All of these models seem to be tailor made for the web. Which is good, but I think they all are kind of poorly suited to the English Language Arts classroom, unfortunately. This is because, especially for the case based learning and case based reasoning, I think the best model has already been developed in the form of writing workshops and multi genre inquiries. Writing workshop presents English Language Arts students multiple ways to approach the problem of writing, and models for students the ways that a writer operates in the real world. Similarly, MGI presents students with the problem of needing to research any topic of their choosing and allows them to produce any number of different creative pieces in order to explore and report the research. It seems to me that learning objects present are very similar to the previous modules we have studied. It just seems like a really web based way to present real world problems to students. As I have previously stated, Writing Workshop and MGI are both great ways to do this in the English classroom. And both can be integrated with modern technology, especially in the case of the multi genre inquiry. For one that I completed this past semester, I created an entire website, and was able to use poetry, journal entries and more to reflect the research that I did. To me, that's the best way to do any sort of real world approximation of English Language Arts, but I'm not sure that either technique fits very well with the idea of a case based model. At least, it wouldn't look entirely like case based models from other subjects.
Cognitive Flexibility on the other hand, is a good way to further alter the traditional research paper. i really enjoyed participating in the modeled Cognitive flexibility project, and I could see using similar techniques to do a class wide research paper. At least using the CF as a jumping off point. That would be an innovative way for the class to do and discuss research, and then I could follow that up with an additional question that students would have to answer in a more formal paper. I think that is the best way I can think of to integrate CF into the English classroom, because while new technology can be a good way to present material and have students conduct research, the common core standards are still going to require the students to make progress as writers primarily.
I'm not sure that I totally understand or see the point of learning objects. It is an economical way for businesses or other institutions that have to educate employees or members occasionally to go about it. But it seems to lack coherence or direction, and perhaps I'm not thinking outside of the box enough, but I think that given the wealth of other types of learning modules that I would never use learning objects intentionally in the classroom. As I look towards student teaching in the Spring, I am really overwhelmed at how I can fit my curriculum into the small amount of time I have as it is, and I think there may be a time when learning objects could work as a way to teach small units like grammar and vocab, or for remediation of a small lesson like grammar or style to a single student, but I'm not sure that it would fit into my overall plan. Mostly because I want to try and encourage a lot of group interaction into the classroom, and learning objects seem to be focused on the individual. Again, I'm not sure that I completely understand them but that is the way it seemed to me.
Thursday, November 17, 2011
Sunday, October 30, 2011
3rd Unit Blog
All of these learning modules present some revolutionary modules for learning, and teaching by doing. Much like the problem solving module type we looked at in the last unit, these modules provide real world problem solving opportunities for students.
I like that the MOST model focuses on nontraditional students and seems to be a great model for allowing all students to succeed. But I think the other modules, especially anchored instruction when I envision a high school English classroom, provide an excellent opportunity to effectively educate all students. I have struggled with the sentiments present in all these models when I look at how to organize my classroom. Because, like these modules, I want all of my classroom instruction and assessment to be authentic. And in reality, while employed there are practically no times when one is asked to complete a multiple choice test. Employees are given problems and a finite amount of time in which to solve them. All of these modules seem to try and solve this instructional problem, so this was an enjoyable unit for me.
All of the modules point to a focus on problem solving skills, but do seem to require a lot of input from the teacher, which is not necessarily a bad thing, just something to be award of when implementing. Because it seems like students will need a decent mentor in order to navigate these difficult problems. I do have faith that students can solve complicated problems when challenged, but I also know that there will be a lot of questions, and a lot of need for scaffolding the learning process to make sure that students succeed.
I see myself using the anchored instruction model the most because it is cooperative, and because it opens the door for students to sort of construct the way the project is going to go, with less direction from the instructor. I can see this working very well with thematic units, in which the instructor determines the theme and offers a group of books poems, or short stories that the students can engage with, and can then use modern internet based methods to react to each piece of literature in a unique and "real world way" I could see this being with video, creating a website, designing a game relating to the work, there are plenty of possibilities, and I think the beauty is in that the students direct the work, and can find something that speaks to them as well as the literature.
I like that the MOST model focuses on nontraditional students and seems to be a great model for allowing all students to succeed. But I think the other modules, especially anchored instruction when I envision a high school English classroom, provide an excellent opportunity to effectively educate all students. I have struggled with the sentiments present in all these models when I look at how to organize my classroom. Because, like these modules, I want all of my classroom instruction and assessment to be authentic. And in reality, while employed there are practically no times when one is asked to complete a multiple choice test. Employees are given problems and a finite amount of time in which to solve them. All of these modules seem to try and solve this instructional problem, so this was an enjoyable unit for me.
All of the modules point to a focus on problem solving skills, but do seem to require a lot of input from the teacher, which is not necessarily a bad thing, just something to be award of when implementing. Because it seems like students will need a decent mentor in order to navigate these difficult problems. I do have faith that students can solve complicated problems when challenged, but I also know that there will be a lot of questions, and a lot of need for scaffolding the learning process to make sure that students succeed.
I see myself using the anchored instruction model the most because it is cooperative, and because it opens the door for students to sort of construct the way the project is going to go, with less direction from the instructor. I can see this working very well with thematic units, in which the instructor determines the theme and offers a group of books poems, or short stories that the students can engage with, and can then use modern internet based methods to react to each piece of literature in a unique and "real world way" I could see this being with video, creating a website, designing a game relating to the work, there are plenty of possibilities, and I think the beauty is in that the students direct the work, and can find something that speaks to them as well as the literature.
Thursday, September 29, 2011
ECI 517 2nd Unit Blog
All three of these educational modules focus on groups, and so I think they present a challenge for web integration. It is not a challenge that is insurmountable but I do think that these three are more challenging than the previous, individualized models for instruction. Throughout graduate school, I have been exposed to both the cooperative learning model and Problem-based learning. I especially like problem-based learning, or as it is commonly called in English Language Arts curriculum inquiry based learning. I really like the idea of students directing their own instruction, and addressing real life problems, as problem-based learning allows students to do. I have seen it presented in the past as students discussing issues relating to a novel (in ELA), then from the discussion and listing of different issues, investigating one, and producing a creative product based on it. So, for instance if I were to do a unit on The Crucible, we'd have a fairly traditional unit going through the book, then based on the themes we might discuss, sin, betrayal, accusations, McCarthyism, students would select a topic and conduct an inquiry. I think this could work well in combination with one of the other individualistic type models, if students were guided through a work and then set loose for a week or so to produce a creative product on their own.
Cooperative Learning, I guess would work much like our unit projects have worked in this class, in that I would assign students to a group, and have them work together to produce a project. I personally do not like jigsawing because sometimes I think everyone should be involved in everything and slowly gravitate to what is best for them. Of course this would assume a lot of responsibility on the part of the student, so I think in a high school class I might be required to define roles within the group more. I think cooperative learning goes on in the classroom all the time, so honestly there wasn't much new here.
Situated Learning and Cognitive Apprenticeship, also has some good correlation with an accepted Language Arts curriculum, and I think it could work pretty well over the web, so long as there is consistent contact with the mentor. Writing workshops, of course, are what I'm talking about. I think that they are a great example of apprenticeship, because the teacher models how to be a writer, how to think like a writer, and how to consider things as a writer. Students explore their abilities, get feedback and go back and explore some more. This really does make a lot of sense when you think about it in an historical context, because that is how people learned their trades before modern schooling. I think the best way to do this on the internet would be to set it up as a writing workshop, provide some prompts and discussion about prewriting and revision techniques, and then constantly stay in contact with the students via skype to discuss their progress and process. To me, it is the most promising of these three activities for developing young writers.
Cooperative Learning, I guess would work much like our unit projects have worked in this class, in that I would assign students to a group, and have them work together to produce a project. I personally do not like jigsawing because sometimes I think everyone should be involved in everything and slowly gravitate to what is best for them. Of course this would assume a lot of responsibility on the part of the student, so I think in a high school class I might be required to define roles within the group more. I think cooperative learning goes on in the classroom all the time, so honestly there wasn't much new here.
Situated Learning and Cognitive Apprenticeship, also has some good correlation with an accepted Language Arts curriculum, and I think it could work pretty well over the web, so long as there is consistent contact with the mentor. Writing workshops, of course, are what I'm talking about. I think that they are a great example of apprenticeship, because the teacher models how to be a writer, how to think like a writer, and how to consider things as a writer. Students explore their abilities, get feedback and go back and explore some more. This really does make a lot of sense when you think about it in an historical context, because that is how people learned their trades before modern schooling. I think the best way to do this on the internet would be to set it up as a writing workshop, provide some prompts and discussion about prewriting and revision techniques, and then constantly stay in contact with the students via skype to discuss their progress and process. To me, it is the most promising of these three activities for developing young writers.
Saturday, September 10, 2011
Thursday, September 1, 2011
ECI 517 1st Unit Blog
I felt that these two types of web modules were very similar. Though personalized system of instruction is more, well, personalized, it seemed to use much of the same principles of the audio-tutorial model. I guess what I mean is that both of these theories involve a student guiding themselves through prerecorded lectures about a particular topic. While the idea that the student is guiding himself at his own pace is good, I think both models rely too heavily on a lecture based, assign and tell model. As we have learned in other classes, this requires a motivated student. So, I could see these types of modules working very well for a professional environment where there is a monetary and authority based incentive. However, in the classroom, I think I would limit using this module type. The benefit, if used correctly, for this module type could be large though. Because in one recording session, you are effectively giving personalized instruction to many, many students. The audio-tutorial model did rely on an additional facilitator, which I think will definitely strengthen the experience for the student, but it would require more individualized instruction, so it isn't quite as much bang for the buck on the time side.
I think that the audio-tutorial approach could make it into my classroom. Perhaps as a way of teaching grammar and style within a writing workshop class. So, if I were to notice during a writing conference that a student was struggling with a particular element, I could have audio-tutorials posted on a website that I could direct the student to. I would be using some basic web tools like google sites, and I could use voicethread or something similar to create the individual lessons, with the pictures on the slides acting as the lessons, but a screen casting program would probably be best, or a video to guide the student through the lesson. Then, after they completed the module in question, I could have a tutorial with the student during which I could confirm that they understood the material. That's really the best usage I can think of for either of these approaches, and only because grammar is kind of dry (of course the audio lesson would include in text examples, teaching it within the proper context). Otherwise, I think I would elect for more interactive types of tutorials.
