New York University
Steinhardt School of Culture, Education, and Human Development
Department of Teaching and Learning
Professor: David E. Kirkland
Office: 322 East Building
Phone: 212.998.7391
Email: [email protected]
Office Hours: by appointment
Class: M 4:55-6:35 SILV 500
ENGED-GE 2501 Masters Seminar: English Education
Course Description
The English Education Masters Seminar is primarily concerned with “doing English” but it also focuses on learning about and
teaching English to students across multiple lines of difference. It introduces and grounds the work you’ll be doing
throughout your MA degree studies, but it does not duplicate it. This course focuses on issues of languages, textualizations,
processes of literacy (as critical meaning making), and ELA pedagogy through a set of shared values on English(es): a) that
effective teachers of English(es) are readers and writers themselves; b) that reading and writing development (broadly
defined) and their uses are socially-constructed processes; and c) that multi-semiotic forms of engaging texts are becoming
increasingly important in global, democratic culture. The English Education Masters Seminar focuses on the construction of
larger conceptual paradigms concerning the ontological foundations of the field, the alignment of English curriculum with
standards, the pedagogical imaginings needed for critical creative English(es) instruction, and the English teachers’ multiple
roles and their professional, intellectual, sociopolitical, and communal responsibilities. The course also focuses on
English(es) in a variety of genres and deals with curricular issues at the local level of pragmatic English instructional practice
such as response to student writing, assignments creation, student engagement, the creative interplay of technology and
language, and the evaluation and assessment of student growth within the discipline.
Learner Objectives
By the end of the course, students will develop (or begin developing):
1.
Critical Pedagogy
Teaching English(es) to challenge and change oppressive conditions related to language, culture, and power.
2.
Appreciation of Linguistic and Literate Pluralism, Hybridity, and Diversity
An appreciation of multiple varieties of language and literacy that fill urban and global contexts (Note: my use of
the term “multiple” is inclusive of all cultures, including White, and all American languages/dialects, including
linguistic hybrids and varieties of American particularly American Spanishes, Asian American varieties, and AAL).
3.
Introspection
Understanding teaching as a reflective/reflexive practice.
4.
Critical Understanding of the Role of English(es) in the World
Understanding how English(es) work(s), how they relate to power and learning, meaning and imagaination, and
why people “read” and “write.”
5.
Critical Empathy
An awareness of issues of equity and justice in language and literacy-related education as each gets applied across
disciplinary domains (i.e., discursive fields).
In addition to these specific objectives, this course is framed around two broad concepts associated with critical pedagogy:
reflection and action—or praxis. The idea of praxis in education owes much to Paulo Freire’s (1970) “problem-posing”
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approach to teaching and learning. The reflection-action sequence includes the following modes of inquiry:
Reflection
Reflection is critical interrogation—critique of both self and the other, the internal and the
external reality of the individual. In reflecting, we ask: Who am I as an educator (As all things can
be considered political, we must continually question as teachers how are we situated politically
as we teach)? What is the (political) theory/philosophy informing my teaching practice? How can
I understand it both in terms of my own educational and personal experiences and in terms of
my students’ experiences and needs?
Action
Action is transformative practice—social adjustments of things in order to improve the
conditions of practice and participation, people and populations to promote just change. Action
depends on human agency (i.e., that is the will to do) and insists on the agency associated with
the liberatory and transformative wills of individuals and groups (i.e., personal and collective
resolve). In acting, we ask: How do I fashion pedagogical spaces that simultaneously meet social
st
and educational standards and reflect the multiplicity of voices expressed in the 21 century?
How do I fashion courses that are relevant and capable of improving students’ lives? How does
my teaching change things (i.e., promotes student achievement, provides all students access to
learning, resituates knowledge in the most inclusive ways, combats oppression among individuals
and communities, articulates the realities of people, etc.)?
