A major theme I
noticed across almost all readings in this course is the importance of using a
variety of genres and media to address the diverse needs of students. When
engaging students, teachers ought to make class issues pertinent to students.
This is easily done when students encounter and respond with many types of “texts”.
Furthermore, classwork can only be meaningful to students if it is related to
their lives. Young adult literature, technology, and authentic assessment can
contribute to a positive relationship between students and classwork.
It is
imperative that instructors carefully consider the manner in which they
organize class content, as students have different needs. Styslinger notes in Workshopping the Canon that bringing
together units by theme is an effective method of organization. Such a
structure is conducive to meaningful response because it addresses content,
rather than form. In her “literacy workshops”, the author encourages class
discussion through a variety of genres and multimedia centered on a chosen
theme. Given the fact that students have different needs and excel in different
areas, a broad approach to units is the most sensible approach. If adequate
student choice is offered in assignments, pupils can have the opportunity to
demonstrate their knowledge in novel ways, or in ways that they perform
especially well.
The instruction of grammar and vocabulary should
also stem organically from literature. In Wondrous
Words, Ray argues that model texts are instrumental in teaching students
how to write. Students are more capable of emulating the work of great writers,
rather than memorizing arbitrary words and rules. Teachers should teach such
material in the context of literature so that it is not arbitrary.
Young adult
literature should play a large role in any English/ELA classroom. Canonical
texts should be read by students on a transactional level. Given the vast
amount of analysis and interpretation already present on each work, however,
this can be daunting. In “Making Magic with YAL”, Roberts makes it clear that
YAL meets students needs by serving as highly accessible, relatable texts. Such
works can be paired with canonical texts to great effect. When students read
these texts, they are much more capable of providing an authentic response.
It is viable to organize units with a variety
of different types of “literature”. In Response
and Analysis, Probst states that literature leads audiences to different
topics. He implies that content should be structured organically, with each
point of discussion stemming from the last. A variety of different “texts”
should be used in class, including many forms of media. Graphic texts, as Mary
rice suggests, are useful in meeting the needs of a diverse range of students.
For less advanced students, visuals can bridge the reading gap; for other
students, they can enrich class discussion through additional interpretation. Other
forms of media also include videos, presentations, images, and music. Students
should learn that they can “read” all forms of media.
The theme of using technology to enrich class
discussion carries over to book clubs as well. Scharber’s “Digital Literacies”
describes the methods in which new book club practices can be carried out
online. Forums, chats, and polls are but a few of the ways in which students
can interact with each other regarding their chosen books. However, Edmondson’s
suggestion to use Wikis as a forum for book clubs is especially helpful, in my
view. She points out that modern students are “digital natives”, and that they
are able to naturally collaborate through digital learning communities.
Two additional ways to work with literature is
through Socratic Circles and Readers Theater. Both activities are performances
that allow students to analyze and discuss literature and themes in literature.
They allow students to see literature and issues in literature “come to life”.
It is because these activities make class issues feel so pertinent that they
are effective in engaging students. On the opposite end of the spectrum, strict
formal analysis or an emphasis on critical theories can lead to what Gallagher
refers to as “Readicide”; the readings become so displaced from the realities
of our students that they lose all meaning. The answer to this is to break up
formal analysis into what he refers to as the “Big Chunk/Little Chunk
Philosophy”. This will prevent students from being overwhelmed.
A type of
project that naturally works with many students is the multigenre project.
Multigenre projects give students an opportunity to select from a variety of genres
to create one interrelated and cohesive work. This taps into the many skills
that students have, and it encourages students to delve into new genres.
Multigenre projects, by their nature, are likely to examine broad themes. This
means that class discussions will have a great number of perspectives and
points to consider. However, student involvement does not end with this
follow-up discussion; Biltz advises that students reflect on and evaluate their
own work. Such an expectation shows a high amount of confidence for students,
on the part of the instructor. I am naturally wary about this approach, but I
am eager to see how it works out in the classroom.
Clearly, a
wide range of media and genres should be used to meet the needs of every
student. This can help students to see the bigger picture - to see the
interconnectedness of class material (as we had to do ourselves in this course).
When students can respond in a manner that enthuses them, their level of
engagement can improve dramatically.
