It also helps if the class has access to a computer lab, or their own laptops, but this can be done as a handwritten activity also.
Just as photographs can convey complex ideas efficiently, so too can graphs, charts, maps, and other infographics. Students tend towards citing statistics and cluttering their writing with attempts to regurgitate difficult source material. Though summary and paraphrase should certainly be encouraged, having students create a graph, chart, map, or other infographic is a creative way to encourage them to employ the skills of summary and paraphrase without their realizing that’s what they’re doing. In order to create a unique infographic, students need to have conducted research and have the ability to understand what they’ve read and find a pattern (or sense of organization) in the material. Not only are these infographics insightful and useful to liven up student projects, but they are also deceptively complex to create (but very rewarding when completed).
Every semester I tell my students that I learned from them, and I’m sure this is something that most teachers say, or at least think, at the end of the semester. This last semester, Fall 2014, I thought my students should take this to the next level by writing their own pedagogical essays. The logic being, since we all learn from our students, why not tap directly into them as a resource and see how they would teach us to teach material to other students? They were all part of a topics English class focused on banned books and censorship. When I was constructing the book list for the class, I really struggled with the confines of the 15 weeks that I had at Minnesota State University. There was a whole unit on young adult literature or children’s literature that I simply couldn’t fit into the class, so I made that the focus of these pedagogical essays. Students had to choose a young adult or children’s book that had been banned, challenged, or censored, and come up with a way to teach this to a particular audience. I let them choose what that audience was, essentially which grade to teach this book to, and left them to their own devices to come up with a method for teaching that book. As usual, I was pleasantly surprised, and greatly impressed, at what they came up with.
What follows this short introduction are three of essays from that class. One essay is dedicated to Roald Dahl’s Charlie and the Chocolate Factory, one on Shel Silverstein’s The Giving Tree, and one on Maurice Sendak’s In the Night Kitchen. Each essay takes a unique approach and offers practical activities that can be directly applied to any classroom. The essays follow a standardized format: an introduction and overview, summary and background about the book and the challenges against it, and suggestions for teaching the book. The hope is that by using this standardized format, that instructors can navigate to the sections that are most relevant to them. Beyond the direct benefit of the lessons themselves, however, I believe the true gift of these essays is an opportunity to see these texts, and our classrooms, through a fresh set of eyes. Students teaching teachers to teach students. Enjoy.
I like to start the semester with a popular ice-breaker activity—two truths and a tall tale. During my first TA orientation, the TA director (Randall McClure) used this activity to get us talking. From that activity I learned that Dr. McClure had in fact been involved in a snowball fight with the members of U2, and slept (unknowingly) next to a dead body for several hours (while camping out for U2 tickets). So I adopted it. Continue reading →
Comics, Dickens, and Teaching by Serial Publication
by Michael MacBride Teaching the “huge” text s-l-o-w-l-y: taking your time with Dickens and Comic Books
How do you teach a 500- or 900-page Dickens’ novel—heaven forbid a 1,500-page Richardson novel? (1) How do you teach a comic book, like Detective Comics, that has been running since 1937, or a comic strip, like Katzenjammer Kids, that’s been around since 1897? These texts are culturally rich, offer a unique snapshot of a historical period, and are relatively untapped, but their sheer length can be daunting. While serialized novels (usually) offer a consistent narrative, comic books and comic strips frequently diverge into “alternative universes” and offer new tellings of old stories. Spider-Man, for example, offers several books that take the hero in different directions–The Amazing, Spectacular, Sensational, Friendly Neighborhood, Ultimate, and, most recently, Superior Spider-Man. Where do you start? How do you dig in?
My contention is that the best place to start is one issue, or one monthly, at a time. Then the class, high school or college, will spend a month with that issue or monthly–just like the original audience would have. Comic books are (mostly) published on a monthly basis, and Charles Dickens released (most of) his works on a monthly basis as well. Taking time with a smaller text has many benefits, which will be enumerated shortly. Continue reading →