Teaching

 

 

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Poetry is like a swoon, with this difference:
it brings you to your senses. Yet his
parables are not singular. . . .

(Bernstein, "The Klupzy Girl")

I really do think with my pen, because my head often knows nothing about what my hand is writing. A new word is like a fresh seed sewn on the ground of the discussion. . . . . No one can think a thought for me  in the way no one can don my hat for me.

(Wittgenstein, Philosophical Investigations)

 

As a "problem-poser," I endeavor to help students come to see the purpose of writing as the active production of knowledge rather than, in the research mode to which many of them are accustomed, the representation of static information. In teaching literature courses, where students are under special mandate to develop their sensitivity to literary language and ability to dialogue with texts, I find Paulo Freire's pedagogy nicely aided by Robert Scholes' progressive model of critical processes—reading, interpreting, and critiquing. Stressing oral and written response, I enable general education students to access and increase their appreciation of literature while leading undergraduate majors toward broader understanding of genre, literary tradition, and historical periods. My pedagogy reflects in equal parts: my commitment to the intellectual transformation which is central to liberal education; and my allegiance to literature, not as a repository of wisdom, but as an invitation to reflection and a writerly stimulus to the creation / recreation of meaning.

 

 

 

Elements of Writing Intensive Classes

  1. Multiple essays, with an assignment progression emphasizing increasing complexity and interpretive independence;
  2. Revision emphasis, always including either extensive peer-revision or instructor comment;
  3. Frequent informal writing, often via web-based discussion assignments to emphasize writing as a process of reflection and inquiry

Some Recent Undergraduate Courses

Some Recent Graduate Courses

New Course

 

 

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