by Marianne Kaletzky, Comparative Literature
One of the core principles of literary analysis is that the form of literature — the language an author uses, the way he or she structures the text, and the stylistic conventions he or she employs — means as much as the content. … I wanted to help my students not only to become more attentive to formal features, but also to understand why those formal features matter … To cultivate this understanding, I decided to give my students an unconventional writing assignment …
by Marianne Kaletzky, Comparative Literature
by Jordan Greenwald, Comparative Literature
I…came to realize that this lesson could not be learned through class discussion alone, since asking these questions while leading discussion is pedagogically less effective than getting students to ask those questions themselves. I therefore decided, with the encouragement of my co-instructor, to design a group assignment that would familiarize students with the choices one makes when bringing a dramatic text to life.
by Laurence Coderre, East Asian Languages and Cultures
My…students were having difficulty understanding how to approach literary texts beyond the simple recapitulation of plot. Focusing on what a given reading said, they rarely considered the significance of how it was conveyed….Ming dynasty xiao pin wen, or “short personal essays,” in which authors write in great detail about frivolous or mundane things, offered me an opportunity to address this concept, and students’ difficulties in grappling with it, head on.
by Mark Fisher, Political Science
This…made me think quite differently about the GSI’s role in section…While our first impulse is often to try and “translate” the lecture into an idiom they are more comfortable with, this experience convinced me that the greatest service we can perform for students is to teach them the skills needed to speak our language.
by Sarah Chihaya, Comparative Literature
How could I possibly communicate the intertextual quality central to the novel’s style to my students, when most of them didn’t have the exhaustive literary and historical background that Pynchon’s proliferating cultural references — which swing wildly from erudite literary digs, to Sixties-specific pop cultural allusions, to puerile humor — seem to demand?
by Ermine Fidan Elcioglu, Sociology
In the beginning of the course, I argued that “reading” was not the same as “critically reading” something. I distributed a worksheet that enumerated the questions I wanted students to be actively thinking about when they read a text…In order to practice this skill, I devoted every other section to critically reading a carefully selected paragraph or set of paragraphs from the assigned readings.
by Sonya Lebsack, Legal Studies
I have discovered, to my surprise, in the past few years, that most of my students—including those doing otherwise excellent work — struggle to read a chapter or article and state (in a paragraph or in person) what the author’s “project” is and what the stakes of that project are…As a result, I focus my efforts on teaching this underserved area of focus.
by Amy Lerman, Political Science
Each group had read their own article as a reasonably complete account of “the way it had happened.” When they began to see the differences between the pieces, though, they were struck by how disparate each account was from the others. In particular, the students were surprised by how even those that were technically “unbiased,” “academic” or “scientific” were unintentionally framed in certain ways.
by Lael Gold, Comparative Literature
Despite in-class instruction and a detailed handout on the subject of thesis and essay construction, the first batch of essays from students in my comparative literature course on literary depictions of woman warriors shared some fundamental shortcomings…I aimed at remedying [their] writing problems in a manner that would simultaneously deepen our engagement with the work presently under consideration, the fantastical Renaissance crusader epic Jerusalem Delivered.
by Charles Scott Combs, Film Studies
Though I teach Roland Barthes’ “Death of the Author” as an illustrious example of how criticism broadens our regard of fictional works, the essay threatens to plunge class thought and discussion into an abyss…The problem I face is the temptation students have to read Barthes’ criticism (and the majority of criticism in general)…as an overly-simplified polytheism of reader pleasure.