I think a Composition Philosophy must be appropriated with the objective of the department's course policies. With the exception of the weekly assignments, I'm confused about what the philosophy of our composition program entails. Maybe I missed the lesson on philosophy and objective.
Teaching Philosophy
I wish I could say I have this outlined, ready on file for my future job application, but I don't. I think my teaching philosophy will evolve along with my experience in the classroom. Based on my semester of experience, here is the one philosophy I would name:
Be willing to evaluate and then change methods of teaching. Some ideas work and other ideas fall upon deaf ears in the classroom. I can't assume my methods of teaching are unquestionable or perfect--I must be open to the suggestions of students as well as the classroom dynamics.
Saturday, October 18, 2008
Tuesday, October 7, 2008
Group Grading: A Spewing of Anger
The grading system for First Year Comp proves especially problematic for the following reasons (Disclaimer if the three people in my grading group and this class read this---it's not directed at you):
1) Lunsford discusses in our teaching handbook how instructors should monitor progress and grade according to this progress as the semester continues. I can monitor my student's progress and teach in a way that tries to cover 71 learning abilities, but their papers are subject to random grading procedures not a learning scale like Lunsford describes. I think this isolated-random grading eliminates those students who might become better writers and those who suck at writing, and benefits only those students who excel in the art of writing.
2) In grading I must depend on a group. The whole collective learning/working theory rears its ugly head when group members do not comply-meet the individual quotas, or the system does not monitor--keep their activity in line (like a real job--that's what it is, right?). Grading in groups also proves frustrating, because I grade other students papers while my students whose papers have yet to be graded ask about their grades and want to monitor their improvement. I think if individual instructors graded their own students' papers (make them blind submissions) then the dynamics of communication and trajectory of learning would level on the instructor/student sphere.
3) In light of point 1 and 2, my work hours would decrease if I graded my own papers, because no longer do I have to run between the middle man checking on my student's progress and adjusting my teaching as the grades slowly drop from the sky.
I realize that my opinion as a first-year newbie doesn't weigh in on the larger theoretical debate. However, for this week and the week before, this topic puzzles me and makes me struggle with the system at large.
1) Lunsford discusses in our teaching handbook how instructors should monitor progress and grade according to this progress as the semester continues. I can monitor my student's progress and teach in a way that tries to cover 71 learning abilities, but their papers are subject to random grading procedures not a learning scale like Lunsford describes. I think this isolated-random grading eliminates those students who might become better writers and those who suck at writing, and benefits only those students who excel in the art of writing.
2) In grading I must depend on a group. The whole collective learning/working theory rears its ugly head when group members do not comply-meet the individual quotas, or the system does not monitor--keep their activity in line (like a real job--that's what it is, right?). Grading in groups also proves frustrating, because I grade other students papers while my students whose papers have yet to be graded ask about their grades and want to monitor their improvement. I think if individual instructors graded their own students' papers (make them blind submissions) then the dynamics of communication and trajectory of learning would level on the instructor/student sphere.
3) In light of point 1 and 2, my work hours would decrease if I graded my own papers, because no longer do I have to run between the middle man checking on my student's progress and adjusting my teaching as the grades slowly drop from the sky.
I realize that my opinion as a first-year newbie doesn't weigh in on the larger theoretical debate. However, for this week and the week before, this topic puzzles me and makes me struggle with the system at large.
Wednesday, October 1, 2008
The World is Round and Other Theories
I think theory is important for our academic work. It helps situate our position of argument within a field and often lends importance to our own discourse.
Theory also makes itself important in composition, but the reason for this importance is a personal one I think. Although it is advantageous to understand the discourse of a field in which you work, theory gives teachers and even students an objective way to look at and process classroom dynamics as well as understand practical methods of pedagogy. In part, theory always has its toe stuck in the door of discourse, because without it, teachers, professors, and students stumble on the wreckage of classroom disappointments. Theory provides an objective way to approach the motion of the ever-changing field of discourse.
Theory also makes itself important in composition, but the reason for this importance is a personal one I think. Although it is advantageous to understand the discourse of a field in which you work, theory gives teachers and even students an objective way to look at and process classroom dynamics as well as understand practical methods of pedagogy. In part, theory always has its toe stuck in the door of discourse, because without it, teachers, professors, and students stumble on the wreckage of classroom disappointments. Theory provides an objective way to approach the motion of the ever-changing field of discourse.
