Other| January 01 2018 Contributors Pedagogy (2018) 18 (1): 181–183. https://doi.org/10.1215/15314200-4218739 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Contributors. Pedagogy 1 January 2018; 18 (1): 181–183. doi: https://doi.org/10.1215/15314200-4218739 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. Copyright © 2017 Duke University Press2017 Article PDF first page preview Close Modal You do not currently have access to this content.

A reading of Inferno 32, Purgatorio 31, and Paradiso 31 compares a physical and interior pilgrimage, especially in the way in which the beginning and end of an interior journey are distinguished, to illuminate the concept of love that is central to the Divine Comedy.

Inferno 15 and Paradiso 15 are particularly suitable as a selected reading for a lower-level humanities class. Comparing Brunetto Latini and Cacciaguida as father figures and contrasting the images of Florence in each episode can help students develop a more complex understanding of Dante's poetic vision and social critiques.

Review Article| October 01 2017 From the Parlor to the Classroom: An Undergraduate Perspective Jamie K. Paton Jamie K. Paton Search for other works by this author on: This Site Google Pedagogy (2017) 17 (3): 557–562. https://doi.org/10.1215/15314200-3975687 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Jamie K. Paton; From the Parlor to the Classroom: An Undergraduate Perspective. Pedagogy 1 October 2017; 17 (3): 557–562. doi: https://doi.org/10.1215/15314200-3975687 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2017 by Duke University Press2017 Article PDF first page preview Close Modal You do not currently have access to this content.

Drawing from surveys and interviews with Christian students at a large public university, this essay articulates how understanding these students' perspectives can help instructors identify strategies for responding to religious discourses in the classroom and equip them to help students capitalize on the rhetorical possibilities of these discourses.

This essay explores Dante's idea of trasumanar, “going beyond the human,” through a vertical reading of cantos 23 of the Commedia. It examines how Dante relies on bodies and their sensory experiences to explain heavenly paradise and the ineffable. The essay invokes D. W. Winnicott's idea of transitional phenomena to understand the cognitive activity of reading as an act of creativity and collaboration.

A vertical reading of the Commedia exposes Dante's practice of continually revising his text, such that it looks back on itself as it moves forward. The poet accomplishes this in part through dramatic contrasts and reversals. One way to follow these “repetitions-with-difference” is to observe their relationship with a theme that Dante explores throughout his career: loss. The loss of Beatrice in the Vita Nuova becomes the loss of Florence in Dante's works written in exile. It then becomes the spiritual desolation explored among those in the Inferno who have lost “the good of the intellect.” Looking back from the end of the Commedia, however, reveals that what has been lost is eventually found in a new form. In the beatific “white rose” of Paradise we recall the “dark wood” of the poem's opening; when Beatrice is no longer by the pilgrim's side in the Empyrean we remember the tragic disappearance of Virgil on the top of Mount Purgatory; anticipating the joys of the City of God not only mitigates the pain of Dante's Florentine exile but also gives the poet a foretaste of true citizenship.

Review Article| October 01 2017 Beginning Where the Students Are Beginning Nancy L. Chick Nancy L. Chick Search for other works by this author on: This Site Google Pedagogy (2017) 17 (3): 563–569. https://doi.org/10.1215/15314200-3975703 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Nancy L. Chick; Beginning Where the Students Are Beginning. Pedagogy 1 October 2017; 17 (3): 563–569. doi: https://doi.org/10.1215/15314200-3975703 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2017 by Duke University Press2017 Article PDF first page preview Close Modal You do not currently have access to this content.

Other| October 01 2017 Contributors Pedagogy (2017) 17 (3): 571–574. https://doi.org/10.1215/15314200-3975719 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Contributors. Pedagogy 1 October 2017; 17 (3): 571–574. doi: https://doi.org/10.1215/15314200-3975719 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. 2017 Article PDF first page preview Close Modal You do not currently have access to this content.

