by Nichole Sterling, Scandinavian Ultimately, I have found that creative projects can have place in composition courses. Creative projects can help students to understand what they read, and a greater understanding of what students read can only lead to better papers and better discussion in class.
by Susan Hicks, Geography I realized that while there may be a bag of tricks for keeping things running smoothly in the classroom, there is no instant solution to the problem of students starting out with very different levels of familiarity with the material.
by Tatiana Fedyk, Business Administration At the beginning of this academic year, I chose a new strategy: make the subject itself interesting and funny, attractive and gameful. For every discussion, I created some entertaining exercise related to the new topic just covered in class. Though difficult at the beginning, it became easier with every new preparation and brought a lot of excitement into my classes.
by Julia Comerford, Astronomy Before the students started building their own PowerPoint presentations for class, I showed them the infamous slide that was held partially responsible for the Columbia space shuttle disaster, as well as several ill-conceived slides of my own. Through collaborative debate and discussion, the class broke each slide down and identified what was bad, why, and how to improve it.
by Benjamin Freedman, Molecular and Cell Biology Why had the fishing metaphor been so successful? I theorized that it gave the students a way to personally relate to the microscopic events of cell division. In the next class, I decided to take this one step further.
by Timothy Randazzo, Ethnic Studies Last summer I made the decision to alter my approach to teaching radically, and the result was the highest level of analytical thinking and enthusiasm among my students that I have ever seen in my six years of teaching...I decided upon three principles to guide my formulation of class activities and assignments: 1) there will be no lectures, 2) there will be no exams, and 3) whenever possible, student work will be reintegrated into the class, rather than being just “for the instructor.”
by Michael Markham, Music The difficulty of classical opera for students...lies in a perceived cultural distance between the realistic dramatic forms that today’s students relate to and cartoonish images of huge, blubbering sopranos...The form tends to remain closed to undergraduates; a huge, hulking, messy, "dead" thing with little direct emotional impact resonance for them. In the 2004 Summer session, however, I decided to meet the students halfway.
by Oron Frenkel, Public Health It was our first discussion section for Drugs and the Brain. We were about to embark on the study of some advanced concepts in neuropharmacology, but before we could get to the "drugs" part, my students needed to understand the "brain." And they only had one week to do it, which meant I only had one shot at making sure they got it right.
by Richard Keith Slotkin, Plant and Microbial Biology I set up what I called "cooking show" exercises. For example, when a student finished assembling a reaction, instead of waiting for a week to see the results, I had pre-run reactions ready. This enabled us to bypass time intensive waiting steps and allowed the students to complete long protocols within the three-hour class time.
by William Short, Classics There is real and discernible satisfaction when students realize that the linguistic data they have been memorizing can actually be meaningful (and not just have meaning), if they see it used within contexts that are themselves relevant to the students' own experience. This brings an obvious benefit not just to the student, but to the class, and indeed to the discipline as a whole.