Tuesday, September 23, 2008
Writing Time
When I write, all overhead lights have to be turned off. I use the light of a single lamp. This bring me into focus for the topic at hand. I also find lamp light to be more aesthetically appealing.
I usually like for the window to be open and hear the passing sounds of cars, dogs, cats, people, etc. I write best in the fall and winter months when the air is crisp and cool. In the summer, writing is drudgery for me.
I usually have something to drink--coffee or tea.
Aside from these preferential settings that are a rarity during the semester, my actual academic writing is as follows:
I start by scratching notes in pencil on paper. These notes aren't reflective of my "official" writing time, but rather a random accumulation of thoughts and ideas jotted in passing moments of Eureka.
Research and ideas are easy for me. It is the writing-typing on the blank page that proves difficult. For academic purposes I usually have to lock myself up in the library--isolated in a cubicle to decrease my distraction to read the NY Times, go for a walk, call an old friend, etc.
I usually like for the window to be open and hear the passing sounds of cars, dogs, cats, people, etc. I write best in the fall and winter months when the air is crisp and cool. In the summer, writing is drudgery for me.
I usually have something to drink--coffee or tea.
Aside from these preferential settings that are a rarity during the semester, my actual academic writing is as follows:
I start by scratching notes in pencil on paper. These notes aren't reflective of my "official" writing time, but rather a random accumulation of thoughts and ideas jotted in passing moments of Eureka.
Research and ideas are easy for me. It is the writing-typing on the blank page that proves difficult. For academic purposes I usually have to lock myself up in the library--isolated in a cubicle to decrease my distraction to read the NY Times, go for a walk, call an old friend, etc.
Tuesday, September 16, 2008
Voice
Question:Does "voice" that resonates compete with or enhance "academic voice"?
Answer: I'll use the classic Dr. Rickly and Dr. Baake response and reply: It depends.
I mean in the English department even, some professors through their grading requirements encourage voice or even honor voice, while others restrict such "digressions." I can control the voice based on the topic, but only to some extent. I'm not a Shakespeare buff, but I am taking Shakespeare course. Thus when in Shakespeare class, do as the Shakespeareans do, right? I think any writing pertaining to "academic" rigor, requires a certain control, manipulation, or selective timing of my voice.
When I teach and when I grade, I tell my students I value their voice. I really do.
However, I emphasize that in writing for a 1301 course, one must use voice when it is within the requirements of the assignment description. I encourage my students. The more they understand the rules governing writing, grammar, and language, their understanding and use of their own voice matures.
Answer: I'll use the classic Dr. Rickly and Dr. Baake response and reply: It depends.
I mean in the English department even, some professors through their grading requirements encourage voice or even honor voice, while others restrict such "digressions." I can control the voice based on the topic, but only to some extent. I'm not a Shakespeare buff, but I am taking Shakespeare course. Thus when in Shakespeare class, do as the Shakespeareans do, right? I think any writing pertaining to "academic" rigor, requires a certain control, manipulation, or selective timing of my voice.
When I teach and when I grade, I tell my students I value their voice. I really do.
However, I emphasize that in writing for a 1301 course, one must use voice when it is within the requirements of the assignment description. I encourage my students. The more they understand the rules governing writing, grammar, and language, their understanding and use of their own voice matures.
Thursday, September 11, 2008
"Take 20"
I'll admit my reluctance to watch the film "Take 20" by Todd Taylor. It isn't often I sit down and watch videos in front of the television, and 65 minutes is a sacred amount of time to give. Thus before this task began, I wondered: How can a film help me learn how to teach?
5 minutes into the film I was shouting to an empty room: I'm not alone! The professors did not sit on top of a throne of books, dictating comments and generalizations. I expected to hear that these professors writing and publishing in the field of Composition and Rhetoric were perfect first-time instructors, suffered no anxiety, and knew exactly what they were doing.
Alternatively, I found myself pausing the film to scribble notes.
I value expression in writing. Thus this week I have been at a loss in attempting how to present paraphrase in a way that captured the attention of the students. I want them to feel the freedom to express. One student commented to me this week that what I am teaching is a bunch of rules. In part this is true.