This essay considers the importance of nonstandard English to fostering a more inclusive and incisive Shakespeare classroom. Grady focuses on his experience as the instructor of a Shakespeare course that occasionally employed African American Vernacular English in its analysis of texts. His reflection considers how taking such language seriously encourages more genuine participation from a wide range of students. While this pedagogical approach offers one manner in which the field of early modern studies might expand points of access and foster cross-cultural dialogue, it also stands to deepen the analytic possibilities of the Shakespeare classroom. Grady uses the example of African American Vernacular English to demonstrate that nonstandard English can offer particularly nuanced means through which to investigate and discuss Shakespeare's works.

This essay considers select translations of Dante's Divine Comedy through the lens of pedagogical value while emphasizing the merit of holistic reading across the full scope of the poem and across multiple translations to gain additional insights into the original work.

The military historian Yuval Noah Harari accounts for the enduring allure of war by calling attention to a change in soldiers' memoirs that occurred in the mid-eighteenth century. Soldiers began to describe how they felt rather than what they did. Harari introduces the term flesh-witnessing to distinguish inner experience from eyewitness testimony. Flesh-witnesses speak of combat as a transformative and indescribable experience comparable to the sublime. This view is often attributed to militarists, but Harari shows that it also motivates pacifists. Even antiwar arguments like those of Erich Maria Remarque are based on the authority of the flesh-witness. To test Harari's claims, I invited ROTC officers to speak to students enrolled in a course titled British Literature: The Twentieth Century about their military experience. The juxtaposition of Harari's research and the officers' comments provided a framework for teaching All Quiet on the Western Front and other texts about war. Whether war is portrayed as painful or exhilarating, degrading or ennobling, it is widely idealized as a crucible for the development of the self. This view makes war stories irresistible, whatever political views writers and readers may hold.

This essay addresses education's paradoxical binding to disciplinary and hierarchical formulas and to social change and personal transformation, an irony uniquely extreme within the prison classroom. It juxtaposes two pedagogical models — one conventionally liberal, the other significantly more radical — to question the purpose and potential of prison education. In the process, the essay measures close reading, a textual practice that is also the hallmark of literary study, against the highest possible liberationist goals of the prison abolition movement.

This article discusses the convergence of the perspectives of literary, gender, and regional studies in the implementation of an oral history project as a service-learning requirement in an upper-level southern women's literature course, providing information about the model and examining learning outcomes as presented through the final projects and student reflections.

This essay discusses how and why one instructor uses a wiki as a space for students in a partially online American literature survey course to construct a class time line of American literature and history. Through participation in the class wiki, students are able to engage with course content in more expansive ways and to play active roles in creating course content; as such, the wiki is a space where the traditional teacher-student hierarchy is dismantled, as students and teacher collectively share the responsibilities of developing, assessing, and revising timeline content. In discussing the learning opportunities a wiki offers in a literature survey course, the author also argues that instructional technology and online tools should not be incorporated into courses merely to follow trends in digital humanities. Instead, digital and technological components should be thoughtfully integrated into humanities courses in ways that enhance and expand learning while furthering the objectives of the particular course.

The introduction provides a broad overview of the occasion for this collection of essays that stem from a National Endowment for the Humanities institute in Florence, Italy, in 2014. In addition to giving a summary of the six essays that follow, it offers a rationale for reading the Comedy retrospectively and prospectively as well as vertically, in other words, reading forward and backward in a recursive process.

This article offers a vertical reading of cantos 19 of the Divine Comedy, which emphasizes Dante's maturing ideas of justice and provides pedagogical exercises that invite students to grow alongside the pilgrim.