I think that the audio-tutorial approach could make it into my classroom. Perhaps as a way of teaching grammar and style within a writing workshop class. So, if I were to notice during a writing conference that a student was struggling with a particular element, I could have audio-tutorials posted on a website that I could direct the student to. I would be using some basic web tools like google sites, and I could use voicethread or something similar to create the individual lessons, with the pictures on the slides acting as the lessons, but a screen casting program would probably be best, or a video to guide the student through the lesson. Then, after they completed the module in question, I could have a tutorial with the student during which I could confirm that they understood the material. That's really the best usage I can think of for either of these approaches, and only because grammar is kind of dry (of course the audio lesson would include in text examples, teaching it within the proper context). Otherwise, I think I would elect for more interactive types of tutorials.
Monday, July 25, 2011
ECI 520 Action Learning Project
Below is the video for my action learning project. It was a really informative and encouraging experience, and I look forward to implementing what I learned from it in my own classroom.
Tuesday, June 28, 2011
Post FOKI
My Post FOKI follows, new comments and reflections are in bold.
Professional Self:
One of the main things I want students to do in my class is react and respond to the works in ways that are meaningful to them. Too often I was told there was a right or wrong way to interpret something. There isn't. I want to foster a community like I experienced in college where students feel that they can say anything so long as it is meaningful to them. I also think it is really important to integrate technology in the classroom. But I wish to dispel the myth of the digital native. I am a digital native in that I can pick up something digital and quickly start working it. But, as I often find with similar kids in the mid-twenties, I don't have a deep understanding of everything that is out there. I want to continue to learn about new tools, such as SecondLife that can further engage students. One thing that has really been looming over me has been the fact that everything we put on the internet is available to anyone (this also borders on Virtual Self). I think it is really important to stress this to students from a social justice standpoint. With cable news and instant reaction, there is a really inflammatory nature to our culture, and it is most prominent on the internet. I think easing kids into online groups and societies using book clubs and other constructive ventures will help them remember that there is always an audience even if you are just sitting at your computer screen. In the same vein, I think that great literature makes us feel like we aren't alone. It let's us know that others have had similar experiences and dealt with similar hardships, and hopefully my classroom will allow students to explore the bridge between literature and their own experience with society.
First of all, I still find that I want to inspire students through literature; however, I think I have learned to be a little more open to reading for pleasure. Not every book has to be a mental exercise. I still really believe in a collegiate, open, workshop type approach to the LA classroom. One thing I have come to terms with, though I still like to use digital native sometimes is digital visitors and residents, and I think the thing that separates my generation and more recent is that we can go from visitor to resident more quickly, but there still has to be that transformation, and it does take some time. I've learned that modeling and encouraging proper student use of technologies is the best way to curb the inflammatory or inappropriate behavior. And yes, I think my beliefs about the powerful ability of literature to give students something to relate to, something to inspire them and something to really befriend holds true.
Literate Self
This is the area where I feel most unprepared. I simply have not read much young adult literature. I feel like most of what I read is mature and dense. Not very well suited for the classroom. However, from the beginning of Revolver, (which I chose because Revolver is also my favorite Beatles album) I realized that Young Adult literature can do much more than I initially thought. There may be a place for the Boxcar Children and Goosebumps, but they do not represent the whole of the young adult genre, and I look forward to continue to read meaningful and high quality young adult books.
Goal begun! I will not say that this is nearly accomplished, but I feel well on my way. Before I would have scoffed at the idea of reading YAL not only for substance, but even for pleasure. Now I find YAL to be a genre that brings a great mix of both, and is much more accessible in a lot of ways that "adult" literature. I want to keep this trend going, and hope to have read most of the Printz books by the end of the year.
Virtual Self
As I touched on before, my virtual self scares me a little. I think humor is really difficult to convey in the current online climate, and I feel like I am often too cynical not to make a tongue in cheek remark. I have blogged before, but it was a lot of comedic, creative nonfiction. The challenge is deciding whether or not that image goes well with the image of a teacher. One would think that creative writing should be okay, but I don't know that I trust Principals or others who are hiring to overlook some vulgarity to see that writing shouldn't be censored, even for a high school teacher. That's kind of a tangent, but it has shaped the way I think about my virtual identity. I try not to have a large facebook presence, and try and make sure that all the comments I leave on blogs, or posts I write are in line with the image of a person preparing to shape young minds. That being said, I think that I need to get a better grasp of all online tools so that I can help students with new technologies. I think they can be extremely useful if used with caution.
I feel much more comfortable with this now. Maybe it is maturity, maybe it is just accepting the fact that not everyone is going to appreciate your opinion on everything, but I feel much more comfortable with my presence on twitter, facebook and the web (here!). I also feel that I have had a new revelation about using these technologies in the classroom. Before I would have thought of them as a distraction, but now it seems like they are the best way to get students involved, and really it is a great opportunity to teach students how to use the tech wisely (not as I did while in college).
Goals:
Professional Self:
I want to be able to provide the tools for students and I to interact with young adult literature in a way that inspires creativity and deep thought. I want to gain the tools to engage the students who feel disconnected as well as the tools to propel already interested students to new heights. Just as writing workshop and multi-genre projects were new and exciting this previous semester, I hope to learn how to properly implement new ways of reading. I think that book clubs will be really interesting (I've never been in one before), and I want to learn the most effective ways to facilitate new media interactions with literature. As a white, middle class, heterosexual male, I want to learn new effective and prudent ways to explore and discuss diversity and social justice as it relates to my students.
I really enjoyed second life as a way to have class. I thought it was brilliant, and my previous experience in a non-live class online setting have been frustrating and- frankly- terrible. The book clubs will make an appearance in my classroom throughout the year. It is a great way to have a second wave of instruction that occurs in a more pleasureful situation. Students don't need to write essays, but can show how they relate to a text, and I'm really excited to implement them. I think the multicultural discussions should also continue in my class room, considering that we as a group of graduate students couldn't come to a conclussion, I think it will foster a lot of conversation for my students.
Literate Self:
I am going to make it a goal of mine to join a book club that regularly reads high quality young adult novels after this class is over. I think this will be good not only for my teaching career, but for making my reading choices easier. I hope to increase my library of wonderful young adult novels that foster growth in my students.
Goal not accomplished! But I do really want to join such a book club, and I look forward to seeing how the Eva Perry Club is run, maybe the Chapel Hill library needs a similar group.
Virtual Self:
I want to learn responsible ways to increase my online identity. I want to be able to connect with other teachers of young adult literature (likely through the English Companion Ning and this is also a professional and literate self goal) and get ideas for lessons and new books to explore. I also want to shore up my knowledge of web 2.0 programs so that I can help my students interact with and respond to texts in new ways.
I think I've learned to be more responsible, because now I know that my online self really is my professional self, and it is really a matter of keeping those two identities in line. I plan on posting my ALP to the english companion ning, and we will see what kind of discussion it promotes. I think there are so many unique ways to use the web to interact with literature, it really is a great medium for our subject, and I look forward to integrating and creating a lot of great web based projects in the future.
Professional Self:
One of the main things I want students to do in my class is react and respond to the works in ways that are meaningful to them. Too often I was told there was a right or wrong way to interpret something. There isn't. I want to foster a community like I experienced in college where students feel that they can say anything so long as it is meaningful to them. I also think it is really important to integrate technology in the classroom. But I wish to dispel the myth of the digital native. I am a digital native in that I can pick up something digital and quickly start working it. But, as I often find with similar kids in the mid-twenties, I don't have a deep understanding of everything that is out there. I want to continue to learn about new tools, such as SecondLife that can further engage students. One thing that has really been looming over me has been the fact that everything we put on the internet is available to anyone (this also borders on Virtual Self). I think it is really important to stress this to students from a social justice standpoint. With cable news and instant reaction, there is a really inflammatory nature to our culture, and it is most prominent on the internet. I think easing kids into online groups and societies using book clubs and other constructive ventures will help them remember that there is always an audience even if you are just sitting at your computer screen. In the same vein, I think that great literature makes us feel like we aren't alone. It let's us know that others have had similar experiences and dealt with similar hardships, and hopefully my classroom will allow students to explore the bridge between literature and their own experience with society.
First of all, I still find that I want to inspire students through literature; however, I think I have learned to be a little more open to reading for pleasure. Not every book has to be a mental exercise. I still really believe in a collegiate, open, workshop type approach to the LA classroom. One thing I have come to terms with, though I still like to use digital native sometimes is digital visitors and residents, and I think the thing that separates my generation and more recent is that we can go from visitor to resident more quickly, but there still has to be that transformation, and it does take some time. I've learned that modeling and encouraging proper student use of technologies is the best way to curb the inflammatory or inappropriate behavior. And yes, I think my beliefs about the powerful ability of literature to give students something to relate to, something to inspire them and something to really befriend holds true.
Literate Self
This is the area where I feel most unprepared. I simply have not read much young adult literature. I feel like most of what I read is mature and dense. Not very well suited for the classroom. However, from the beginning of Revolver, (which I chose because Revolver is also my favorite Beatles album) I realized that Young Adult literature can do much more than I initially thought. There may be a place for the Boxcar Children and Goosebumps, but they do not represent the whole of the young adult genre, and I look forward to continue to read meaningful and high quality young adult books.
Goal begun! I will not say that this is nearly accomplished, but I feel well on my way. Before I would have scoffed at the idea of reading YAL not only for substance, but even for pleasure. Now I find YAL to be a genre that brings a great mix of both, and is much more accessible in a lot of ways that "adult" literature. I want to keep this trend going, and hope to have read most of the Printz books by the end of the year.
Virtual Self
As I touched on before, my virtual self scares me a little. I think humor is really difficult to convey in the current online climate, and I feel like I am often too cynical not to make a tongue in cheek remark. I have blogged before, but it was a lot of comedic, creative nonfiction. The challenge is deciding whether or not that image goes well with the image of a teacher. One would think that creative writing should be okay, but I don't know that I trust Principals or others who are hiring to overlook some vulgarity to see that writing shouldn't be censored, even for a high school teacher. That's kind of a tangent, but it has shaped the way I think about my virtual identity. I try not to have a large facebook presence, and try and make sure that all the comments I leave on blogs, or posts I write are in line with the image of a person preparing to shape young minds. That being said, I think that I need to get a better grasp of all online tools so that I can help students with new technologies. I think they can be extremely useful if used with caution.