Through the dialogue presented in the film, I learned I can identify the genre of paraphrase, teach the students how to own the topic, and outline a criteria for success applicable to the assignment and course as a whole. I don't know about you, but paraphrase sounds much more appealing when coined as a genre.
Don McQuade stated something lasting: Writing is recursive. Teach students not to fear writing it wrong the first time. They can always do it over.
So maybe I am a sucker for the still black and white shots with the names of the authors we are reading genie flashing to the side and the idiosyncrasies of the professors in full screen, but this film was the most applicable lesson of teaching yet for me.
5 minutes into the film I was shouting to an empty room: I'm not alone! The professors did not sit on top of a throne of books, dictating comments and generalizations. I expected to hear that these professors writing and publishing in the field of Composition and Rhetoric were perfect first-time instructors, suffered no anxiety, and knew exactly what they were doing.
Alternatively, I found myself pausing the film to scribble notes.
I value expression in writing. Thus this week I have been at a loss in attempting how to present paraphrase in a way that captured the attention of the students. I want them to feel the freedom to express. One student commented to me this week that what I am teaching is a bunch of rules. In part this is true.
Through the dialogue presented in the film, I learned I can identify the genre of paraphrase, teach the students how to own the topic, and outline a criteria for success applicable to the assignment and course as a whole. I don't know about you, but paraphrase sounds much more appealing when coined as a genre.
Don McQuade stated something lasting: Writing is recursive. Teach students not to fear writing it wrong the first time. They can always do it over.
So maybe I am a sucker for the still black and white shots with the names of the authors we are reading genie flashing to the side and the idiosyncrasies of the professors in full screen, but this film was the most applicable lesson of teaching yet for me.
Thursday, September 4, 2008
Why do we Teach First Year Writing?
Why do we teach first year writing?
I think it is healthy to ask the question why and in fact, I encourage this question. However, it seems that disciplines associated with Arts and Sciences have to defend their why more frequently and extensively than other academic disciplines.
The last statement reflects on why we teach first year writing. Only those disciplines and forms of thought that challenge others are worth doing at all. For instance, I recently saw a PBS special about whether the nomination of Barack Obama invalidates the need for affirmative action. I will not attempt to answer that question in this posting, but use it as an example of how issues of importance are identified according to reevaluation and challenges of relevancy.
With that in mind, I believe we teach first year writing in its most basic form to teach students how to arrive at identifications of truth and processes of critical thinking through the vehicle of composition. Writing to arrive at truth and identification of one's self gives confidence to answer questions, stake claims to life and direction, and function in a literate society. Whether one identifies with expressionists, new rhetoricians, hermeneutics, or traditional rhetoricians the "why" locates itself in the journey as well as in the arrival.
I do not yet possess the experience to define what we should be teaching in first year writing. However, I do identify with the writer Carlos Fuentes in that the geography of composition is continually making itself new. Thus reevaluation of this question must take place in discussions that question the nature of text, identifying the what or to whom of audience and voice in a world of blogs and youtube, to name a few.
I think it is healthy to ask the question why and in fact, I encourage this question. However, it seems that disciplines associated with Arts and Sciences have to defend their why more frequently and extensively than other academic disciplines.
The last statement reflects on why we teach first year writing. Only those disciplines and forms of thought that challenge others are worth doing at all. For instance, I recently saw a PBS special about whether the nomination of Barack Obama invalidates the need for affirmative action. I will not attempt to answer that question in this posting, but use it as an example of how issues of importance are identified according to reevaluation and challenges of relevancy.
With that in mind, I believe we teach first year writing in its most basic form to teach students how to arrive at identifications of truth and processes of critical thinking through the vehicle of composition. Writing to arrive at truth and identification of one's self gives confidence to answer questions, stake claims to life and direction, and function in a literate society. Whether one identifies with expressionists, new rhetoricians, hermeneutics, or traditional rhetoricians the "why" locates itself in the journey as well as in the arrival.
I do not yet possess the experience to define what we should be teaching in first year writing. However, I do identify with the writer Carlos Fuentes in that the geography of composition is continually making itself new. Thus reevaluation of this question must take place in discussions that question the nature of text, identifying the what or to whom of audience and voice in a world of blogs and youtube, to name a few.
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