Monday, January 25, 2010

Flexible grouping at the high school level


Overview:


Classroom teachers who use flexible grouping structures are able to select higher level and higher interest grade level materials, as students become co-teachers and co-learners. Because the teacher as facilitator designs groups based on a variety of factors, such as student reading/ writing/ thinking/ public speaking ability, gender, interest, engagement/ enthusiasm, the groups draw out the strengths of every student and enhance the overall learning potential of all students.


When teachers move from teacher-driven to student-centered classrooms, they shift the responsibility of the curriculum to all learners. Flexible grouping infuses curriculum adaptation, extension, and innovation. Flexible grouping is an opportunity to reconceptualize curriculum materials for 21st century learners due to the powerful models for collaboration and problem-solving inherent in its design. Flexible grouping is a means to increase expectations for all students due to peer interaction and targeted learning. Effects of grouping vary by how it is implemented, as flexible grouping is most effective when teachers target a specific learning event concept, when teachers vary instructional delivery, and when the teacher reflects on and reevaluates the dynamics of the group assignments.

Direct instruction:
Direct instruction at the beginning of a new learning event is imperative within the flexible grouping model. Direct instruction is the jumping off point of a teacher’s backwards planning, as it offers outlines of objectives, cognitive structures necessary for accommodation of new learning, and access to prior knowledge as prerequisites for achievement of objectives. Direct instruction at the beginning of class offers review of previous learning events or previews of new learning events. The direct instruction should contain ideas and information that meet the needs of all learners: “top” students and special needs students.

Terminology as integral to direct instruction:
Direct instruction should introduce terminology that is applicable and important conceptually to the new learning event. Research suggests that students do not make the new terms part of their own inner vocabularies when they solely write down the words, such as in a divided page context. Instead, the teacher should pronounce all new vocabulary words to assist those students with decoding problems. To assist all students to build a base of meanings, the teacher should help the students to create a schematic. The teacher might ask the students to create a graphic organizer of relationships among terms; to visualize the terms and draw them as applicable to real-life situations; to dramatize the words in quick skits. Subsequent class periods of direct instruction may be used to review the terminology, link with reading assignments, or to help the students to pronounce the terms.

Learning events and flexible grouping:
When the students move into learning events in their flexible groups to deconstruct an assigned reading, the teacher should provide guidance toward the learning objective. That guidance might be a set of conceptual reading questions [i.e. Why does the protagonist behave in this manner? What is the viewpoint of the author, and how does this particular worldview filter the information contained in this reading?]. The guidance might be a cognitive map that the students create together. The guidance might be a compilation of information that each student has composed and take on the format of poster or wiki, for instance.

Comprehension strategies might include SQ3R [survey, question, read/ recite/ review], summarizing at key places, designing graphic organizers or cognitive maps, building sequencing charts/ timelines, working through study guides, highlighting key ideas, taking Cornell notes, devising mnemonics, participating in oral discussions, or journaling.

Each group member assumes a role: discussion director, recorder, visualizer, researcher, or other expert roles. The roles are rotated each day. The group is "done" when all members of the group have successfully completed the series of learning process events.

While the students work in their flexible groups, the teacher constantly circulates the room, offering feedback and positive reinforcement. Additionally, the teacher should compile a series of observational notes about the findings of the class. These observational notes will be the foundation for the subsequent whole class activity.

Classroom management:
The teacher must develop routines for the students to follow for flexible grouping to be a success means to enhance learning for all students. The teacher should model the expected process and behaviors of flexible groups prior to implementation. Modeling can be accomplished through direct instruction, dramatization, or simulation. The teacher should move from whole group to flexible group by reminding students of the instructions for that particular learning event before students form their groups and to ‘dipstick,’ or ask one student to clarify for the entire class so the teacher can sure students understand what they are going to do. The teacher should post an outline of the tasks, create a time clock of efficient task completion, and have a "quiet" signal that students have mechanisms for self-monitoring and optimal efficiency.