I feel much more comfortable with this now. Maybe it is maturity, maybe it is just accepting the fact that not everyone is going to appreciate your opinion on everything, but I feel much more comfortable with my presence on twitter, facebook and the web (here!). I also feel that I have had a new revelation about using these technologies in the classroom. Before I would have thought of them as a distraction, but now it seems like they are the best way to get students involved, and really it is a great opportunity to teach students how to use the tech wisely (not as I did while in college).
Goals:
Professional Self:
I want to be able to provide the tools for students and I to interact with young adult literature in a way that inspires creativity and deep thought. I want to gain the tools to engage the students who feel disconnected as well as the tools to propel already interested students to new heights. Just as writing workshop and multi-genre projects were new and exciting this previous semester, I hope to learn how to properly implement new ways of reading. I think that book clubs will be really interesting (I've never been in one before), and I want to learn the most effective ways to facilitate new media interactions with literature. As a white, middle class, heterosexual male, I want to learn new effective and prudent ways to explore and discuss diversity and social justice as it relates to my students.
I really enjoyed second life as a way to have class. I thought it was brilliant, and my previous experience in a non-live class online setting have been frustrating and- frankly- terrible. The book clubs will make an appearance in my classroom throughout the year. It is a great way to have a second wave of instruction that occurs in a more pleasureful situation. Students don't need to write essays, but can show how they relate to a text, and I'm really excited to implement them. I think the multicultural discussions should also continue in my class room, considering that we as a group of graduate students couldn't come to a conclussion, I think it will foster a lot of conversation for my students.
Literate Self:
I am going to make it a goal of mine to join a book club that regularly reads high quality young adult novels after this class is over. I think this will be good not only for my teaching career, but for making my reading choices easier. I hope to increase my library of wonderful young adult novels that foster growth in my students.
Goal not accomplished! But I do really want to join such a book club, and I look forward to seeing how the Eva Perry Club is run, maybe the Chapel Hill library needs a similar group.
Virtual Self:
I want to learn responsible ways to increase my online identity. I want to be able to connect with other teachers of young adult literature (likely through the English Companion Ning and this is also a professional and literate self goal) and get ideas for lessons and new books to explore. I also want to shore up my knowledge of web 2.0 programs so that I can help my students interact with and respond to texts in new ways.
I think I've learned to be more responsible, because now I know that my online self really is my professional self, and it is really a matter of keeping those two identities in line. I plan on posting my ALP to the english companion ning, and we will see what kind of discussion it promotes. I think there are so many unique ways to use the web to interact with literature, it really is a great medium for our subject, and I look forward to integrating and creating a lot of great web based projects in the future.
Sunday, June 26, 2011
Making Wise, Bold Choices
This is part three of the Making Bold Choices CCI:
So, starting with the principal that parents are allowed to challange chosen books and dictate what their students read, where are we left as educators? What then is our role? To choose the least offensive book, which can be read by the most number of students? In my eyes, there is no place in education for timidity. And I think that Frances brought up some great points on why we have to understand the limitations of the school environment while making bold, prudent and wise choices for our students. The main reason for censorship of our web technologies is CIPA, which is meant to stop access to pornographic images. This is understandable there is no real place for this kind of thing in the classroom, or in the world of our young students, but concern about one corrupting influence should not dilute the richness of our students' education. As Frances points out, good teaching should breed good behavior, and as Dr. Crissman also noted, there are studies that show less restrictions actually cause students to be more thoughtful and discerning about where they go on the web. The modern world is the most important world to our students. We cannot predict what the future holds for them in ten years (I never would have thought I would eventually be attending class in an online world when I first booted up everquest in 1999). So we must try and prepare our students for the modern world in which they will live. I think the most difficult situation, and the one that poses the most frustration down the road will be when a student wishes to read something that his parent or guardian does not want him to. Because, as I said in the voicethread, and as Marc Aronson pointed out in his essay on the topic, we cannot dictate what a student will get out of a book. We are reading with different eyes. And we have to accept at some point that our children are not entirely moldable to our own desires. There is a point, and I believe that to be during adolescence, when students must start to break away from the viewpoints held by their parents or guardians and start assessing the world for themselves. My grandfather grew up in Great Depression era South. He and many of his fellow citizens did not agree with busing to integrate the schools in Tarboro, NC. But I am very proud that my parents did not hold on to these outdated, and in truth, bigoted views. Our children, and our students need to the freedom to grow and discover the world outside of their home, and I think literature is an extremely safe and compelling way to encourage that growth. So what I take away from Frances' speech is that we must be bold enough to stand up to some compelling forces. The forces of the opinions of parents guardians and administrators. And the very best and safest way to do that is to make sure that you can always justify the choices you make in the classroom. If you have a sound and well thought out reason for allowing a student to choose certain literature to read, then there is no reason why we as teachers should have to worry about the tides of censorship. We just have to be bold and wise.
So, starting with the principal that parents are allowed to challange chosen books and dictate what their students read, where are we left as educators? What then is our role? To choose the least offensive book, which can be read by the most number of students? In my eyes, there is no place in education for timidity. And I think that Frances brought up some great points on why we have to understand the limitations of the school environment while making bold, prudent and wise choices for our students. The main reason for censorship of our web technologies is CIPA, which is meant to stop access to pornographic images. This is understandable there is no real place for this kind of thing in the classroom, or in the world of our young students, but concern about one corrupting influence should not dilute the richness of our students' education. As Frances points out, good teaching should breed good behavior, and as Dr. Crissman also noted, there are studies that show less restrictions actually cause students to be more thoughtful and discerning about where they go on the web. The modern world is the most important world to our students. We cannot predict what the future holds for them in ten years (I never would have thought I would eventually be attending class in an online world when I first booted up everquest in 1999). So we must try and prepare our students for the modern world in which they will live. I think the most difficult situation, and the one that poses the most frustration down the road will be when a student wishes to read something that his parent or guardian does not want him to. Because, as I said in the voicethread, and as Marc Aronson pointed out in his essay on the topic, we cannot dictate what a student will get out of a book. We are reading with different eyes. And we have to accept at some point that our children are not entirely moldable to our own desires. There is a point, and I believe that to be during adolescence, when students must start to break away from the viewpoints held by their parents or guardians and start assessing the world for themselves. My grandfather grew up in Great Depression era South. He and many of his fellow citizens did not agree with busing to integrate the schools in Tarboro, NC. But I am very proud that my parents did not hold on to these outdated, and in truth, bigoted views. Our children, and our students need to the freedom to grow and discover the world outside of their home, and I think literature is an extremely safe and compelling way to encourage that growth. So what I take away from Frances' speech is that we must be bold enough to stand up to some compelling forces. The forces of the opinions of parents guardians and administrators. And the very best and safest way to do that is to make sure that you can always justify the choices you make in the classroom. If you have a sound and well thought out reason for allowing a student to choose certain literature to read, then there is no reason why we as teachers should have to worry about the tides of censorship. We just have to be bold and wise.
Multiculturalism in YA Lit
Step 1: I have to admit I hadn't given much thought at all to the validity of the Coretta Scott King or Pura Belpre Awards (awards for children's literature give to African American and Latino authors, respectively). I remember reading some books that were selections for the Coretta Scott King award when I was younger, but I had not even heard of the Pura Belpre award. Needless to say, my opinion was not very firm, but it seems to me that these awards are a good thing. They expose an often ignored group of authors to a wider audience, and are offered an amount of recognition that they would not have received otherwise. I think it is a little bit unfortunate, but we need these kind of awards in order to make sure that we recognize minorities, as most of the people choosing books in libraries and schools are not minorities (by race). This is a very easy and rewarding avenue to encourage librarians and teachers to expose their students to multicultural literature, and that is a good thing.
Marc Aronson has totally changed my view, and I have read the rebuttal, and then his subsequent response, and I have to say that he makes a really good point. But like, Richard Wright and Zora Neale Hurston's disagreements over the use of the vernacular, this is a touchy subject, and the argument has many well thought out and often emotional sides. However, I still think Aronson is right in saying that by restricting the race of the author, it kind of diminishes the quality of the award and also the quality of other awards. Is the Newberry or Caldecott an award for European American authors only? Because it seems that it would cause the judges to lean that way given that there is no specific European American award, and a majority of the books are being written by authors of that ethnic background. But that's a huge problem because it assumes that best European American author is the same as best American author, and further ostracizes the minority ethnic groups. I also really believe in his logic argument that creating one ethnicity based award means you must create an award for every ethnicity, and it also exposes huge problems like his example of the Belpre actually excluding Brazilian-American writers. I understand that the Coretta Scott King award does wonders for exposing those of us who are typically insulated from multicultural writing, but the requirement regarding only the author's race is misguided. It should be based on the subject matter. One would think that an African-American author will most likely write the best book on the African-American experience during any given year, but there should be an opportunity for white, Hispanic, or multiracial authors to win the same award if they represent that experience in a more compelling way. And to Ms. Pinkney's point that the King award allows parents of minorities to identify books by minority authors, I would argue that having the seal identify books about the minority experience is just as valuable. In my opinion, reading is a meaning making experience, and we want kids to be interacting and making meaning based on the merits of the book. And by merits, I do not mean the morality of the characters, or the life lessons inside. To me literature is effective and transcendent when its characters are three dimensional. If you can read a book and know its characters, their motivations, their hopes, dreams, and failings, then it is the most effective kind of literature. And I think that the Coretta Scott King commission could recognize these kind of books about the African-American experience without having a race requirement of the author.
That requirement is perpetuating the marginalization of minority authors. I think if they removed the author race requirement, we could more easily discuss Newberry and Caldecott as a best in show award, as opposed to their current pseudo statuses as best book not by a minority author. I also realize that this is a very controversial viewpoint, and I know that I am not as articulate or as intelligent as Mark Aronson, so I would encourage anyone reading this to make sure to read his article, Slippery Slope and Proliferating Prizes.