This article examines how the popular television series Downton Abbey, functioning in tandem with twentieth-century novels, provides students with a cultural forum that opens up a cultural, literary, and historical period that would otherwise remain distant. By encouraging students to perceive television as participating in what Horace Newcomb and Paul M. Hirsch call “public thinking,” the article highlights the way the PBS period drama offers students the means to engage critically and empathetically with a historically distant cultural moment. Ultimately, the author argues that incorporating Downton Abbey and related social media to the study of novels of the early twentieth century enlivens the material, motivating students to enter into a period of history through its literature in service of not only increased historical and literary knowledge but also a more nuanced understanding of the importance of the humanities in examining society and its values, the very elements television both shapes and reflects.

Review Article| October 01 2017 Teaching What We Do in Literary Studies Digging into Literature: Strategies for Reading, Analysis, and Writing. By Wolfe, Joanna and Wilder, Laura. Boston: Bedford/St. Martins, 2016. 448 pages.Rhetorical Strategies and Genre Conventions in Literary Studies: Teaching and Writing in the Disciplines. By Wilder, Laura. Carbondale: Southern Illinois University Press, 2012. 238 pages. Paul T. Corrigan Paul T. Corrigan Search for other works by this author on: This Site Google Pedagogy (2017) 17 (3): 549–556. https://doi.org/10.1215/15314200-3975671 Cite Icon Cite Share Icon Share Facebook Twitter Email Permissions Search Site Citation Paul T. Corrigan; Teaching What We Do in Literary Studies. Pedagogy 1 October 2017; 17 (3): 549–556. doi: https://doi.org/10.1215/15314200-3975671 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2017 by Duke University Press2017 Article PDF first page preview Close Modal You do not currently have access to this content.

The essay argues that there is an institutional role—and obligation—to teach students to appreciate poetry. In contrast to vertical and intensive models of analysis that treat individual poems or authors as the primary unit of pedagogical value, aesthetic appreciation requires a lateral, extensive, and comparative mode of encounter.

Correction| April 01 2017 Erratum Pedagogy (2017) 17 (2): 371. https://doi.org/10.1215/15314200-3845932 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Erratum. Pedagogy 1 April 2017; 17 (2): 371. doi: https://doi.org/10.1215/15314200-3845932 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. 2017 Article PDF first page preview Close Modal Issue Section: Erratum You do not currently have access to this content.

This essay describes a graduate course, The Nineteenth-Century Novel in Context, that I developed and taught in fall 2011 at the Graduate Center, City University of New York. The essay was developed from an oral presentation that was part of a teaching panel at the Northeast Victorian Studies Association annual conference in the spring of 2013. The course was my final effort to “go wide” in teaching Victorian literature in its larger context, a desire that grew increasingly difficult to satisfy as the canon of Victorian literature became enlarged and thus somewhat unstable. I also wanted to organize the readings so that my students might get a sense of the literary context in which Victorian readers might have experienced the individual texts when they read them in the nineteenth century. In an effort to describe how I got to the syllabus for The Nineteenth-Century Novel in Context (included as an appendix), I give a personal sense of the history of the field of Victorian literature over the last fifty years, tracing the development of the field of English literature in general and Victorian literature in particular. I end with my evaluation of the course I developed, its strengths and its weaknesses, and what I learned from it.

This essay compares and contrasts the first edition of In Memoriam, Tennyson's elegy for his friend Arthur Henry Hallam published in 1850, with more recent editions that distort the original by dramatically compressing the text to fit it onto fewer pages. In this light, I consider the negative impact that such editorial choices may have on students reading the poem for the first time and the benefits of presenting them with the text in the format first encountered by Victorian readers (accessible today thanks to the British Library). The blank space following many of In Memoriam's 131 lyric sections is an integral part of the mourning process that Tennyson unfolds before us. Relatedly, I describe my multiple attempts to teach the poem to undergraduates, as well as a talk on this topic that I gave on a pedagogy panel at the Northeast Victorian Studies Association's 2000 conference, “Victorian Breakdowns.”

Other| April 01 2017 Contributors Pedagogy (2017) 17 (2): 367–369. https://doi.org/10.1215/15314200-3845948 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Contributors. Pedagogy 1 April 2017; 17 (2): 367–369. doi: https://doi.org/10.1215/15314200-3845948 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2017 by Duke University Press2017 Article PDF first page preview Close Modal You do not currently have access to this content.