Whole class renewal:
After the flexible grouping learning event, the teacher should reconvene the whole class and deconstruct the learning events. Rather than having each flexible group share their responses --- which may become repetitious rather than reinforcing --- the teacher should share observations of the significant findings of the class. The observations may be in the format of a bulleted list, a cognitive map, an interactive presentation, or a short film, for example.

While discussing the findings orally, the teacher should offer a visual summary as well: a transparency on an overhead, a graphic organizer on a poster, a webpage with hyperlinks to areas of additional information and ideas, or a blog that the students can visit after class to review. The overarching goal of whole class renewal is to build comprehension.

Post learning event assessment:
The assessment after the learning event should be utilized to determine the extent of each student’s learning during the flexible grouping time. It is ungraded and focuses on inferential applications of critical questions.

Conclusion:
Flexible groupings in the high school classroom require excellent classroom management skills, the ability to multitask, and significant amounts of preparation time. In an era of larger class sizes than ever juxtaposed against standards-based education mandates, flexible grouping allows students and teachers to work together toward common learning goals.

Resources
Irujo, S. “Flexible grouping: Nobody ever said it was easy!” The ELL Outlook. March/ April, 2006. http://www.coursecrafters.com/ELL-Outlook/2006/mar_apr/ELLOutlookITIArticle3.htm
Porcaro, K. “Heterogeneous grouping.” Educational Performance Systems, Inc. Woburn, MA. 1995.

Friday, January 15, 2010

Genre and Voice: Transformations of Authority

Carolyn Fortuna and Joe Piazza

Tuesday, January 19, 2010

Franklin High School

Home base: B107


 

Workshop Goals


 

  • Examine how recontextualization --- a process that extracts text, signs, or meaning from its original context and molds it into another context --- has applicability to the secondary English subject area public school classroom.
  • Expand student authority over writing by breaking expectations and genre restrictions.
  • Immerse self in writing experiences that merge choice, authorial voice, and academic transformations.
  • Consider how shifts in authority can open up compositional voice.


 

Morning Agenda


 

8:00     Welcome, housekeeping, and continental breakfast (Room B107) [Joe and Carolyn]


 

8:15     Introductions: Icebreaker about our Favorite Composers and Texts [Carolyn]


 

8:30     Writing selves, identity, and genre (Joe)

  1. Define genre expectations in a classroom
  2. Discuss Burke's Trout and how expectation governs experience
  3. Problems with students in writing research essays
  4. Expand student authority over writing by breaking expectations and genre restrictions
  5. Percy's "The Loss of the Creature"

Preview of second morning session (Carolyn)

"Author Presents: Author Files"
http://www.youtube.com/watch?v=R1h4rm57UIg

    

9:30
Break


 

9:45 Writers' Retreat (B107, B209, B210) [Carolyn, Joe, Marissa = Facilitators]

  1. Facilitators lead writing in five minute increments
  2. Each participant generates at least four different short writing pieces
  3. Each participant shares one short writing piece with assigned group


 

10:45 Facilitators share the writing prompts they chose; participants discuss their responses to the prompts, the sharing session, and the possible applicability to their students (B107) [Carolyn, Joe, Marissa]; opportunity to post to the Wiki [Thanks, MJ.]


 

11:00-12:00 Break for Lunch/ Exercise/ Meditation


 


 


 


 


 

Afternoon Agenda


 

12:00 Welcome back from lunch (B107) [Joe]: View "Crows" sequence from Kurusawa's film, Dreams


 

The role of the layman and expert

  1. Introduce 10 on 1 with paintings
  2. Share ideas or interpretations about paintings
  3. Introduce research into interpretation and examine how the info alters your original perception
  4. Revisit Kusasawa


 


1:00     Discuss how transformations can occur when we personalize a text and release authority


 

Spin the Wheel! "Transformations of genre"


 

Small group writing activities (B107, B209, B210) [Carolyn, Joe, Marissa = Facilitators]


 

1:45     Break


 

2:00     Recontextualization Slam (B107): Small groups share their collaborative, transformational writing pieces


 

2:30    Final thoughts: Reflections about the ways that teachers can release authority to students and what the consequences of that release can be to students as thinkers and evaluators


 

2:45    PDD District Evaluations [Marissa]


 

Writer's Retreat Assignments


 


 

B209

B211

B107

Joe 

Marissa 

Carolyn F. 