Marc Aronson has totally changed my view, and I have read the rebuttal, and then his subsequent response, and I have to say that he makes a really good point. But like, Richard Wright and Zora Neale Hurston's disagreements over the use of the vernacular, this is a touchy subject, and the argument has many well thought out and often emotional sides. However, I still think Aronson is right in saying that by restricting the race of the author, it kind of diminishes the quality of the award and also the quality of other awards. Is the Newberry or Caldecott an award for European American authors only? Because it seems that it would cause the judges to lean that way given that there is no specific European American award, and a majority of the books are being written by authors of that ethnic background. But that's a huge problem because it assumes that best European American author is the same as best American author, and further ostracizes the minority ethnic groups. I also really believe in his logic argument that creating one ethnicity based award means you must create an award for every ethnicity, and it also exposes huge problems like his example of the Belpre actually excluding Brazilian-American writers. I understand that the Coretta Scott King award does wonders for exposing those of us who are typically insulated from multicultural writing, but the requirement regarding only the author's race is misguided. It should be based on the subject matter. One would think that an African-American author will most likely write the best book on the African-American experience during any given year, but there should be an opportunity for white, Hispanic, or multiracial authors to win the same award if they represent that experience in a more compelling way. And to Ms. Pinkney's point that the King award allows parents of minorities to identify books by minority authors, I would argue that having the seal identify books about the minority experience is just as valuable. In my opinion, reading is a meaning making experience, and we want kids to be interacting and making meaning based on the merits of the book. And by merits, I do not mean the morality of the characters, or the life lessons inside. To me literature is effective and transcendent when its characters are three dimensional. If you can read a book and know its characters, their motivations, their hopes, dreams, and failings, then it is the most effective kind of literature. And I think that the Coretta Scott King commission could recognize these kind of books about the African-American experience without having a race requirement of the author.
That requirement is perpetuating the marginalization of minority authors. I think if they removed the author race requirement, we could more easily discuss Newberry and Caldecott as a best in show award, as opposed to their current pseudo statuses as best book not by a minority author. I also realize that this is a very controversial viewpoint, and I know that I am not as articulate or as intelligent as Mark Aronson, so I would encourage anyone reading this to make sure to read his article, Slippery Slope and Proliferating Prizes.
Tuesday, June 21, 2011
Graphica Book Club
We decided to try our hand at creating some comics, using toondoo. Ghostopolis by Doug Tennapil was a little bit tough to pin down. I really felt that it presented us with several intense story lines while only resolving the main plot. Nevertheless, we decided that second chances was the most promising thing. We designed it in a way that we could use it in a classroom, with a main slide serving as a prompt from which we then responded. Just follow the links to see the comics.
Reviewing the Literature, Litely
I will begin by summarizing what I have learned in all of my readings in preparation for this review. First of all, reading is key to all students' success. Secondly, students are most interested when they choose their own subject matter. Unfortunately, students' engagement with reading outside of school continues to decline. Poetry, however, continues to be a resonant art form with students. And, finally, digital technologies present us with an astounding opportunity to alter the way that reading is done in the classroom. After more in-depth analysis, I think it will become clear that innovative ways to engage students with poetry will be very beneficial for our students.
Over the weekend, I was at the beach with my family, including my 2 year old nephew, Jack. And I started to think, what about this generation? Here I sit, laptop in hand, his father on his iphone, his grandfather watching the US Open on television while also checking the leader board on his blackberry. There is stimulation everywhere. When Mickey's clubhouse came on, stimulation was the name of the game. There were multiple plots, with puzzles and teaching moments interspersed, and of course they closed with a big dance number (http://www.youtube.com/watch?v=wePMYM4av6Q).Even a two year old is inundated with multiple forms of media. So, knowing that the digital world is all about variety, what is the place of poetry, especially older poetry that exists now only as words on a page.
Well, I would argue that students live in a more poetic world than ever before. Everything is more expressive, more condensed. If the words don't pop right off the page, they never make it into an advertisement, or a TV show, or a song. Language has become more condensed, more to the point. OMG, i GTG but BRB, TTYL. Many of the formalities of Standard English have been abandoned or completely abolished. How many "news" articles on ESPN have "Just sayin'." As a whole sentence! Plenty. Just sayin'. Music is more rhythmic, more based in a sort of beat, jazz poetry than the Buddy Holly's sing-songy rhymes of the 50s and 60s. So it shouldn't surprise us that students are identifying more and more with some of our most abbreviated forms of expression. Graphic novels are a great example of a medium that uses text for much of the dialogue and occasional narration or onomatopoeia. But much of the action, scenery, and mood is conveyed in the images, which we gather information from much more quickly than by reading.
The problem is that, even if we accept that students today are not exposed to traditional writing as much as we were as students, it does not excuse our plummeting reading and literacy scores. According to the National Endowment for the Arts, seven years ago 19% of 17 year olds said they never or hardly ever read outside of school. Yet we know that there is tons of textual information coming at students everywhere they turn.
So how do we harness what students are doing outside the classroom and make it work for us in the classroom? As Pam Allyn points out in "Against the Whole Class Novel" our answer should never be to ban those tools in the class. As I mentioned on the class voicethread, Carrboro High School allows students access to facebook, youtube and wikipedia. But how do we take their mere presence on facebook and turn it into a tool for the classroom. How do we stimulate constant academic chatter? Unfortunately, it seems this remains a largely unsolved question, but I know that the first step is to start having students create and publish academic work on the internet that their classmates can see. I know that until I began doing this the previous semester, it had not really occurred to me that the internet could be used as an extended part of the classroom. That twitter and facebook groups and online tools allow us to not only interact with the teacher or professor, but with other students.
In Thibeault's description of recording with students, I could tell that the students were excited just to be using the technology, to be finding new ways to express themselves. It happened to be by recording poetry, sometimes poems that they had actually composed as well. Dreher and his colleague were able to capture the same type of energy.
The only question that I cannot seem to find an answer to is how we can turn some of the interest back to more classic poetry. Perhaps that's my issue. Perhaps it is only because I identify with and thoroughly enjoy reading poetry by Shakespeare, Yeats or Larkin or Eliot, but it would seem to me that there are messages, experimentation, images, and poetics that occur in these forms that do not occur anywhere else. Yes, rap is innovative, it is a way of expressing poetry in the urban vernacular. But I want to tie that back to something in earlier poetry, and then maybe like weaving a thread, similarities between that poem and another by another author can grab the students' attention and we can start assembling a larger knowledge of poetry.
It appears based on the research that reading and introducing students to a larger volume of poetry will work in this regard. At least poetry is short, it can be read quickly and repeatedly. Because as pointed out in Krashen's speech, access to books, or literature is one of the greatest indicators of future success. I look forward to using voicethread because it allows us to leave comments, much like the social media that students are used to (Facebook). It allows for multi-modal expression in that we are using voice to depict a written poem. And it engages with students in a digital medium, further relating to their everyday experience. I also think that showing them additional videos where individuals are modeling what they will do will allow for an easy transition into the activity. Allowing the students to choose any poetic form of expression, including music to record allows the students to take control of the curriculum. It shows them that they have as much to teach me as I do them, and that continues when they record why they have chosen the poem and what it means to them. And finally, asking students to comment on the activity as a whole requires some meta cognitive thinking, because they have to asses what benefit they got from the project. The research, articles and commentaries I have reviewed make me think that this project will really benefit not only the group I work with this summer, but my future classroom. Everything I have read has expressed the importance of expression and engagement, and based upon my own experience, I feel that poetry is the best form of literature for engaging the reader and expressing emotion.
Works Cited
Alexanian, J. (2008). Poetry and polemics: iranian literary expression in the digital age. MELUS, 33(2), 129-152.
Allyn, P. (2011). Against the whole class novel. Education Week, 30(35), Retrieved from http://www.edweek.org/ew/articles/2011/06/15/35allyn_ep.h30.html
Dreher, P. (2000). Electronic poetry: student-constructed hypermedia. The English Journal, 90(2), 68-73.
Iyengar, Sunil. National Endowment for the Arts, (2007). To read or not to read: a question of national consequence (Research Report #47). Washington, DC: Office of Research and Analysis.
Lewis & clark graduate school of education and counseling. (2011, June 6). Retrieved from http://www.ustream.tv/recorded/15209560
Mattison, D. (2006). The digital humanities revolution. Searcher, 14(5), 25-34. Retrieved from EBSCOhost.
Thibeault, M. (2011). Recording students to bring poetry alive. General Music Today, 24(42),
Over the weekend, I was at the beach with my family, including my 2 year old nephew, Jack. And I started to think, what about this generation? Here I sit, laptop in hand, his father on his iphone, his grandfather watching the US Open on television while also checking the leader board on his blackberry. There is stimulation everywhere. When Mickey's clubhouse came on, stimulation was the name of the game. There were multiple plots, with puzzles and teaching moments interspersed, and of course they closed with a big dance number (http://www.youtube.com/watch?v=wePMYM4av6Q).Even a two year old is inundated with multiple forms of media. So, knowing that the digital world is all about variety, what is the place of poetry, especially older poetry that exists now only as words on a page.
Well, I would argue that students live in a more poetic world than ever before. Everything is more expressive, more condensed. If the words don't pop right off the page, they never make it into an advertisement, or a TV show, or a song. Language has become more condensed, more to the point. OMG, i GTG but BRB, TTYL. Many of the formalities of Standard English have been abandoned or completely abolished. How many "news" articles on ESPN have "Just sayin'." As a whole sentence! Plenty. Just sayin'. Music is more rhythmic, more based in a sort of beat, jazz poetry than the Buddy Holly's sing-songy rhymes of the 50s and 60s. So it shouldn't surprise us that students are identifying more and more with some of our most abbreviated forms of expression. Graphic novels are a great example of a medium that uses text for much of the dialogue and occasional narration or onomatopoeia. But much of the action, scenery, and mood is conveyed in the images, which we gather information from much more quickly than by reading.
The problem is that, even if we accept that students today are not exposed to traditional writing as much as we were as students, it does not excuse our plummeting reading and literacy scores. According to the National Endowment for the Arts, seven years ago 19% of 17 year olds said they never or hardly ever read outside of school. Yet we know that there is tons of textual information coming at students everywhere they turn.