Review Article| April 01 2017 The Crisis of Composition: Teaching and Resistance in the Neoliberal Era Composition in the Age of Austerity. Edited by Welch, Nancy and Scott, Tony. Utah State University Press, 2016. 235 pages. Phillip Goodwin Phillip Goodwin Search for other works by this author on: This Site Google Pedagogy (2017) 17 (2): 351–358. https://doi.org/10.1215/15314200-3770245 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Phillip Goodwin; The Crisis of Composition: Teaching and Resistance in the Neoliberal Era. Pedagogy 1 April 2017; 17 (2): 351–358. doi: https://doi.org/10.1215/15314200-3770245 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2017 by Duke University Press2017 Article PDF first page preview Close Modal Issue Section: Reviews You do not currently have access to this content.

This essay discusses the affordances of using an affect-based approach to 9/11 discourses that facilitates teaching civic engagement. Representations and rhetoric about 9/11 are found in a range of modes—film, documentary, literature, news coverage, and official government documents. Asking students to analyze these representations using a variety of rhetorical strategies highlights the way that various sources of (competing) knowledge about the national tragedy disrupt the notion that there is an accepted, uniform way of understanding this event. Furthermore, this approach demonstrates how varied sources of meaning making construct our public sphere.

Introduction| April 01 2017 Introduction: A Roundtable on “Teaching 1874” Suzy Anger Suzy Anger Search for other works by this author on: This Site Google Pedagogy (2017) 17 (2): 321–322. https://doi.org/10.1215/15314200-3770181 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Suzy Anger; Introduction: A Roundtable on “Teaching 1874”. Pedagogy 1 April 2017; 17 (2): 321–322. doi: https://doi.org/10.1215/15314200-3770181 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2017 by Duke University Press2017 Article PDF first page preview Close Modal Issue Section: From the Classroom You do not currently have access to this content.

This article applies the idea of pivoting to teaching British history and cultural studies, both by focusing on a pivotal year's watershed events and by artfully telling a before-and-after story about a less noteworthy event. My teaching tool in this case was the year 1874, which was pivotal in the first sense of the word owing to Benjamin Disraeli's defeat of William Gladstone and the subsequent decline of laissez-faire and rise of imperialism. I discuss how I use that event as a pivot by referring back to the culture of voluntarism that had promoted Gladstone's popularity and to blind spots in Gladstonian liberalism that rendered him politically vulnerable in 1874. I then turn to my experience teaching a one-week unit on the British annexation of Fiji, which also occurred in 1874. In this unit I assigned some students to report on the career of the first governor of Fiji, Arthur Gordon, who governed five other British colonies before and after 1874, and I asked other students to pre sent group reports on four different perspectives on Fiji that accompanied annexation, by a company promoter, a tourist, a missionary, and an adventure novelist.

The creative writing program through its theory, pedagogy, and praxis in workshops has resisted the inclusion of lived experiences of politically active radical minorities. To mitigate some of these exclusions, I restructured a traditional workshop to integrate critical race studies by including nonwhite writer-activists and writer-centered social movements countering dominant white discourses.

Rather than ignoring or criticizing students' vocational concerns, critical pedagogy can work on, in, and through them, thereby gaining persuasive credibility and simultaneously extending Paulo Freire's educational project. Following Freire's command to “rediscover power,” this article employs Michel Foucault's analysis of neoliberal biopolitics to imagine possibilities for both personal and systemic transformation.

Changing constructions of literacy in online contexts are situating reading and writing within everyday and popular culture activities while also facilitating highly specialized literate and creative activity. I define these two types of literacy as “little-l” literacy and “Big-L” literacy, drawing on distinctions of “Big-C” versus “little-c” culture and creativity, and then show how digital environments are changing writing space and creating new literacies of a third kind. The effects of electronic technologies on the processes and products of literacy, culture, and creativity require a rethinking of traditional views of culture and creativity to bring them up-to-date in the digital era, with implications for pedagogy.