Lucille 

Carolyn B. 

Cathy 

Ron 

John 

Lori Y.

Jen 

Colleen W. 

Dawn 

Erin 

Janet 

MJ

Helen 

Lori C.

Jamie 

Ellen M.

Carol

Kate 

Gale 

Colleen M.

Brian 

Sunday, April 5, 2009

Grammar for real life


I often find myself torn between competing forces as a high school English teacher. I want students to learn to use the grammar of their own language as part of their daily life; to know the rules is to be able to break the rules. Yet I also recognize that students who do not receive formal instruction in the rules of grammar do not implicitly learn the codes of formal language that are so prized in middle class society.

Ah, what is one to do?

I've taken the time to cull some interesting ideas from the Internet which I hope will help if you, too, are uncertain about what grammar instruction should constitute for the 21st century learner.

The excerpts that follow asks questions that allow each of us to figure out what grammar is and why we should find it important. It is taken from a website called Learning Space at http://openlearn.open.ac.uk/mod/resource/view.php?id=195327

The importance of grammar
We want you to start thinking about what exactly we mean by a term like ‘grammar’ and how and why grammar differs in speech and writing. For some of you this will revise and build on your knowledge of previous study. Activity 1 is a way of raising questions in your mind and you will find some answers or explanations in the rest of the unit.

Activity 1
You should allow 0 hour(s), 10 minute(s).
Write down a few sentences which explain what you think grammar is about and why it is important. What do you expect to learn by studying English grammar? We shall come back to this activity again at the end of the unit.

I started off many years ago as a teacher of English in various countries around the world, using a form of grammatical description which highlighted ‘correct’ usage such as knowing when to say I have gone and when to say I went. More recently, in analysing academic writing, I have applied a different model of grammar, one which foregrounds the idea of grammar as choosing forms to express different types of meaning.
I have discovered other grammatical systems and applications. You might be surprised to realise how many different areas of life utilise an understanding of grammar. Computer scientists involved in creating voice-recognition software need to understand grammar and the frequency of the likely patterns of the language; police experts need to trace typical language patterns used by individuals if they are to detect lies and forged documents; doctors and specialists in language disorders in children or in patients with head injuries need to know the typical grammar associated with particular contexts in order to understand where disruption or dysfunction is taking place. Of course, knowing grammar is a basic part of language learning and teaching and is also necessary in professions such as translating and lexicography (compiling dictionaries).

Many of the uses to which a knowledge of grammar is put are also starting to rely on the application of computer technology to language analysis.

Many linguists are exploring ways of grounding their description of language in cultural, geographical, social and economic conditions. These factors are seen as influencing how language is used in context; that is, how variations in what we are doing, who we are communicating with, whether we are face to face or separated in time and space from our listener/reader and so on affect the grammatical and other language choices we make. This is a wide definition of context, and is sometimes called sociocultural context.

The following excerpt is taken from "Effective Grammar Instruction" at yourdictionary.com. It seemed to make sense because it offered its audience of parents and guardians a balance of rules, positive reinforcement, and real-world applications.

A Change in Teaching Philosophies
The way grammar is typically taught in schools today is most likely very different from how you learned basic grammar rules. Although declarative knowledge was once the primary goal of grammar instruction, today's teachers now place a greater importance on helping students develop procedural knowledge.
Traditionally, English grammar was viewed as a separate part of the educational experience. Teachers helped students learn by requiring regular substitution or pattern practice drills and diagramming sentences. Memorization was a key part of grammar instruction, with frequent quizzes and worksheets available to test a student's mastery of grammar rules. This philosophy is sometimes referred to as prescriptive grammar instruction.

Today, grammar is viewed as an essential communication tool. Instead of viewing grammar as a separate area of study, teachers often strive to integrate grammar instruction into other subject areas. Drills are minimal, often replaced by a practical discussion of how grammar can be used to aid in effective communication or how grammar is used in a particular piece of literature. This philosophy is sometimes referred to as descriptive grammar instruction.

