Teaching Literature as Reflective PracticeTeaching Literature as Reflective Practice speaks to all those teachers who teach the "gen ed" literature course that their students must take to complete a general education or core curriculum requirement. These students--the 95 percent who are not English majors--are the students we hope will become active and reflective members of a reading public. Given this goal, Kathleen Blake Yancey outlines a course located in reflective practice and connected to readings in the world. The course invites students to theorize--about their own reading practices, about how literature is made, and about texts and their relationships to culture more generally. Such a course also encourages students to think about what places and occasions in the world are poetic, about the role of not-understanding in coming to understand literature, and about technological forms of literacy, such as multimedia pop-ups that link associatively to multiple contexts. In addition to cogent reflections on the realities of lived, delivered, and experienced curricula, Yancey defines, illustrates, and analyzes two kinds of literature portfolio--print and electronic--and shows how each fosters a particular kind of learning and leads to specific assessment practices. |
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Page 67
... present a pop - up project on Frank Norris's novel The Octo- pus ( see Figure 4.2 ) . Each group chooses at least two of the eight " given " contexts - epics , naturalism , and the author himself , to name but three— for some of their ...
... present a pop - up project on Frank Norris's novel The Octo- pus ( see Figure 4.2 ) . Each group chooses at least two of the eight " given " contexts - epics , naturalism , and the author himself , to name but three— for some of their ...
Page 77
... present through a rear view mirror . Marshall McLuhan and Quentin Fiore ortfolios are commonplace in writing classes , less commonplace in literature classes . Regardless of the context , however , portfo- lios rely on three practices ...
... present through a rear view mirror . Marshall McLuhan and Quentin Fiore ortfolios are commonplace in writing classes , less commonplace in literature classes . Regardless of the context , however , portfo- lios rely on three practices ...
Page 87
... present what you have read . There are also different forms of literature , and I now know the importance of form in what I read . Knowing the different forms of literature , that is , whether something is a novel , a play , or a poem ...
... present what you have read . There are also different forms of literature , and I now know the importance of form in what I read . Knowing the different forms of literature , that is , whether something is a novel , a play , or a poem ...
Contents
The Lived Curriculum | 20 |
The Delivered Curriculum | 41 |
Closing the Circle | 58 |
Copyright | |
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activity Annabel Lee articulate ask students assignment begin Billy Collins bring classroom connections context create culture curricula daughter-in-law delivered curriculum dents develop digital portfolios Donald Schön E.E. Cummings Edith Wharton education literature ence engage English erature essays experience experienced curriculum explain Figure genre help students high school House of Mirth images intellectual interpretation invisibility James Paul Gee Jerome McGann Kathleen Last accessed learning litera literary literature class literature course lived curriculum look LOUISE GLUCK McGann means mother-in-law movie multiple stories not-understanding novel Octopus palimpsest palimtext pedagogy performance play poetry Pop-Up Video pop-ups practice print portfolio questions READ THE POEM reader's block reader's theater reading process RealPlayer reflection rhetorical Robert Scholes role says Scholes seems specific talk teachers Teaching Literature tell term theme thought tion ture understand University visual Wallace Stevens words writing Yancey