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 59
... performance of a text . The performers might focus on key words , high- lighting those in chorus . The performers ... performance . Poetry needs . to be liberated from literary criticism . Poems should be memorized , recited , and ...
... performance of a text . The performers might focus on key words , high- lighting those in chorus . The performers ... performance . Poetry needs . to be liberated from literary criticism . Poems should be memorized , recited , and ...
Page 60
... performance . Addi- tionally , most of the students tend to know the Poe and most do not know the Brooks , so there is the chance to work with both familiar and unfamiliar material . And although each term I expect students to tell me ...
... performance . Addi- tionally , most of the students tend to know the Poe and most do not know the Brooks , so there is the chance to work with both familiar and unfamiliar material . And although each term I expect students to tell me ...
Page 61
... performance and of seeing the performances of others ? " What students say they learn in this exercise varies by student . Sometimes they learn that poetry reads differently when read aloud . Sometimes they learn that literature wants ...
... performance and of seeing the performances of others ? " What students say they learn in this exercise varies by student . Sometimes they learn that poetry reads differently when read aloud . Sometimes they learn that literature wants ...
Contents
The Lived Curriculum 20 285 | 16 |
The Delivered Curriculum | 41 |
Closing the Circle | 58 |
Copyright | |
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activity Annabel Lee ask students assignment begin Billy Collins classroom connections context create culture curricula delivered curriculum dents develop digital portfolios Donald Schön E.E. Cummings Edith Wharton education literature engage English erature essays experience experienced curriculum explain Figure genre Guggenheim Museum Bilbao help students high school House of Mirth images intellectual interpretation invisibility James Paul Gee Jerome McGann Kathleen kind Last accessed learning litera literary literature class literature course lived curriculum 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 of literature reader's block reader's theater reading process RealPlayer reflection 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