Pedagogical Tenets
Social Constructivist/Social Constructionist Approaches
Dialogic Pedagogy (Learning as Conversation)
Project-Based Pedagogy (Learning as Performance)
Experiential Pedagogy (Learning as Doing)
Critical Approaches
Problem Posing Pedagogy (Learning as Reflection)
Social Justice Pedagogy (Learning as Action)
Profit-based Pedagogy (Learning as Organic)
Course Structure
Foundations/Philosophies
Forms/Functions
Approaches/Practices
Presentations
General Class Structure/Sequence
Monday
Learning Experience/Simulation
Dialogue/Student-led Discussion of Course Concepts or Reading(s)
Course Texts
Most course texts will be available on NYU Classes. Additional course material and media will be viewed during or before
class (I reserve the right to alter course reading assignments based on the flow and direction of class and emerging
knowledge newly published in the field). Please note: This course will require you to view two films (8 Mile and Dallas
Buyers Club) outside class. Each film is available for rental at either blockbuster.com or Netflix (or can be streamed bit
torrent via a secured Internet connection) and should be viewed before the class in which they will be discussed.
Strategies for Active Reading: As you study and think about the course readings, please keep in mind that there are various
ways to read a text. You can apply certain critical/analytic frames to illuminate issues and themes within texts. For example,
you can read a text from a feminist perspective, making sense of it with respect to how the relationship between gender
and power permeates the text’s meaning. There are other orientations to reading that, for this class, you should adopt first.
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I describe these “ways of reading” as reading with prepositions. These include the following:
•
Reading within the text: You should read all texts for meaning and comprehension, attempting first to understand
the author’s central arguments and the ways in which she attempts to achieve them.
•
Reading around the text: You should read all texts sensitive to the contexts in which they were written.
•
Reading against the text: Only after you have made sense of a text and situated it within its various contexts can
you be critical of it. Keep in mind that individuals who are not very different than will have written the texts you
encounter in your lifetime. Disagreeing with texts is not intellectually presumptuous; rather it is an intellectual
necessity in most cases.
Framing Questions for student-led discussions: Whenever you set out to do a critical reading of a particular text, you can
use the following questions as a framework to guide you as you read and reflect on a text. Whenever you set out to do
analytical writing, you can also use the following questions as a framework to guide you as you write. An analytical text is
effective if it is written in a manner that allows the reader to answer all four of these questions satisfactorily:
•
•
•
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What’s the point? This is the analysis/interpretation issue, which examines the author’s angle.
Who says? This is the validity issues, which examines on what (data, literature, hearsay, etc.) are the claims based.
What’s new? This is the value-added issue, which explores the author’s contribution to existing knowledge.
Who cares? This is the significance issue (the most important issue of all—the one that subsumes all others), which
asks, a) is this work worth doing; b) is this text worth reading; c) does it contribute something important?
Course Requirements
1.
Student-Led Discussions
We will be studying several aspects/forms of writing, including academic and nonacademic texts, fiction and nonfiction, poetry, drama, film, and music to stimulate our classroom discussions/our learning about writing. You will
be asked to lead a discussion based on one of the week’s readings. Your discussion should be inquiry-based, driven
by penetrating questions designed to promote a sophisticated reading of course materials. Please use the tips for
reading listed above to help you as you plan your discussion. Discussions should cover all reading material assigned
for the day you are slated to lead. While not required, discussion props (such as handouts) can be acceptable
(though they are discouraged). Student-led discussions will generally last about 30-45 minutes.
2.
Mid-Semester Self-Assessment Portfolio
Complete the tasks described below. You may talk with peers as a part of your process, but you should tailor your
responses to the particulars of your growth and learning in line with the course objectives. Your responses should
differ in significant ways from those of your peers. You are encouraged to draw on outside resources but are
required to make use of course readings as relevant in your responses. Please submit a hard copy of your portfolio
to me no later than October 27th. Your portfolio will be held to high standards of quality and presentation. Please
note that this assignment has two parts.
Part I.
Choose one of the options below. Develop your responses in relation to the objectives outlined in this
course syllabus. Please use knowledge that you have gained from the course (and other courses when
applicable). Your responses should provide evidence of what you have learned from the course thus far.
