First, thanks for the nice wishes expressed in the comments to my last post. I am feeling better, although I still get achy and tired pretty quickly when doing normal things (like hanging laundry). I'm officially banned from strenuous activity for two weeks, and honestly I have no inclination to do any--but I am looking forward to feeling better and being able to get some exercise, for god's sake. It's been ages.
On to more, well, current matters. Pressing, even. Classes start tomorrow, and I'm in the endless-tinkering phase of syallbizing. (By the way, I agree with Crazy that we should just lop off this first week. It's goofy. And I'm not ready.) Once again, I'm changing the structure of my assignments for the survey. Let me review my iterations: First, I tried four response papers, two major papers, and a midterm exam. Then four response papers, two major papers, and no exams. Then three "position" (aka response) papers, two major papers, a midterm, and a final. Reinstating the midterm and adding the final were an effort to get students to quit summarizing things like the characteristics of Romantic poetry in their papers--to give them, in other words, a space to regurgitate course material that was separate from the space where they were supposed to engage in analysis. Then, in response to complaints about "two finals" (since the final paper was due at the end of the semester), I used the same set of assignments but staggered the papers so that the final paper was due a couple of weeks before the exam.
This year, I decided to try a new approach. Response papers (or "position" papers, the new name being an attempt to move away from "I love this poem because it reminds my of my boyfriend" or "I think that Byron is boring") were a source of endless frustration to me. While the students who had a lot of experience with college-level English courses usually did fine--thereby accruing a bunch of easy points, which was a problem in itself--those who didn't get it were disasters, and, for those students, nothing I said seemed to clarify that these were academic exercises and not personal reflections. So I jettisoned them. Basically I realized that most of the students in the class either were taking it for gen ed credit, and therefore didn't have the basics of college-level literature writing, or were early English majors, who may still not have that much experience with close reading, thesis-driven literature papers, etc. I also decided that their awareness of such historical information as the definition of "metaphysical poetry" or the differences between Old and Middle English, while important, was not as important as their acquisition of the ability to discuss literature in an intelligent way, and that I couldn't necessarily cover both of these things well. Or, at any rate, I needed to try focusing on the skills and ability development for a while, since trying to do both created far too much work for all of us (not to mention shoddy results on both counts).
So this fall, I gave them six assignments: a close reading paper (which I demo'ed in class), a Chaucer presentation, a dramatic interpretation (the latter two were done in groups), a paraphrase and analysis of a poem, a paper in which they attacked or defended a thesis that I gave them, and an original thesis-driven analysis. It sort of worked. Grades in this course were actually a little higher than usual last semester.
This semester, then, I'm trying something similar, only with seven assignments: A one-page (essentially diagnostic) response to a Wordsworth poem (in light of the Preface), three two-page close readings (one on a Romantic poem, one on a Victorian poem, and one on a passage of Modernist prose), and, interspersed throughout, long(er) papers for each major movement: one on the late eighteenth/early nineteenth century narratives that we're reading, one on our Victorian narratives, and one on a topic of their choosing (with some suggestions provided by me).
And I'm stuck on a couple of stupid things. Should the Victorian paper be four or five pages long? It's worth 20% of the grade; the Romantic paper is only four pages and 15%. Should I specify the topic for the Victorian paper?
I also worry that I (habitually) assign far too much in this course. Fretful Porpentine writes about selecting the big novel for Brit Lit II; I teach, well, at least two big ones (Pride and Prejudice and Jane Eyre, and also To the Lighthouse, which is shorter but harder), but those also seem to be the texts that everyone gets most into. (Well, maybe not Lighthouse, but I heart it and I think that it's a far more compelling introduction to Modernist prose than Joyce ever is.) At this point, they've bought their books, and I'm not changing this stuff, but goodness. Is this course way too much work? Maybe the four-page Victorian paper will be okay. And should I throw away Jekyll and Hyde, of which I'm heartily sick, despite its cool pairing with The Lifted Veil?
Boring post, yes. Clearly I need to just shut up and go print the suckers out.
On to more, well, current matters. Pressing, even. Classes start tomorrow, and I'm in the endless-tinkering phase of syallbizing. (By the way, I agree with Crazy that we should just lop off this first week. It's goofy. And I'm not ready.) Once again, I'm changing the structure of my assignments for the survey. Let me review my iterations: First, I tried four response papers, two major papers, and a midterm exam. Then four response papers, two major papers, and no exams. Then three "position" (aka response) papers, two major papers, a midterm, and a final. Reinstating the midterm and adding the final were an effort to get students to quit summarizing things like the characteristics of Romantic poetry in their papers--to give them, in other words, a space to regurgitate course material that was separate from the space where they were supposed to engage in analysis. Then, in response to complaints about "two finals" (since the final paper was due at the end of the semester), I used the same set of assignments but staggered the papers so that the final paper was due a couple of weeks before the exam.
This year, I decided to try a new approach. Response papers (or "position" papers, the new name being an attempt to move away from "I love this poem because it reminds my of my boyfriend" or "I think that Byron is boring") were a source of endless frustration to me. While the students who had a lot of experience with college-level English courses usually did fine--thereby accruing a bunch of easy points, which was a problem in itself--those who didn't get it were disasters, and, for those students, nothing I said seemed to clarify that these were academic exercises and not personal reflections. So I jettisoned them. Basically I realized that most of the students in the class either were taking it for gen ed credit, and therefore didn't have the basics of college-level literature writing, or were early English majors, who may still not have that much experience with close reading, thesis-driven literature papers, etc. I also decided that their awareness of such historical information as the definition of "metaphysical poetry" or the differences between Old and Middle English, while important, was not as important as their acquisition of the ability to discuss literature in an intelligent way, and that I couldn't necessarily cover both of these things well. Or, at any rate, I needed to try focusing on the skills and ability development for a while, since trying to do both created far too much work for all of us (not to mention shoddy results on both counts).
So this fall, I gave them six assignments: a close reading paper (which I demo'ed in class), a Chaucer presentation, a dramatic interpretation (the latter two were done in groups), a paraphrase and analysis of a poem, a paper in which they attacked or defended a thesis that I gave them, and an original thesis-driven analysis. It sort of worked. Grades in this course were actually a little higher than usual last semester.
This semester, then, I'm trying something similar, only with seven assignments: A one-page (essentially diagnostic) response to a Wordsworth poem (in light of the Preface), three two-page close readings (one on a Romantic poem, one on a Victorian poem, and one on a passage of Modernist prose), and, interspersed throughout, long(er) papers for each major movement: one on the late eighteenth/early nineteenth century narratives that we're reading, one on our Victorian narratives, and one on a topic of their choosing (with some suggestions provided by me).
And I'm stuck on a couple of stupid things. Should the Victorian paper be four or five pages long? It's worth 20% of the grade; the Romantic paper is only four pages and 15%. Should I specify the topic for the Victorian paper?
I also worry that I (habitually) assign far too much in this course. Fretful Porpentine writes about selecting the big novel for Brit Lit II; I teach, well, at least two big ones (Pride and Prejudice and Jane Eyre, and also To the Lighthouse, which is shorter but harder), but those also seem to be the texts that everyone gets most into. (Well, maybe not Lighthouse, but I heart it and I think that it's a far more compelling introduction to Modernist prose than Joyce ever is.) At this point, they've bought their books, and I'm not changing this stuff, but goodness. Is this course way too much work? Maybe the four-page Victorian paper will be okay. And should I throw away Jekyll and Hyde, of which I'm heartily sick, despite its cool pairing with The Lifted Veil?
Boring post, yes. Clearly I need to just shut up and go print the suckers out.