This article informs educators about the importance and challenges of teaching digital reading practices. In positioning reading as a design-oriented activity and readers as text designers, instructors can teach genre awareness as a way to help students strongly engage with and comprehend digital texts.

Review Article| April 01 2017 Composing at the Threshold: Collaborative Composition and Innovative Form Naming What We Know: Threshold Concepts of Writing Studies. Edited by Adler-Kassner, Linda and Wardle, Elizabeth. Utah State University Press, 2016. 232 pages. Rebecca C. Conklin Rebecca C. Conklin Search for other works by this author on: This Site Google Pedagogy (2017) 17 (2): 359–365. https://doi.org/10.1215/15314200-3770261 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Rebecca C. Conklin; Composing at the Threshold: Collaborative Composition and Innovative Form. Pedagogy 1 April 2017; 17 (2): 359–365. doi: https://doi.org/10.1215/15314200-3770261 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2017 by Duke University Press2017 Article PDF first page preview Close Modal You do not currently have access to this content.

Critical race theory has long relied on metaphors of perception to further its critiques of white hegemonic power. However, such criticism often depends on a paradoxical logic that silences white students in classroom discussions of race. This essay suggests the dominant pedagogical approach to whiteness is obsolete, calling for new inclusive strategies to break the rhetorical stalemate.

This essay examines the challenges and opportunities that characterize teaching literature in contemporary high schools and colleges—an educational milieu that has become increasingly dominated by standardized testing, skills assessment, and careerism.

This article explores the benefits of bringing museum education into the composition classroom to help students develop confidence and skill in oral presentation. Drawing on current scholarship in object-based learning and engaging museum audiences, it outlines a project in which students closely observed objects at the Metropolitan Museum of Art and critiqued a museum tour before presenting on their objects on-site at the museum. As well as teaching students new skills, the project also encouraged them to use their own experiences as audience members in the classroom and the museum to create more engaging and coherent presentations for their peers. The article explains the logistics of the project and students' reactions, concluding with students' own reflections on the benefits of presenting in a museum setting.

This article argues for using rhetorical quandaries as a basis for composition courses. Following work in composition that considers the notion of “problem,” the article explores constraints as a way to determine main difficulties in writing situations. Course examples indicate connections between difficult writing moments and larger societal dilemmas.

Those of us who teach English literature are familiar with the wide range of skills and capacities of our students. It remains a challenge, though, for English students to demonstrate the applicability of those skills beyond the academy, for instance, to prospective employers. This essay argues that creative education through experiential learning provides important opportunities for students and enhances their development as independent individuals who make their own decisions. To examine the pedagogical benefits that such learning can have in the humanities, this article draws on two extracurricular projects that we coordinate, NuSense, an undergraduate online journal, and Shakespeare after School, a community drama program for children. The skills the student volunteers draw upon to complete these projects include research, editing, writing, analysis, dramaturgy, and time management. In other words, NuSense and Shakespeare after School utilize the core skills of English studies and help students both hone and demonstrate those skills in a practical and public setting.

This essay approaches the citizen-forming duties of literature by meditating on the military-civilian divide. Supplementing regnant accounts of the value of literary study, it argues that the democratic power of literature resides not simply in the work of imagining the other but also in imagining other versions of one's self.

Other| January 01 2017 Contributors Pedagogy (2017) 17 (1): 149–150. https://doi.org/10.1215/15314200-3658638 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Contributors. Pedagogy 1 January 2017; 17 (1): 149–150. doi: https://doi.org/10.1215/15314200-3658638 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2017 by Duke University Press2017 Article PDF first page preview Close Modal Issue Section: Contributors You do not currently have access to this content.

