributes to the current scholarly discussion of the text. I reflected quite a bit on my own teaching. Some notes: examining e-prime in terms of negotiating power. Malcom X's "The Bullet or The Ballot" would work well for that. Approaching the issue of what exactly we mean by the term text in a composition course. The terror of the blinking cursor: this was a real challenge for my students last semester, something to really consider. It might be one of the greatest challenges of the composition classroom. I'd like to experiment with which one works better: peer review or workshop? I used the work workshop at the beginning of this post, but I actually mean peer review. I think each method has its own set of benefits and draw backs. Students use software like Easy Bib, and I'm curious how helpful that is. I don't usually trust those types of aids. One student made the observation that potentially the most responsible way to use it would be to simply use it then proofread. The student would both know the form and use the aid. I've seen how meditative activities can really ground a classroom. I'd like to devise some more meditative activities. I thought today back to the English Language Acquisition curriculum development that I worked on years and years ago, and I think it would be helpful to remember the concept that a student cannot produce something that he or she cannot first identify. Develop receptive skills before productive skills. Again, just as Dr. Davidson taught in his pedagogy class, Dr. Insenga's review reminded me of the importance of deferring classroom discussion of form, privileging content. I think I sometimes overwhelm students because I want them to have the tools to make a perfect paper. Form will always distract from the real hard work of argumentation. I meant to be more observant of Dr. Insenga's lesson plan organization; however, I really got a lot out of the peer review. I have a meeting with her on Monday to discuss co-teaching and preparations for my own teaching days. This will really be helpful because I still feel very limbo-ish in this ambiguous position between student and teacher. I hope that meeting will define this role a little more clearly for me.
25 January 2010
ENGL 3400 Jan 25
I'm attending class regularly. I still don't know everyone's names. The TF position feels a little ambiguous, or I guess I should say that it's a new territory between the role of student and teacher that feels ambiguous. Hopefully, that will be an asset instead of a frustration. Since I started attending classes, we have been spending all class time practicing close reading on some Pat Mora poetry. The collection is intended for young adult readers and seems to be a great jumping off text to make more "adult" or canonical poetry accessible by younger students that may be disinterested or intimidated. I've forgotten my book at the office, but I have specific links that I want to use in the classroom. I think I'll start taking specific notes on Dr. Insenga's particular approach to teaching so that I might learn more about the skill. Today I scheduled the days that I will teach during the semester. I'm excited because I will work with the students on writing workshops for the set of papers that I'll grade and also on the Sherman Alexie text. I know that the class will be nervous about me grading their papers since they have a more developed relationship with Angela. I hope that my workshop time will help them feel more comfortable with me and more confident in their own writing.
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