So how do we harness what students are doing outside the classroom and make it work for us in the classroom? As Pam Allyn points out in "Against the Whole Class Novel" our answer should never be to ban those tools in the class. As I mentioned on the class voicethread, Carrboro High School allows students access to facebook, youtube and wikipedia. But how do we take their mere presence on facebook and turn it into a tool for the classroom. How do we stimulate constant academic chatter? Unfortunately, it seems this remains a largely unsolved question, but I know that the first step is to start having students create and publish academic work on the internet that their classmates can see. I know that until I began doing this the previous semester, it had not really occurred to me that the internet could be used as an extended part of the classroom. That twitter and facebook groups and online tools allow us to not only interact with the teacher or professor, but with other students.
In Thibeault's description of recording with students, I could tell that the students were excited just to be using the technology, to be finding new ways to express themselves. It happened to be by recording poetry, sometimes poems that they had actually composed as well. Dreher and his colleague were able to capture the same type of energy.
The only question that I cannot seem to find an answer to is how we can turn some of the interest back to more classic poetry. Perhaps that's my issue. Perhaps it is only because I identify with and thoroughly enjoy reading poetry by Shakespeare, Yeats or Larkin or Eliot, but it would seem to me that there are messages, experimentation, images, and poetics that occur in these forms that do not occur anywhere else. Yes, rap is innovative, it is a way of expressing poetry in the urban vernacular. But I want to tie that back to something in earlier poetry, and then maybe like weaving a thread, similarities between that poem and another by another author can grab the students' attention and we can start assembling a larger knowledge of poetry.
It appears based on the research that reading and introducing students to a larger volume of poetry will work in this regard. At least poetry is short, it can be read quickly and repeatedly. Because as pointed out in Krashen's speech, access to books, or literature is one of the greatest indicators of future success. I look forward to using voicethread because it allows us to leave comments, much like the social media that students are used to (Facebook). It allows for multi-modal expression in that we are using voice to depict a written poem. And it engages with students in a digital medium, further relating to their everyday experience. I also think that showing them additional videos where individuals are modeling what they will do will allow for an easy transition into the activity. Allowing the students to choose any poetic form of expression, including music to record allows the students to take control of the curriculum. It shows them that they have as much to teach me as I do them, and that continues when they record why they have chosen the poem and what it means to them. And finally, asking students to comment on the activity as a whole requires some meta cognitive thinking, because they have to asses what benefit they got from the project. The research, articles and commentaries I have reviewed make me think that this project will really benefit not only the group I work with this summer, but my future classroom. Everything I have read has expressed the importance of expression and engagement, and based upon my own experience, I feel that poetry is the best form of literature for engaging the reader and expressing emotion.
Works Cited
Alexanian, J. (2008). Poetry and polemics: iranian literary expression in the digital age. MELUS, 33(2), 129-152.
Allyn, P. (2011). Against the whole class novel. Education Week, 30(35), Retrieved from http://www.edweek.org/ew/articles/2011/06/15/35allyn_ep.h30.html
Dreher, P. (2000). Electronic poetry: student-constructed hypermedia. The English Journal, 90(2), 68-73.
Iyengar, Sunil. National Endowment for the Arts, (2007). To read or not to read: a question of national consequence (Research Report #47). Washington, DC: Office of Research and Analysis.
Lewis & clark graduate school of education and counseling. (2011, June 6). Retrieved from http://www.ustream.tv/recorded/15209560
Mattison, D. (2006). The digital humanities revolution. Searcher, 14(5), 25-34. Retrieved from EBSCOhost.
Thibeault, M. (2011). Recording students to bring poetry alive. General Music Today, 24(42),
Monday, June 20, 2011
Action Learning Project Proposal
ECI 521 Action Learning Project Proposal
Name: Willis Isley
Session: Summer 1, 2011
Inquiry Question / Issue / Problem:
What is the best way to represent poetry so that it engages young adult readers in a digital context.
Relevance:
One of the things that we all seemed to agree on was the idea that we need to harness different digital mediums in order to reach our students best. We also want to have student directed classrooms, and to allow our students to help guide the curriculum. So, how can we garner interest in poetry, which is a form that has not been traditionally popular with readers, and seems to be increasingly distant from the modern world, yet provides us with wonderful examples of the power of language? I want to encourage both the study of poetry and the incorporation of student viewpoints and new technology.
Project Design
I want to begin the project by showing students the favoritepoem.org website, which shows all kinds of people discussing and reading their favorite poems. Then I want to ask the students to think about their favorite poems, and why they are their favorites. I will have a voicethread account with profiles already established for the students, and I will have them log in to the site and record their favorite poem (they can use google to find the full text). I imagine that some students would suggest that a song is their favorite poem, and for the purposes of this project, I will allow them to use song lyrics if they wish. After everyone has recorded their poem and a brief discussion of why it is their favorite poem, I will have the students turn to the next slide on voicethread. It will prompt the students to think about the roll of poetry in their lives. Asking them to discuss how they view poetry. I will include questions such as, is poetry important to you? How often do you read, write or hear poetry. I will be really interested to see what students say about this after being allowed to use song lyrics in the previous section. Finally, on the third slide, I will ask students to respond to the activity. I will have the students address how multimedia affected their view of poetry. In the students' case, they were only able to transform the poetry into a reading, and of course poetry is auditory, but on the favoritepoem website, there are videos as well, and I want to students to share whether they think that the videos increased their understanding or appreciation of the poem, or if it was distracting from the work.
Project Multimedia Report
For the project, I should be able to integrate some of my favorite selections from the voicethreads, and I will keep notes that I can use to tell about the whole experience, as far as how the students reacted, and whether they understood what I was trying to do.
Name: Willis Isley
Session: Summer 1, 2011
Inquiry Question / Issue / Problem:
What is the best way to represent poetry so that it engages young adult readers in a digital context.
Relevance:
One of the things that we all seemed to agree on was the idea that we need to harness different digital mediums in order to reach our students best. We also want to have student directed classrooms, and to allow our students to help guide the curriculum. So, how can we garner interest in poetry, which is a form that has not been traditionally popular with readers, and seems to be increasingly distant from the modern world, yet provides us with wonderful examples of the power of language? I want to encourage both the study of poetry and the incorporation of student viewpoints and new technology.
Project Design
I want to begin the project by showing students the favoritepoem.org website, which shows all kinds of people discussing and reading their favorite poems. Then I want to ask the students to think about their favorite poems, and why they are their favorites. I will have a voicethread account with profiles already established for the students, and I will have them log in to the site and record their favorite poem (they can use google to find the full text). I imagine that some students would suggest that a song is their favorite poem, and for the purposes of this project, I will allow them to use song lyrics if they wish. After everyone has recorded their poem and a brief discussion of why it is their favorite poem, I will have the students turn to the next slide on voicethread. It will prompt the students to think about the roll of poetry in their lives. Asking them to discuss how they view poetry. I will include questions such as, is poetry important to you? How often do you read, write or hear poetry. I will be really interested to see what students say about this after being allowed to use song lyrics in the previous section. Finally, on the third slide, I will ask students to respond to the activity. I will have the students address how multimedia affected their view of poetry. In the students' case, they were only able to transform the poetry into a reading, and of course poetry is auditory, but on the favoritepoem website, there are videos as well, and I want to students to share whether they think that the videos increased their understanding or appreciation of the poem, or if it was distracting from the work.
Project Multimedia Report
For the project, I should be able to integrate some of my favorite selections from the voicethreads, and I will keep notes that I can use to tell about the whole experience, as far as how the students reacted, and whether they understood what I was trying to do.
Radical Change in YAL
"Skeleton Sky" is definitely the most radical poetry I have yet encountered. Especially because the author has no control over how the reader will experience the poem. At the beginning, when the reader chooses randomly from a set of the exact same words and is then transported to a different part of the poem. I loved it. It was completely fresh, completely radical. I was experiencing the poem however I pleased, but it wasn't as though I really chose what would come next, just that I was able to click the word that stood out to me the most. This was a nearly flawless example of the kind of advantages that digital interactiveness offers. It seems almost unnecessary to comment on what I thought of the poem, because my experience cannot be replicated. Even if I were to go back for a second run through, I may not again experience a poem that is dark, creepy, lively, bouncy and somehow subdued and pretty. There wasn't much of a narrative, but the images were striking and well constructed, and the connections between the links were sufficient for the poem as a whole to be seen. It wasn't as though it was just a random collection of words. It is definitely a radical change of context.
I haven't had a lot of interaction with children books that represent Radical Change outside of the ones I have read so far for this class, including Revolver, which is radical change in perspective, as it predicts the viewpoint of a early 20th century teen in several mining towns, a perspective at least that I had not heard before. Maus, which was radical in presentation, and perspective as it used the graphic novel medium to depict the story of a Polish Jew during the holocaust, and also the son of a holocaust survivor, who had a very unique perspective because of his parents' legacy. Ghostopolis, as a graphic novel is also a change in presentation and perspective, as it tells the story of a young man dying who is magically transported to the land of the dead. Of course, I can relate well to the other listed radical charge types as they occur in more adult literature, such as the journey book I presented, the Sun Also Rises, which altered the way language was presented. Maybe As I Lay Dying for depicting psychological states as opposed to plot. T.S. Eliot's Prufrock did much the same for poetry. Unfortunately none of these represent radical change in the digital sense, and besides the poem discussed earlier, I'm not sure I've encountered much radical change in a digital sense.
As far as graphic novels, I already mentioned two that I have read thus far. I think they are great way to present complicated texts, because so much can be conveyed by images. That makes graphic novels much more accessible to readers who are ESL or on a lower reading level than the rest of the class. I think that means that the key to incorporating graphic novels into the curriculum is to allow students to select their own texts, and to allow some of those texts to be graphic novels. Even though I would not consider Ghostopolis to be literature, because I think it failed to explore some of the themes it presented (as Roxburgh discussed when extraneous information is presented or unresolved sometimes the book doesn't work) it was still very engaging. And I think that for some of our younger students, Ghostopolis would be a great graphic novel, because it has great graphics, and an interesting plot regardless of its shortcomings. I hope to allow students to discover graphic novels on their own, though I would probably limit which ones I made available and would make sure that I cover all of my reading levels with options. But I think they really provide a fresh avenue for students to discover literature, and that should always be encouraged.