Even though the hands-on knowledge students gain from descriptive grammar instruction can be quite valuable, it is interesting to note that this modern approach to teaching English grammar is not without its critics. In fact, many people believe the current pedagogical approach has led to an overall loosening of grammar standards. However, this has yet to be conclusively proven.

Tips for Teaching Grammar
If you're interested in helping your child develop a better understanding of English grammar, remember the following tips:

Don't use worksheets to measure knowledge. Grammar worksheets are fine for practicing basic concepts, but worksheets place too much emphasis on simple memorization. They fail to help students develop the critical thinking skills necessary for applying the rules of grammar to real life situations.

Teach grammar in the context of good writing. Encourage your child to write stories and poems, using his work as a starting point for grammar instruction. Relating grammar to a subject that interests your child will help him see grammatical rules as both practical and relevant.

Stress communicative competence. If you are reading a story with your child, use the text as an opportunity to discuss irregular verbs, proper pronunciation, and any other related grammar concepts. Reading also provides a chance to reinforce that good grammar is a building block writers use to effectively communicate their ideas.

Use error correction to support language acquisition. If your child is discussing his day at school and makes a grammatical error, respond by using the correct grammar form and providing a brief explanation if necessary. However, it's best to avoid overstressing minor mistakes that don't interfere with communication. You don't want your child to view learning grammar as something to be reprimanded.

Some people take grammar very seriously! Here's a cute article found on http://www.poormojo.org/pmjadaily/archives/021548.php

Jeff Deck and Benjamin Herson have not wasted their lives.

They fight a losing battle, an unyielding tide of misplaced apostrophes and poor spelling. But still, they fight. Why, you ask. Because, they say. Because, they must.

For the last three months, they have circled the nation in search of awkward grammar construction. They have ferreted out bad subject-verb agreements, and they have faced stone-faced opposition everywhere. They have shone a light on typos in public places, and they have traveled by a GPS-guided '97 Nissan Sentra, sleeping on the couches of college friends and sticking around just long enough to do right by the English language. Then it's on the road again, off to a new town with new typos.

Picture a pair of Kerouacs armed with Sharpies and erasers and righteous indignation—holding back a flood of mixed metaphors and spelling mistakes and extraneous punctuation so commonplace we rarely notice it anymore. But they are 28 and idealistic. Graduates of Dartmouth College, they are old friends with a schoolmarm's irritation at conspicuous errors, and despite their mild and somewhat nerdy exteriors, they have serious nerve. Deck lives outside Boston; Herson lives outside Washington. And together, they are TEAL—the Typo Eradication Advancement League—and they are between jobs.

Even President Obama, who is known for good grammar, cannot evade the grammar police: See the article at ...


Happy grammar day to you!

Sunday, March 1, 2009

Writers' Workshop


Composing is thinking; thinking is composing. One of the best ways to figure what we know is to write about it. Even in the 21st century, with so many new modalities for publication and so many new ways of representing our ideas, humans engage in a process to create meaning.


When humans confront new ideas through new experiences, we engage in a cognitive process in order to make those new experiences meaningful. While all composers do not engage in the same steps in the same sequence, essence within the composition process emerges when composer/ writers work from an experience to a final product through a process of conceptualization, reflection, and renewal. As teachers, we can assist our students --- our co-learners --- to engage in a process workshop through which ideas become meaning.


The outline of the writers’ workshop looks like this:
1. Mini-Lesson (5-10 min.): model how to think of an idea, punctuation, or anything that will help students on their writing; teachers often shares own writing of similar project(s) to that of the students
2. Status of the Class (2-3 min.): students report in on their current step in their writing; teacher records note of progress
3. Writing (20-40 min.) & Conferencing: individual ideas about topics; motivation and innovation; revision and editing; hear works in progress; peer editing
4. Sharing (10 min.)


Teacher's Role in the Writing Process
Prewriting: Provide background experiences so students will have the prerequisite knowledge to write about the topic; allow students to participate in decisions about topic, function, audience, and form; define the writing project clearly; specify how the writing will eventually be assessed; information about writing genre; provides opportunities for students to participate in idea gathering and organizing activities; write a class collaboration with students.