This article explores the struggle to transport an ethos of white antiracism across different racial climates within two university contexts. The author analyzes the influence that students' home rhetorics of racism and their conceptualizations about “progressive” white identity have in (de)constructing a teacher's credibility to discuss racial identity and racisms in the classroom.

This article features pushback as a rhetorical and ethical pedagogical posture for engaging whiteness in the tight space of the university elevator. In addition, it outlines how the racialized space of the historically white institutions renders the ways faculty women of color such as myself exercise pedagogical care and teacherly ethos.

Suggesting that higher education is at a pivotal time regarding the influx of veteran students on campus, this and the following essays argue that faculty have an ethical obligation to investigate and, if appropriate, respond to the veteran student demographic enrolled in two- and four-year institutions. We hope to encourage language, literature, and writing faculty to rethink their preconceptions of war, warriors, and military culture—to ask hard questions about what we know about the wars, the people who fight them, their families, and the public narratives that have controlled our access to “combat operations.” We encourage faculty to engage the complexities of war, to honor the complicated questions and dilemmas military members face, and to understand how those questions will likely filter into classrooms, social interactions, and broader national discourse. We provide our colleagues with an opportunity to hear veteran voices in the hope that classroom teachers can have some grounds on which to reconsider and engage with the culture of war. We have an opportunity to theorize classroom practices that are in clear contact with veteran experiences and, more important, an opportunity to engage with veterans and service members not simply as objects of study but as colleagues.

This essay follows an active duty Army officer from her first day in graduate school until a year after graduation, when she is able to situate her role as military student within the context of a civilian university. This essay argues that some of the boundaries surrounding those associated with the military can be of their own making and that a composition class, specifically, equips its military members and student veterans with the tools to recognize, name, and negotiate those boundaries.

Other| October 01 2016 Contributors Pedagogy (2016) 16 (3): 583–586. https://doi.org/10.1215/15314200-3600973 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Contributors. Pedagogy 1 October 2016; 16 (3): 583–586. doi: https://doi.org/10.1215/15314200-3600973 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2016 by Duke University Press2016 Article PDF first page preview Close Modal You do not currently have access to this content.

This article presents a three-stage critique of the “schools approach” to teaching literary theory at the undergraduate level. First, it demonstrates the continued dominance of this approach both in teaching programs and in the textbook literature. Second, it discusses the approach's pedagogical shortcomings. Third, it presents a teaching approach better suited to encourage active theoretical reflection.

Corley argues that college faculty can more effectively instruct student veterans by renewing their commitment to widely acknowledged hallmarks of excellent instruction: welcoming all students; giving clear and direct feedback; approaching self, subjects, and students with moral seriousness; teaching with integrity; relating the subject matter to everyday concerns; and holding all students to high standards. Through classroom anecdotes and descriptions of military life, Corley demonstrates numerous points of connection between military culture and the best instructional practices described.

Academics have inherited conventions for the presentation of literature in anthologies that do not take into account difficulties in comprehension that undergraduates have with difficult material, such as Romantic poetry. This article describes two experimental surveys given to undergraduates to learn what instructional materials they find most useful.

Through a classroom moment in a graduate course in the teaching of writing, Particelli explores ways in which pointed inquiry into genre—satire, in this case—allows for a lesson design that encourages critical exploration of culture without burdening students with essentialist discussions. Using an inquiry-based approach to genre study, the students in this classroom explore many kinds of “text”—from stand-up comedy to fiction and narrative nonfiction—with an unavoidable eye toward critical theory but without the traditional approach that pushes students to apply a “critical lens” to a text in the way that a tool might be applied to an object. Particelli argues that those often didactic approaches push students to learn a specific script for a specific situation and can even push students to experience the world polemically and thus to become less willing to see complexity of argument, power, and position. Through this classroom example where the cultural habits and expectations of genre remain at the center of conversation, Particelli hopes to spark conversation surrounding the possibilities of expanding our approaches as we develop discussions at the intersections of cultural power, social politics, literature, writing, and students' personal experience.