In Robin Bright's article "Why Teach Writing"she refers to "The writing process" that I remember being taught in elementary school. The process consisted of stages "that guide writing and continue to inform teachers of writing today." She says "These stages include prewriting, drafting, revising, editing, and publishing." Bright goes on to delve into the details of each stage and how they should be carried out. She also addresses the notion of "Writing across the curriculum" that suggests "that writing is no longer thought of as a separate subject to be taught solely in English language arts classrooms but is the work of all teachers." She also discusses assessment and evaluation. Bright claims that feedback is absolutely essential for any student to be successful and improve their writing skills.
All of Bright's analysis is very interesting to me because I am passionate about the preservation of the English Language. I believe that it is through the use of language and ideology that we have the capacity to discuss and debate social issues. If we lose our connection to language and ideas, we lose our ability to question social power constructs and ideologies. Therefore, I appreciate the notion of "Writing across the curriculum" and making effective writing a part of every class.
Friday, November 29, 2013
Friday, November 22, 2013
Assessing and Shaping Progress.
Shelly Stagg Peterson calls her article, "How Can Feedback to Students on Their Writing Function as a Pedagogical Practice?"Her topic is a relevant one for me as I grew up watching my mom spend hours marking high school english papers and providing tons of helpful feedback. However, she often shared with me that her greatest frustration was that students didn't take the time to even read her words, but took one look at their final mark and tossed the paper. Shelly Stagg Peterson addresses this very issue by saying that feedback can be "a powerful teaching tool if the feedback is provided while students are in the process of writing drafts."
To argue her point, Stagg Peterson refers to Vygotsky's "zones of proximal development" which is the most opportune place for students to learn. This "zone" lies slightly outside of the student's prior knowledge, and challenges the student slightly to advance in their learning. Stagg Peterson also says that when you give students feedback on their drafts, they are given an immediate opportunity to apply instruction directly.
Stagg Peterson also includes practical instructions in her article regarding effective strategies for providing students with feedback. She says, "teachers should identify the elements of the writing that clearly communicate the intended ideas, information, and perspectives as well as areas where students could potentially revise their writing to clarify meaning and engage readers in intended ways." She also acknowledges the importance of providing feedback regarding grammatical errors and details, but should not be the focus of a teacher's feedback.
The author of this article also encourages pedagogical practices that encourage students to have ownership in their schoolwork and their learning. She suggests that students should be given the opportunity to negotiate with their teaching how an assignment will be marked, and how much of their grade it should be worth. Such practices have been strongly encouraged by my professor in my class entitled, "Pedagogy of Place." In the class, we have reviewed much research that suggests that students perform best when they are given some ownership in their learning processes. Although these methods may seem like they are more work for the teachers, research shows that students learn best under such conditions. Therefore, providing feedback for drafts is an effective way to engage students in their learning and show the value of the learning process; not just the final product.
To argue her point, Stagg Peterson refers to Vygotsky's "zones of proximal development" which is the most opportune place for students to learn. This "zone" lies slightly outside of the student's prior knowledge, and challenges the student slightly to advance in their learning. Stagg Peterson also says that when you give students feedback on their drafts, they are given an immediate opportunity to apply instruction directly.
Stagg Peterson also includes practical instructions in her article regarding effective strategies for providing students with feedback. She says, "teachers should identify the elements of the writing that clearly communicate the intended ideas, information, and perspectives as well as areas where students could potentially revise their writing to clarify meaning and engage readers in intended ways." She also acknowledges the importance of providing feedback regarding grammatical errors and details, but should not be the focus of a teacher's feedback.
The author of this article also encourages pedagogical practices that encourage students to have ownership in their schoolwork and their learning. She suggests that students should be given the opportunity to negotiate with their teaching how an assignment will be marked, and how much of their grade it should be worth. Such practices have been strongly encouraged by my professor in my class entitled, "Pedagogy of Place." In the class, we have reviewed much research that suggests that students perform best when they are given some ownership in their learning processes. Although these methods may seem like they are more work for the teachers, research shows that students learn best under such conditions. Therefore, providing feedback for drafts is an effective way to engage students in their learning and show the value of the learning process; not just the final product.
Friday, November 15, 2013
Postcolonial Literature in Contemporary Secondary English Language Arts Classes
Ingrid Johnston's article is an argument regarding the use of Postcolonial Literature in Contemporary ELA classrooms. Her post heading reads, "From Multicultural to Postcolonial." Johnston explains, that "A number of [postcolonial] texts are being taught in Canadian junior and senior secondary school classrooms and are helping to promote diverse cultural perspectives among student readers."
Johnston goes beyond simply suggesting that these books be used in the classroom, she makes an important point about the way an educator makes use of such texts. She explains, "There may be the danger of teachers introducing such books as a form of "culture tour" for their students from European backgrounds, encouraging them to see how others live in the world, while maintaining a superior viewpoint that sees non-Western ways of life as inferior."