Drafting: Provides support, encouragement, and feedback; emphasize ideas first, then wording; teach students how to draft; encourage students to cycle back to prewriting to gather more ideas or ahead to revise when needed.


Revising: Organize writing groups; teach how to function in writing groups; participates in a writing group as any listener and reactor would; provides feedback about the content of the writing and makes suggestions for revision; insists that students make revisions; encourages students to cycle back to prewriting or drafting when necessary.


Editing: Teach students how to edit with partners; prepare editing checklists for students; assists students in locating and correcting mechanical errors; diagnoses students errors and provides appropriate instruction; corrects remaining errors that students cannot correct; shares.


Publishing: Arranges for genuine audiences for student writing; does not serve only as a judge when receiving student writing; creates celebration session for students’ writing release.


Students’ Roles in the Writing Process
Prewriting: Writes on topics based on own experiences; engages in reversal activities before writing (teacher/ student = co-learner); identify the audience; identify the purpose of the writing activity; choose appropriate genre and modality for their compositions based on audience and purpose.


Drafting: Writes a rough draft; focuses on ideas and voice.


Revising: Shares writing in writing groups; expresses thoughts about areas of confusion; participates constructively in discussions about classmates’ writing; makes changes to reflect the reactions and comments of both teacher and peers. More information about sharing/ revising with adults is available at http://www.cs.wustl.edu/~schmidt/writersworkshop.html


Editing: Proofreads own compositions; helps to proofread peers’ compositions; identifies and corrects own mechanical errors. Tools to assist in editing are available at http://www.teenlit.com/workshop/default.htm

Sharing: publishes own writing in a form appropriate to genre and modality; shares finished writing with an appropriate audience; reviews celebration session response; reflects on final composition as beginning point for next composition.



Foundational theorists of the Writing Process:
Donald Murray, Read to Write
Nanci Atwell, In the Middle
Donald Graves, Lucy Calkins
National Writing Project, where teachers can participate in a Summer Institute and become Fellows
http://www.nwp.org/cs/public/print/resource_topic/teaching_writing?gclid=CNqftMPNgZkCFSHyDAodIDmwmg


Resources
Morris, J. “How to start a writers’ workshop.” Teachers.net. Nov. 1, 1998.
http://teachers.net/lessonplans/posts/681.html
National Writing Project. www.NWP.org
Schmit, D. “How to hold a writers’ workshop.” September, 2006. http://www.cs.wustl.edu/~schmidt/writersworkshop.html
TeenLit.com. “Writers Workshop.” http://www.teenlit.com/workshop/default.htm

Sunday, January 4, 2009

To Kill a Mockingbird Learning Event Ideas


Recently, I met with my protegee, who was about to teach Harper Lee's To Kill a Mockingbird. To offer him a helping hand, I surfed the web and culled out a series of learning events that I felt had real possibilities. I thought I would share this list with you all. I place the url first and an annotated description afterward.


:) Carolyn


http://www.readwritethink.org/lessons/lesson_view.asp?id=265

While this lesson plan uses the quotation from To Kill a Mockingbird as a springboard and ties nicely to discussions of the novel, it can be completed even if students are not currently reading the book.

http://memory.loc.gov/learn/lessons/98/mock/intro.html
Students gain a sense of the living history that surrounds the novel To Kill a Mockingbird. Through studying primary source materials from American Memory and other online resources, students of all backgrounds may better grasp how historical events and human forces have shaped relationships between black and white, and rich and poor cultures of our country.


http://www.aresearchguide.com/mock.html
This unit guides students on a journey through the Depression Era in the 1930s. Activities familiarize the students with Southern experiences through the study of the novel and African American experiences through the examination of primary sources.

http://www.lessonplanspage.com/printables/PLAKillAMockingbird89.htm
This is a database of all types of information regarding the text.

http://clem.mscd.edu/~pekarekr/greatbks/gtkmunit1.html
Included in this book are a lot of racial issues and sexuality issues. To teach lessons throughout the book, the teacher must be prepared to deal with the thoughts of a society that is different than what we are used to right now.