I haven't had a lot of interaction with children books that represent Radical Change outside of the ones I have read so far for this class, including Revolver, which is radical change in perspective, as it predicts the viewpoint of a early 20th century teen in several mining towns, a perspective at least that I had not heard before. Maus, which was radical in presentation, and perspective as it used the graphic novel medium to depict the story of a Polish Jew during the holocaust, and also the son of a holocaust survivor, who had a very unique perspective because of his parents' legacy. Ghostopolis, as a graphic novel is also a change in presentation and perspective, as it tells the story of a young man dying who is magically transported to the land of the dead. Of course, I can relate well to the other listed radical charge types as they occur in more adult literature, such as the journey book I presented, the Sun Also Rises, which altered the way language was presented. Maybe As I Lay Dying for depicting psychological states as opposed to plot. T.S. Eliot's Prufrock did much the same for poetry. Unfortunately none of these represent radical change in the digital sense, and besides the poem discussed earlier, I'm not sure I've encountered much radical change in a digital sense.
As far as graphic novels, I already mentioned two that I have read thus far. I think they are great way to present complicated texts, because so much can be conveyed by images. That makes graphic novels much more accessible to readers who are ESL or on a lower reading level than the rest of the class. I think that means that the key to incorporating graphic novels into the curriculum is to allow students to select their own texts, and to allow some of those texts to be graphic novels. Even though I would not consider Ghostopolis to be literature, because I think it failed to explore some of the themes it presented (as Roxburgh discussed when extraneous information is presented or unresolved sometimes the book doesn't work) it was still very engaging. And I think that for some of our younger students, Ghostopolis would be a great graphic novel, because it has great graphics, and an interesting plot regardless of its shortcomings. I hope to allow students to discover graphic novels on their own, though I would probably limit which ones I made available and would make sure that I cover all of my reading levels with options. But I think they really provide a fresh avenue for students to discover literature, and that should always be encouraged.
Sunday, June 19, 2011
Literature in the Young Adult World.
I imagine myself in my future classroom, meeting with a student who is reading the latest popular teen drama, something like Twilight. And I wonder...am I happy with that student's choice? I should be, because reading of any type is good. I should be proud that the student has chosen to read at all, and considering that I am an adult, and not a teen, I really don't know if I should be judging what that student is interested in reading. But...and this is a big but, if we don't judge certain books to be of higher literary quality, that is if a book is considered literature no matter what qualities it possesses then why would an author strive to write a better novel? Why would we read so many novels in search of the one that especially speaks to us?
This has been the hardest blog post so far. Because, as I said before reading for pleasure is great. There's nothing wrong with enjoying a book that is strictly plot driven as Roxburgh says, those are some of his favorite books. But an understanding of the intricacies of a particular plot does not really inform one's own life. Because in reality, one's life will never unfold in the same way that a well crafted thriller or fantasy novel will. So yes, I think that I will have to demand that at some point a student must interact with a novel that does more than tell a story. I think that's what Young Adult Literature is. It is prose or poetry, or even drama or memoir...a text that depicts a character, who grows. A character who can impart some wisdom upon the reader. A character who is relateable and experiences life in much the same way that the reader (my future students does).
But here's where I think the whole idea gets murky, because I think part of the definition of literature is a work that affects the reader. And who am I to judge whether a reader is affected? Unfortunately there has to be a guideline. I think the best way for me to think of it is that a newspaper sports story wouldn't be considered literature, because it only really tells the what when and where. It doesn't tell you why and it doesn't tell you a lot about the who, and I think this is what is required for literature. It must tells us something about human nature, or about who the character is, or why he is what he is. I feel like this is getting complicated, but it's the only way to really express it. Now, if a student surprises me, and shows an unexpectedly deep and meaningful connection to a work, despite what I may have thought of it, well that is a very pleasant surprise. Which I guess brings me to my next and final point.
As far as where literature would fit into my program, I'd have to say I would prefer if all of the school reading that my students do was literature, but I realize that students should also choose the majority of the books they read, so I guess that I would just always want to encourage students to connect with and seek out the literary qualities of any work. Even if it is a purely for pleasure read. It is difficult to really elaborate without having designed a curriculum or without having done any student teaching. I will be really interested to see how in-service teachers deal with this problem, because as I said, reading of anything is an important step in the right direction, but how do you get students to start being more selective in choosing true literature.
This has been the hardest blog post so far. Because, as I said before reading for pleasure is great. There's nothing wrong with enjoying a book that is strictly plot driven as Roxburgh says, those are some of his favorite books. But an understanding of the intricacies of a particular plot does not really inform one's own life. Because in reality, one's life will never unfold in the same way that a well crafted thriller or fantasy novel will. So yes, I think that I will have to demand that at some point a student must interact with a novel that does more than tell a story. I think that's what Young Adult Literature is. It is prose or poetry, or even drama or memoir...a text that depicts a character, who grows. A character who can impart some wisdom upon the reader. A character who is relateable and experiences life in much the same way that the reader (my future students does).
But here's where I think the whole idea gets murky, because I think part of the definition of literature is a work that affects the reader. And who am I to judge whether a reader is affected? Unfortunately there has to be a guideline. I think the best way for me to think of it is that a newspaper sports story wouldn't be considered literature, because it only really tells the what when and where. It doesn't tell you why and it doesn't tell you a lot about the who, and I think this is what is required for literature. It must tells us something about human nature, or about who the character is, or why he is what he is. I feel like this is getting complicated, but it's the only way to really express it. Now, if a student surprises me, and shows an unexpectedly deep and meaningful connection to a work, despite what I may have thought of it, well that is a very pleasant surprise. Which I guess brings me to my next and final point.
As far as where literature would fit into my program, I'd have to say I would prefer if all of the school reading that my students do was literature, but I realize that students should also choose the majority of the books they read, so I guess that I would just always want to encourage students to connect with and seek out the literary qualities of any work. Even if it is a purely for pleasure read. It is difficult to really elaborate without having designed a curriculum or without having done any student teaching. I will be really interested to see how in-service teachers deal with this problem, because as I said, reading of anything is an important step in the right direction, but how do you get students to start being more selective in choosing true literature.
Tuesday, June 14, 2011
Nonfiction Book Club Colaborative Response
After discussing how best to respond to Art Spiegelman's Maus (part 1) our group decided to write a multi voice poem. It gave us a chance to explore the three competing viewpoints of the book. Art, struggling to comes to terms with who his father is and how he survived in Nazi Poland, those who died during this time, and Art's father Vladek, who survived among the worst possible circumstances. His methods for survival were tough for Art, because he acting almost solely out of the interest of the survival of his family and himself. He often had to ignore the needs of friends and distant family. And many others who survived for a long time had to do the same. But if Vladek had not survived, Art would not be alive. What does it mean to survive? What does it mean to endure? These are the topics we tried to explore in our response.
Until I can get the document in the form of an image so that the multivoice form is preserved, I am going to just publish my part.
Arty
Survival.
Maybe some aren't meant to survive, and yet Anja did.
It takes a special person to continue no matter what.
For some, it's not easy to forget.
My mother couldn't handle the pain of Hitler's Germany.
Or maybe it was her lost child
Or her disappointing son.
Maybe it was the guilt of being spared,
But only part of her survived.
She also took a piece of Vladek and me with her.
How do we survive?
Keep the memories alive?
Vladek, my father, the old miser.
Everything about him that annoys me,
Helped him survive.
And now I must help his story survive.
For a price, of course.
Always, help has its price.
Until I can get the document in the form of an image so that the multivoice form is preserved, I am going to just publish my part.
Arty
Survival.
Maybe some aren't meant to survive, and yet Anja did.
It takes a special person to continue no matter what.
For some, it's not easy to forget.
My mother couldn't handle the pain of Hitler's Germany.
Or maybe it was her lost child
Or her disappointing son.
Maybe it was the guilt of being spared,
But only part of her survived.
She also took a piece of Vladek and me with her.
How do we survive?
Keep the memories alive?
Vladek, my father, the old miser.
Everything about him that annoys me,
Helped him survive.
And now I must help his story survive.
For a price, of course.
Always, help has its price.
Sunday, June 12, 2011
Non Fiction and the Teen Reader
Aronson is 100% right when he says that nonfiction is the neglected stepchild of young adult literature. I distinctly remember historical fiction young adult books, like red badge of courage, or fictionalized books that were somewhat grounded in reality, like Hatchet. But I can't recall a creative nonfiction book that I read before the age of 16 or so. At 16, I took AP Human Geography, and for my final project in the class, I read the book Cod, which was a nonfiction book about the global impact of Cod. My parents still make fun of a line I had in my essay, "thankfully the civil war came along" which was probably a dumb thing to say, but for Cod a large scale war was a great thing. But still, this book was targeted at adults, and I was no longer reading young adult literature. There seems to be a definite void there that could be filled with engaging, intelligent nonfiction books for young readers.
And I can see why this can be especially true for boys. As men, we are expected to be more grounded in reality. I know that my parents felt that comic books and fantasy novels were a stage to be grown out of though I never really did. But if not fantasy or comic books, what material would be best for boys? I agree with Aronson that nonfiction books fill that gap because they appeal to what boys want to do (at least in my experience) which is to learn new cool things. When I look back on most of my current hobbies, they started as cool things to learn. Guitar, writing, singing, cooking, brewing, bike riding, video games, even dog training began as cool things to learn how to do. There are countless other things I began because I thought it would be cool to learn but gave up on (skateboarding was an especially painful experience). But I think there really is a desire within boys to master their little universes, and usually they can do so incredibly well (the amount of 13 year olds who have completely smoked me in a bluegrass jams is staggering). I'm not totally sure that this doesn't translate to girls. In fact, I think it does, but there is a cultural bias for girls to be reading nonfiction and young adult romance etc. But, I bet given the opportunity many girls would be more than happy for the chance to master their universe as well (I have been smoked by an increasing amount of girls in bluegrass jams too, although usually on mandolin or fiddle, not as much on guitar).
I think it would be really easy to integrate nonfiction into the middle and high school curriculum. Replace all those boring out dated and ineffective textbooks with trade books. Some could be historical fiction, some could be biography, some could just be interesting and well written nonfiction. But Social Studies and Science classes are begging to have more interesting reading material. Even in the English and Language Arts curriculum, why not integrate material that overlaps other subjects? (All books do though don't they?) Sarah Vowell's The Wordy Shipmates would be a perfect companion piece to a Hawthorne short story like the Minister's Black Veil. Even memoirs like selections from David Sedaris could have a place in the ELA classroom. I think the only impediments are curriculum and administration, but I think that Aronson makes such compelling points, that a few quotes could persuade even the most resistant administrator.