This is a really important point! It is not enough to simply incorporate these texts into the classroom, but to do so in a way that causes students to value world views that differ from their own. It's important for students to understand that cultural differences should be celebrated and valued, not just tolerated.
it's also important for there to be no 'hidden curriculum' lurking behind an educators actions and text choices. It is amazing how students take note of attitudes that a teacher brings to a text.
Johnston makes mention of several postcolonial works that she believes would be beneficial for an ELA class to study such as the novel 47 "by the African-American writer Walter Mosley." The story is set in 1832 on a slave plantation in the States. It is told by a 14 year old slave named "47" in Georgia. Johnston notes that this story would be especially effective in a high school classroom because it is written from the perspective of an adolescent. It is certainly important for students to empathize with those who have suffered at the hand of colonizers, in order to understand why certain people groups are in the situations they are in. Although there has been improvements and progression, there is still far too much racism in North American society. Johnston's plea is for North American ELA educators to advocate for the oppressed and bring truth and justice into a society that has been defined by hegemonic practices determined by the dominant.
Johnston goes beyond simply suggesting that these books be used in the classroom, she makes an important point about the way an educator makes use of such texts. She explains, "There may be the danger of teachers introducing such books as a form of "culture tour" for their students from European backgrounds, encouraging them to see how others live in the world, while maintaining a superior viewpoint that sees non-Western ways of life as inferior."
This is a really important point! It is not enough to simply incorporate these texts into the classroom, but to do so in a way that causes students to value world views that differ from their own. It's important for students to understand that cultural differences should be celebrated and valued, not just tolerated.
it's also important for there to be no 'hidden curriculum' lurking behind an educators actions and text choices. It is amazing how students take note of attitudes that a teacher brings to a text.
Johnston makes mention of several postcolonial works that she believes would be beneficial for an ELA class to study such as the novel 47 "by the African-American writer Walter Mosley." The story is set in 1832 on a slave plantation in the States. It is told by a 14 year old slave named "47" in Georgia. Johnston notes that this story would be especially effective in a high school classroom because it is written from the perspective of an adolescent. It is certainly important for students to empathize with those who have suffered at the hand of colonizers, in order to understand why certain people groups are in the situations they are in. Although there has been improvements and progression, there is still far too much racism in North American society. Johnston's plea is for North American ELA educators to advocate for the oppressed and bring truth and justice into a society that has been defined by hegemonic practices determined by the dominant.
Sunday, November 3, 2013
Poetry Has Sprung to Life in the Contemporary World...
Lorri Neilsen Glenn titled her article regarding poetry, "Poetry Has Sprung to Life in the Contemporary World. How Do I Choose What Poetry to Teach?" In the article, she notes, "[Poetry is] how we sing our lives." The author's view of poetry is far from being strictly academic, as she instructs, "Don't worry about curriculum outcomes when you begin to teach poetry." She goes on to say that you will "snap the wings of poetic joy" if you "begin by pulling out a list of literary terms, along with a collection of canonical poems with allusions that are obscure to contemporary audiences." However, the author doesn't stay away from the curriculum completely. In regards to curriculum, she writes, " It's always been my practice to start with engagement: it's a sign of respect for students' interests..." This approach to learning engages all students, even those who don't think they enjoy poetry and begin with a negative attitude towards it. Neilson Glenn writes refers to a quote by Emily Dickenson to further accentuate her argument that "We can't teach poetry. It is something we must experience."
Glenn makes the important point that its important for teachers to be learning along with their students, not simply dictating facts to them. This is fundamental to secondary ELA curriculum goals and outcomes and also to the profession of teaching. We, along with our students, must be willing to have our opinions challenged and constantly learning and developing as educators and individuals.
This article left me considering these questions: How can teachers remain creative in their classrooms while abiding by all curricular responsibilities? The author noted that she strayed from the indicators listed in the curriculum to reach a curriculum goal, but how can we know that is going to work if we are not following indicators? Do curricular requirements make it more difficult for teachers to make material engaging? I certainly don't have answers for these questions, but think its good to ask and think through them.
Glenn makes the important point that its important for teachers to be learning along with their students, not simply dictating facts to them. This is fundamental to secondary ELA curriculum goals and outcomes and also to the profession of teaching. We, along with our students, must be willing to have our opinions challenged and constantly learning and developing as educators and individuals.
This article left me considering these questions: How can teachers remain creative in their classrooms while abiding by all curricular responsibilities? The author noted that she strayed from the indicators listed in the curriculum to reach a curriculum goal, but how can we know that is going to work if we are not following indicators? Do curricular requirements make it more difficult for teachers to make material engaging? I certainly don't have answers for these questions, but think its good to ask and think through them.
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