The objective of this first lesson is to introduce the unit and motivate careful reading of To Kill a Mockingbird. The objective of the anticipation guide is to introduce the themes of the novel via implications of the mockingbird imagery. The Elements of Fiction chart introduces the literary tools an author can employ to convey profound truth about human nature. Thus, this lesson invites discussion of book awards and "classic" literature.

http://edsitement.neh.gov/view_lesson_plan.asp?id=525
http://edsitement.neh.gov/view_lesson_plan.asp?id=526
How does To Kill A Mockingbird frame issues of courage and cowardice against the backdrop of the American South in the 1930s? Includes templates from the text of character traits of courage and cowardice.
Learning Objectives: To expose the students to the history and cultural milieu of the deep South in 1935 America; To demonstrate close textual reading; To gain an awareness of how one’s society might force its citizens to take unpopular, but moral, stances in order to promote change.


http://tewt.org/tokillamockingbird.html
A 9th grade English teacher put together a website with many resources: chapter guides, quote quizzes, chapter quizzes, plot & character worksheets, vocabulary flashcards, vocabulary quizzes, internet resources, and more. Most are in Word or PDF Format. Project ideas may interest you as well as Internet resources: Novel, Historical Context, Great Depression, Harper Lee, and other topics.

http://www.vanderbilt.edu/icp/lessonplan/TKAM/tkam_home.html
This is an integrated curriculum project with each of several phases explicitly outlined. It seems an excellent route to take for a first time of teaching the novel.

http://www.pbs.org/theblues/classroom/intidentity.html
OverviewAfrican American history during the Jim Crow era includes encounters with poverty, racism, disrespect, and protest. Harper Lee develops all four of these themes in her famous 1960 novel, To Kill a Mockingbird. To help students understand these ideas, this lesson incorporates the blues and other literature of the time. Ultimately, students will be asked to consider both African American oppression and activism through a variety of lenses.

Learning ObjectivesBy completing this lesson, the student will:
Explore life for African Americans during the Jim Crow era
Consider terms of respect and disrespect
Analyze the effectiveness of different forms of cultural protest

Monday, December 1, 2008

Ibsen's A Doll's House: Questions to inspire sociocultural interpretations

December is the time of solstice, celebration, and rituals. It is a time to look at who we are as the days grow dark and the winter casts its long shadow. It's the time for a teacher with responsibility for the English subject area to offer students a glimpse into Victorian acculturation through Ibsen's A Doll's House.

But I'm very interested in interrogating the play through critical theory and pedagogy. I'm asking students to 'play forward' Ibsen's themes to that of contemporary western, and particularly, American society. What does life look like in comparison? To my knowledge, Ibsen was no feminist nor radical. Instead, he sought to use theater as a forum to discuss what is in the hopes of securing discussions of what might be. Questions to drive this unit include:

What is significant about Torvald’s reaction to Krogstad’s crime?

Nora lies several times in the play. Why does she lie?

What information is revealed during the opening scene of Act II between Nora and Anna, her nurse? Frame their discussion against the larger backdrop of Victorian society and culture.

What makes this play fall within the genre of realism?

What is Krogstad’s significance in the play?

Compare and contrast Mrs. Linde and Nora. How does Mrs. Linde contribute to Nora’s personal growth?

How does the relationship between Mrs. Linde and Krogstad illuminate the relationship between Nora and Torvald?

Dr. Rank tells Nora that he will not have Torvald in his sickroom because “Helmer’s delicate nature shrinks from all that is horrible.” How are these words proven to be true? What does this statement suggest about males in the Victorian age? Can this statement be applied in full or part to males in today’s society? How?

What is Dr. Rank’s function in the Helmer household --- really?

To what extent is Nora’s problem due to her and Torvald’s personalities, and to what extent is it due to the values of the society in which they live? To what extent has Nora solved her problems at the end of the play?

How convincing is Krogstad’s rationale not to reveal Nora’s complicity in the forgery? Is his shift from villain to altruist realistic? Consider the backdrop of Victorian society and culture as you decide.

Does Nora have a greater responsibility to herself or to her family?

Who is the more important character: Nora or Torvald? Why? Offer support.