And I can see why this can be especially true for boys. As men, we are expected to be more grounded in reality. I know that my parents felt that comic books and fantasy novels were a stage to be grown out of though I never really did. But if not fantasy or comic books, what material would be best for boys? I agree with Aronson that nonfiction books fill that gap because they appeal to what boys want to do (at least in my experience) which is to learn new cool things. When I look back on most of my current hobbies, they started as cool things to learn. Guitar, writing, singing, cooking, brewing, bike riding, video games, even dog training began as cool things to learn how to do. There are countless other things I began because I thought it would be cool to learn but gave up on (skateboarding was an especially painful experience). But I think there really is a desire within boys to master their little universes, and usually they can do so incredibly well (the amount of 13 year olds who have completely smoked me in a bluegrass jams is staggering). I'm not totally sure that this doesn't translate to girls. In fact, I think it does, but there is a cultural bias for girls to be reading nonfiction and young adult romance etc. But, I bet given the opportunity many girls would be more than happy for the chance to master their universe as well (I have been smoked by an increasing amount of girls in bluegrass jams too, although usually on mandolin or fiddle, not as much on guitar).
I think it would be really easy to integrate nonfiction into the middle and high school curriculum. Replace all those boring out dated and ineffective textbooks with trade books. Some could be historical fiction, some could be biography, some could just be interesting and well written nonfiction. But Social Studies and Science classes are begging to have more interesting reading material. Even in the English and Language Arts curriculum, why not integrate material that overlaps other subjects? (All books do though don't they?) Sarah Vowell's The Wordy Shipmates would be a perfect companion piece to a Hawthorne short story like the Minister's Black Veil. Even memoirs like selections from David Sedaris could have a place in the ELA classroom. I think the only impediments are curriculum and administration, but I think that Aronson makes such compelling points, that a few quotes could persuade even the most resistant administrator.
Monday, June 6, 2011
Friday, June 3, 2011
Literary Quality and Rot and Ruin
No, Rot and Ruin is not what would immediately be considered a upper echelon idea for a novel. At its most basic, it is a zombie story. But then, who said zombie stories can't be high in literary quality? 1968's Night of the Living Dead was, many believe a commentary on race relations in the United States. Is the use of a horror device, monsters, gore and bloodshed immediately low brow? One could really argue that the idea of using what is thought of as a low-brow medium to create literature is in itself high brow (DaDa movement-like?).
Literary quality is very hard to define for me. I know what is accepted as literature of the finest quality, and I really enjoy it. Hemmingway, Tennessee Williams, Yeats, and my favorite of all Robert Browning are very dear to me. It seems undisputed that these are literary masters, yet I don't know that I can say why. Each had a unique perspective. Each maybe tweaked his genre. But I imagine Hemmingway's terse, authentic language was not considered high quality at first. I imagine Williams' often vulgar themes and innuendo were considered riskee at the very least. Yeats was often criticized for writing poetry on a repetitive theme (unrequited love), and Browning was overshadowed in his own time by his wife's more traditional verse.
I think these lessons of redefining literary quality that occurred in the late 19th and throughout the 20th century can now be applied to young adult literature. Authors are now challenging the definition of young adult literature, and I think that sort of trend goes hand in hand with increasing literary quality. To me, a work of high literary quality is one that challenges our conventions. I think that the Printz award guidelines lean this way as well. Many of the qualities listed would be pretty boring if they weren't unique or intriguing (Setting, Accuracy, Character, Design). But innovation is worth little without meaning, and this is where I would diverge a little with the Printz definition of literary quality. I can understand why they say meaning should not necessarily factor into this judging, because it is so difficult to say that a work has meaning from one person to the next. But I can't help but feel that a story must convey something meaningful.
In other words, there should be emotion in the work. The characters, setting etc. should convey something that the reader can believe in, and I think that Mayberry does a great job of this in Rot and Ruin. You may not like the characters. You may not like the setting, or the concept, but it does feel real. The world sucks you in, and you learn about the characters. And hopefully, by learning about these fictional characters you learn a little about yourself, or your spouse, or your neighbor, but something about the novel should stick with you; should mean something to you. I often find myself remembering parts of some of the best books I've read, or the best songs I've heard as I go through my day, and I think it helps me make sense of all the craziness out there. At a time when students are going through so many changes, it seems very important that the best Young Adult Literature achieve this goal.
Literary quality is very hard to define for me. I know what is accepted as literature of the finest quality, and I really enjoy it. Hemmingway, Tennessee Williams, Yeats, and my favorite of all Robert Browning are very dear to me. It seems undisputed that these are literary masters, yet I don't know that I can say why. Each had a unique perspective. Each maybe tweaked his genre. But I imagine Hemmingway's terse, authentic language was not considered high quality at first. I imagine Williams' often vulgar themes and innuendo were considered riskee at the very least. Yeats was often criticized for writing poetry on a repetitive theme (unrequited love), and Browning was overshadowed in his own time by his wife's more traditional verse.
I think these lessons of redefining literary quality that occurred in the late 19th and throughout the 20th century can now be applied to young adult literature. Authors are now challenging the definition of young adult literature, and I think that sort of trend goes hand in hand with increasing literary quality. To me, a work of high literary quality is one that challenges our conventions. I think that the Printz award guidelines lean this way as well. Many of the qualities listed would be pretty boring if they weren't unique or intriguing (Setting, Accuracy, Character, Design). But innovation is worth little without meaning, and this is where I would diverge a little with the Printz definition of literary quality. I can understand why they say meaning should not necessarily factor into this judging, because it is so difficult to say that a work has meaning from one person to the next. But I can't help but feel that a story must convey something meaningful.
In other words, there should be emotion in the work. The characters, setting etc. should convey something that the reader can believe in, and I think that Mayberry does a great job of this in Rot and Ruin. You may not like the characters. You may not like the setting, or the concept, but it does feel real. The world sucks you in, and you learn about the characters. And hopefully, by learning about these fictional characters you learn a little about yourself, or your spouse, or your neighbor, but something about the novel should stick with you; should mean something to you. I often find myself remembering parts of some of the best books I've read, or the best songs I've heard as I go through my day, and I think it helps me make sense of all the craziness out there. At a time when students are going through so many changes, it seems very important that the best Young Adult Literature achieve this goal.
Thursday, June 2, 2011
Unbought Stuffed Dogs: ECI 521 Pre-FoKI
As someone with very limited classroom experience, it is difficult to assess exactly what I know and what I need to learn. It has been helpful to substitute from a behavior management perspective, but I have yet to be able to really engage the students in lessons that are meaningful and comprehensive. However, I do know how I arrived at pursuing education as a career, and it involved my journey book.
I began college as a Biology major. I think the decision was made after AP Biology in twelfth grade. I had performed well, and I had a little interest in the way things work. Everyone I spoke to told me that Biology was the best way to secure a “good career.” No one ever bothered to tell me that a good career really just meant something that paid well. It doesn't imply that one will be happy or satisfied. I quickly lost interest in Biology. I still felt successful in the kinds of classes that challenged me to understand how life works, but the courses that required endless memorization and torturous lectures turned me off completely.
That Spring my long time high school girlfriend and I broke up. As Rod Stewart says, the first cut is the deepest, and I went from knowing exactly how my life would play out over the next fifty years to having no idea what I was going to do on the weekend. It is very sappy, but this was an event that rocked my understanding of myself. In January I began my first course in Literature. It was only a broad survey course, but we read one book in particular that spoke to me at that time. As the Sun Rises offered a depiction of a tough, strong willed character that I wished I could be, Jake Barnes. He too had trouble with the woman in his life, Lady Bret Ashley. She led him to think that she would be with him, and he generally fell for it. The plot was interesting enough with it's picturesque scenes of rugged manliness and realistic, stomach wrenching, complicated heartbreak, but what I really connected with, and what I had only been exposed to in a college setting, was subtle language and imagery patterns that make it a masterpiece. The teacher entrusted me to develop these ideas on my own, and I ran with it, writing about religious imagery throughout the work. Until that time, I had only been taught how to respond to literature in brief AP or EOC style essays that showed I had an understanding of the plot and at least an inkling of the deeper themes. This was the first essay I felt stretched me to understand more than action.
After another very meaningful and enjoyable Literature course at UNC, I switched my major to English. I was asked what I planned on doing with my new major( I still get this question). I didn't know. But I remember a quote from Jakes friend Bill in As the Sun Rises. "Road to hell paved with unbought stuffed dogs." I knew that this was an opportunity I had to take, even if I wasn't sure what it was for right now. I took a couple of years to travel and work, but eventually I concluded that I had been done a great disservice in high school. I had written for the paper, edited the yearbook, written songs and poetry, and yet no one ever told me I should pursue writing or literature as a career. Somehow, people thought I would make a good lab technician. I hope that I can teach literature in a way that engages students, that inspires them to pursue literature not just as a hobby but as a way of making meaning in life, and I feel that I have a lot to learn about how to do this. I hope that the way I teach English allows students to see that pursuing their creative interests is usually far more rewarding than following economic interests. At least in my very limited experience. With that perspective, I think I can make sense of what I currently know and what I hope to know when this course is over.
Professional Self:
One of the main things I want students to do in my class is react and respond to the works in ways that are meaningful to them. Too often I was told there was a right or wrong way to interpret something. There isn't. I want to foster a community like I experienced in college where students feel that they can say anything so long as it is meaningful to them. I also think it is really important to integrate technology in the classroom. But I wish to dispell the myth of the digital native. I am a digital native in that I can pick up something digital and quickly start working it. But, as I often find with similar kids in the mid-twenties, I don't have a deep understanding of everything that is out there. I want to continue to learn about new tools, such as SecondLife that can further engage students. One thing that has really been looming over me has been the fact that everything we put on the internet is available to anyone (this also borders on Virtual Self). I think it is really important to stress this to students from a social justice standpoint. With cable news and instant reaction, there is a really inflammatory nature to our culture, and it is most prominent on the internet. I think easing kids into online groups and societies using book clubs and other constructive ventures will help them remember that there is always an audience even if you are just sitting at your computer screen. In the same vein, I think that great literature makes us feel like we aren't alone. It let's us know that others have had similar experiences and dealt with similar hardships, and hopefully my classroom will allow students to explore the bridge between literature and their own experience with society.
Literate Self
This is the area where I feel most unprepared. I simply have not read much young adult literature. I feel like most of what I read is mature and dense. Not very well suited for the classroom. However, from the beginning of Revolver, (which I chose because Revolver is also my favorite Beatles album) I realized that Young Adult literature can do much more than I initially thought. There may be a place for the Boxcar Children and Goosebumps, but they do not represent the whole of the young adult genre, and I look forward to continue to read meaningful and high quality young adult books.
Virtual Self
As I touched on before, my virtual self scares me a little. I think humor is really difficult to convey in the current online climate, and I feel like I am often too cynical not to make a tongue in cheek remark. I have blogged before, but it was a lot of comedic, creative nonfiction. The challenge is deciding whether or not that image goes well with the image of a teacher. One would think that creative writing should be okay, but I don't know that I trust Principals or others who are hiring to overlook some vulgarity to see that writing shouldn't be censored, even for a high school teacher. That's kind of a tangent, but it has shaped the way I think about my virtual identity. I try not to have a large facebook presence, and try and make sure that all the comments I leave on blogs, or posts I write are in line with the image of a person preparing to shape young minds. That being said, I think that I need to get a better grasp of all online tools so that I can help students with new technologies. I think they can be extremely useful if used with caution.
Goals:
Professional Self:
I want to be able to provide the tools for students and I to interact with young adult literature in a way that inspires creativity and deep thought. I want to gain the tools to engage the students who feel disconnected as well as the tools to propel already interested students to new heights. Just as writing workshop and multi-genre projects were new and exciting this previous semester, I hope to learn how to properly implement new ways of reading. I think that book clubs will be really interesting (I've never been in one before), and I want to learn the most effective ways to facilitate new media interactions with literature. As a white, middle class, heterosexual male, I want to learn new effective and prudent ways to explore and discuss diversity and social justice as it relates to my students.
Literate Self:
I am going to make it a goal of mine to join a book club that regularly reads high quality young adult novels after this class is over. I think this will be good not only for my teaching career, but for making my reading choices easier. I hope to increase my library of wonderful young adult novels that foster growth in my students.
Virtual Self:
I want to learn responsible ways to increase my online identity. I want to be able to connect with other teachers of young adult literature (likely through the English Companion Ning and this is also a professional and literate self goal) and get ideas for lessons and new books to explore. I also want to shore up my knowledge of web 2.0 programs so that I can help my students interact with and respond to texts in new ways.
Reflection:
There was a lot in this analysis of my own knowledge that was a little hard to admit. It is easy to say that I wasn't offered good opportunities to interact with literature in high school, and it is true. I never experienced a writing workshop, or a book club. But this blog made me think about how I can change the culture that made it possible for me to slip by like that. I now have the power to interact with any literature I choose, and yet I often don't, or I only interact with news items. I think that this reflection has reminded me how much I love to read, and also how much effort (and at the same time how little) it takes to step back during the busy day and do some reading that will help me grow. I also feel more focused as far as what I want to get out of this course professionally. I think the virtual interactions and book clubs are going to be key to my teaching in the future. Unfortunately, I came to little conclusions about my virtual self. The idea of everyone being able to interact so regularly and easily with me makes me very uneasy. Hopefully by the end of this course I can find a way to balance the feeling of being exposed with the positive aspects of a strong virtual identity (professional relationships, resources and interactions).
I began college as a Biology major. I think the decision was made after AP Biology in twelfth grade. I had performed well, and I had a little interest in the way things work. Everyone I spoke to told me that Biology was the best way to secure a “good career.” No one ever bothered to tell me that a good career really just meant something that paid well. It doesn't imply that one will be happy or satisfied. I quickly lost interest in Biology. I still felt successful in the kinds of classes that challenged me to understand how life works, but the courses that required endless memorization and torturous lectures turned me off completely.
That Spring my long time high school girlfriend and I broke up. As Rod Stewart says, the first cut is the deepest, and I went from knowing exactly how my life would play out over the next fifty years to having no idea what I was going to do on the weekend. It is very sappy, but this was an event that rocked my understanding of myself. In January I began my first course in Literature. It was only a broad survey course, but we read one book in particular that spoke to me at that time. As the Sun Rises offered a depiction of a tough, strong willed character that I wished I could be, Jake Barnes. He too had trouble with the woman in his life, Lady Bret Ashley. She led him to think that she would be with him, and he generally fell for it. The plot was interesting enough with it's picturesque scenes of rugged manliness and realistic, stomach wrenching, complicated heartbreak, but what I really connected with, and what I had only been exposed to in a college setting, was subtle language and imagery patterns that make it a masterpiece. The teacher entrusted me to develop these ideas on my own, and I ran with it, writing about religious imagery throughout the work. Until that time, I had only been taught how to respond to literature in brief AP or EOC style essays that showed I had an understanding of the plot and at least an inkling of the deeper themes. This was the first essay I felt stretched me to understand more than action.
After another very meaningful and enjoyable Literature course at UNC, I switched my major to English. I was asked what I planned on doing with my new major( I still get this question). I didn't know. But I remember a quote from Jakes friend Bill in As the Sun Rises. "Road to hell paved with unbought stuffed dogs." I knew that this was an opportunity I had to take, even if I wasn't sure what it was for right now. I took a couple of years to travel and work, but eventually I concluded that I had been done a great disservice in high school. I had written for the paper, edited the yearbook, written songs and poetry, and yet no one ever told me I should pursue writing or literature as a career. Somehow, people thought I would make a good lab technician. I hope that I can teach literature in a way that engages students, that inspires them to pursue literature not just as a hobby but as a way of making meaning in life, and I feel that I have a lot to learn about how to do this. I hope that the way I teach English allows students to see that pursuing their creative interests is usually far more rewarding than following economic interests. At least in my very limited experience. With that perspective, I think I can make sense of what I currently know and what I hope to know when this course is over.
Professional Self:
One of the main things I want students to do in my class is react and respond to the works in ways that are meaningful to them. Too often I was told there was a right or wrong way to interpret something. There isn't. I want to foster a community like I experienced in college where students feel that they can say anything so long as it is meaningful to them. I also think it is really important to integrate technology in the classroom. But I wish to dispell the myth of the digital native. I am a digital native in that I can pick up something digital and quickly start working it. But, as I often find with similar kids in the mid-twenties, I don't have a deep understanding of everything that is out there. I want to continue to learn about new tools, such as SecondLife that can further engage students. One thing that has really been looming over me has been the fact that everything we put on the internet is available to anyone (this also borders on Virtual Self). I think it is really important to stress this to students from a social justice standpoint. With cable news and instant reaction, there is a really inflammatory nature to our culture, and it is most prominent on the internet. I think easing kids into online groups and societies using book clubs and other constructive ventures will help them remember that there is always an audience even if you are just sitting at your computer screen. In the same vein, I think that great literature makes us feel like we aren't alone. It let's us know that others have had similar experiences and dealt with similar hardships, and hopefully my classroom will allow students to explore the bridge between literature and their own experience with society.
Literate Self
This is the area where I feel most unprepared. I simply have not read much young adult literature. I feel like most of what I read is mature and dense. Not very well suited for the classroom. However, from the beginning of Revolver, (which I chose because Revolver is also my favorite Beatles album) I realized that Young Adult literature can do much more than I initially thought. There may be a place for the Boxcar Children and Goosebumps, but they do not represent the whole of the young adult genre, and I look forward to continue to read meaningful and high quality young adult books.
Virtual Self
As I touched on before, my virtual self scares me a little. I think humor is really difficult to convey in the current online climate, and I feel like I am often too cynical not to make a tongue in cheek remark. I have blogged before, but it was a lot of comedic, creative nonfiction. The challenge is deciding whether or not that image goes well with the image of a teacher. One would think that creative writing should be okay, but I don't know that I trust Principals or others who are hiring to overlook some vulgarity to see that writing shouldn't be censored, even for a high school teacher. That's kind of a tangent, but it has shaped the way I think about my virtual identity. I try not to have a large facebook presence, and try and make sure that all the comments I leave on blogs, or posts I write are in line with the image of a person preparing to shape young minds. That being said, I think that I need to get a better grasp of all online tools so that I can help students with new technologies. I think they can be extremely useful if used with caution.
Goals:
Professional Self:
I want to be able to provide the tools for students and I to interact with young adult literature in a way that inspires creativity and deep thought. I want to gain the tools to engage the students who feel disconnected as well as the tools to propel already interested students to new heights. Just as writing workshop and multi-genre projects were new and exciting this previous semester, I hope to learn how to properly implement new ways of reading. I think that book clubs will be really interesting (I've never been in one before), and I want to learn the most effective ways to facilitate new media interactions with literature. As a white, middle class, heterosexual male, I want to learn new effective and prudent ways to explore and discuss diversity and social justice as it relates to my students.
Literate Self:
I am going to make it a goal of mine to join a book club that regularly reads high quality young adult novels after this class is over. I think this will be good not only for my teaching career, but for making my reading choices easier. I hope to increase my library of wonderful young adult novels that foster growth in my students.
Virtual Self:
I want to learn responsible ways to increase my online identity. I want to be able to connect with other teachers of young adult literature (likely through the English Companion Ning and this is also a professional and literate self goal) and get ideas for lessons and new books to explore. I also want to shore up my knowledge of web 2.0 programs so that I can help my students interact with and respond to texts in new ways.
Reflection:
There was a lot in this analysis of my own knowledge that was a little hard to admit. It is easy to say that I wasn't offered good opportunities to interact with literature in high school, and it is true. I never experienced a writing workshop, or a book club. But this blog made me think about how I can change the culture that made it possible for me to slip by like that. I now have the power to interact with any literature I choose, and yet I often don't, or I only interact with news items. I think that this reflection has reminded me how much I love to read, and also how much effort (and at the same time how little) it takes to step back during the busy day and do some reading that will help me grow. I also feel more focused as far as what I want to get out of this course professionally. I think the virtual interactions and book clubs are going to be key to my teaching in the future. Unfortunately, I came to little conclusions about my virtual self. The idea of everyone being able to interact so regularly and easily with me makes me very uneasy. Hopefully by the end of this course I can find a way to balance the feeling of being exposed with the positive aspects of a strong virtual identity (professional relationships, resources and interactions).
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