Find three examples of dramatic irony (in which a character makes a comment that the audience knows to be contrary to the full truth) and explain how they contribute to the total effect of the play.

Find three examples of verbal irony (in which there is a contrast between what is said and what is actually meant) and explain how they contribute to the impact of the given scene, or to the audience’ understanding of the events and meaning of the whole play.

Ibsen believed that “a dramatist’s business is not to answer questions but only to ask them.” What questions does Ibsen ask in the play? Does he offer any solutions?


My goals are to infuse popular and media texts alongside the western canon to integrate semiotic knowledge into traditional literacy and alter what student engagement looks like in the English classroom. Literacy is tied inextricably to personal, relational experiences formed through multimodal text experiences, so, when popular and media texts became center stage, interconnections among language, literacy, and culture became stronger (2000; Strauss & Irvin, 2000).


How do privileged youth in today’s U.S. society express their identity in public versus private settings? How do institutional contexts like public education create multiple privileged youth performances of identity? How does the cultural script of privilege create students’ worldviews and assumptions about their identities? These are the questions that interest me as I begin to discuss gender and class with 21st century students.

Adapted from D. Rosenberg in World Literature and M. Meyer in The Compact Bedford Introduction to Literature





Saturday, November 1, 2008

Melville and critical literacy


Within critical literacy pedagogy, readers can examine, analyze, and deconstruct social and cultural messages embedded in the text. As Linn (1996) argues, “the Great White Story” also means “misogyny and slavery,” and, unlike modernist theory, contemporary postmodern theory looks to “who has the money and power” (p. 136). Billy Budd, by Herman Melville has inspired a range of readings from the triumph of justice to the justice's miscarriage (Yanella, 2002).


Among others, interpretations of Billy Budd less commonly shared with students in the public school classroom refer to homosexuality in primarily male environments (Phillips, 2000). Melville scrutinized the rights of humans, the innocent against the backdrop of civilization, the value of an individual life, and the nature of social conflicts. Milder (2002) suggests the novella is an "ever-deepening inquiry" (p. 102) for truth through alluding to contemporaneous poetry, mostly Whitman's and Dickinson's verses. Coffler (2002) uses an aesthetic lens to claim that Billy as the actor of "the Handsome Sailor myth" is connected to joyous ancient Greeks and biblical martyrs while also celebrating the "mating of Hellenism and Hebraism" (p. 63) as a dialectic response to crisis of the western civilization. Reynolds (2002) argues that Melville's novella is a literary answer to the social and political events of 18th- and 19th-century Europe and America. Revolutionary riots correlate with Billy Budd's characters and plot: Harper's Weekly and New York Times editorials and illustrations about New York massive street strikes and the 1886 Chicago Haymarket tragedy.


During times of crisis, leaders use dominant language culture to supply a whole range of ways of talking about or constructing an object or event (Edley, 2003; Fairclough, 2003; Giroux, 2008). Melville’s interrogation of historical context, normalization, and hegemonic Western world in Billy Budd paralleled much discourse around the 2008 U.S. democratic state. Students in this study were invited into specific learning spaces where they could question what survival of the fittest was for the 30 million people in the United States who lived in poverty (Howard, 2007). They could deconstruct what life was like for children of one or more parents who served in the American wars on Afghanistan and Iraq. They could frame an argument around the dissolution of Glass-Steagle Act banking regulations, the forfeiture of civil rights via the PATRIOT Act, the weakening of the American dollar, or the inflated fuel prices as consequence of a military-industrial economy.


But, after analysis of a Disney film that reimagined maritime and military life, would privileged students connect fantasy to reality across time and space? Would privileged students link Billy Budd critically to contemporary U.S. political discourse around national security, terrorism, and militarism? Would privileged students debate democracy’s potential as a collective civic language and as a unifying device for inclusivity? Or, would privileged students recapitulate arguments from dominant ideologies through established and comfortable Judeo-Christian, individualistic, and historical lenses through which their privilege rose and was perpetuated?
Offer your insights on the nature of contemporary discourse at this pivotal time in U.S. history. How would you reconcile the messages of Melville in our postmodern U.S. society?