Option A:
Teaching in Literacy the Disciplines Unit Plan
Create a unit plan for an adolescent age group of your choosing. In your unit plan, please indicate
the context for which the plan has been developed. (By context, I mean descriptions of grade
level, school environment, student population, students’ prior knowledge, and standards the unit
aims to meet.) Your plan should focus on some aspect of literacy in the disciplines, considering
the following questions: what about literacy would you teach? How would you teach it? Since
literacy is a central to the lives of many urban youth and to content of many disciplines, your plan
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should either focus on the teaching of literacy itself (its history, its structures [grammars], its
politics), the teaching of reading with regard to disciplinary texts, the teaching of writing, or etc.
Please outline your unit plan as follows: Unit objectives (in correspondence with IRA/NCTE,
Common Core, and NY State Learning Standards for literacy); Activities designed to stimulate
learning, capable of moving students who experience the activities from one developmental level
to the next; and Assessments.
After you have written your unit plan, write a statement of no more than 2 pages explaining how
your unit plan responds to what you have learned in the course. Specifically discuss how it
demonstrates course objectives and accounts for the big issues the course is designed to
address.
Option B:
Philosophy of Teaching Literacy in the Disciplines
Effective teachers understand the reasoning behind the choices they make in the classroom. A
primary component of this course involves the consideration of purposes for teaching literacy
across secondary classrooms, as well as an examination of the personal orientations and
assumptions teachers use to determine those purposes.
You have already begun thinking about your personal philosophy of teaching. You bring a great
deal of experience to your formal teacher education, and there is no doubt that you have strong
ideas about what makes good teaching in your subject. As a part of this class, you have ranked
various purposes for teaching literacy in the disciplines, and you have responded to an inventory
of statements about the teaching of literacy in the disciplines.
Your assignment is to state your philosophy of teaching in the disciplines. In order to do so, think
about your prior experiences in learning, reading and writing and/or teaching them to others. In
addition, use your responses to the weekly reading assignments you completed for this course.
What are the purposes of learning/studying/teaching literacy across discipline? How do different
students learn? How should instruction and experience occur in the classroom with regards to
literacy learning? What kinds of activity are most useful or detrimental to students as they learn
literacy? How do students become engaged with or disengaged from learning literacy? These are
only some of the issues you might consider. You do not need to respond to each of the questions
above.
Your statement should be no more than 5 pages typed and double-spaced. You should also
reflect on and respond to the course objectives, course readings, and our discussions of theory,
research, and philosophy to help you clarify your own positions and reasoning. Finally, you will
be challenged to critically examine your own personal beliefs about teaching as well as the
beliefs of others.
Option C:
Lesson Assessment
Study the lesson on Huck Finn and the word “nigger” found in the following link:
http://www.pbs.org/wgbh/cultureshock/teachers/huck/section2.html. Think about its potential
use in your classroom. 1) Explain how you might address the issue of language, specifically the
word “nigger,” given your students’ contextual needs/requirements. Compare this explanation to
the use of the word “nigga” in NWA’s “Niggas with an Attitude.” 2) Explain how/when the
content representation the words “nigger” and “nigga” are or are not appropriate and adequate
for the context. 3) Explain how you would redesign the lesson materials to better fit your
classroom.
• Consider how you might introduce, transform, use, or explain the material.
• Give specific examples, demonstrations, models, or activities you might use, incorporate
your knowledge of your students’ popular cultures into your choices, and explain why
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these choices and changes in design and representation are appropriate for your
students.
Include any additional lesson materials, handouts or resources you might use with your
response. Be sure to formally cite/attribute the resources you use and demarcate
area/places where your revised plan meets the course objectives.
Option D:
Self-Assessment Rubric
Create a rubric to assess what you have learned in the course. The rubric you create should be
based on the course objectives and should work to measure, quantitatively or qualitatively, your
learning in each area. As you assess yourself using the rubric you created, provide examples of
your learning, statements which discuss your learning, and/or commentary based on class
experiences. In addition, you should articulate how and why you created your rubric, and what
specifically is it designed to assess (and what it cannot assess).
Option E:
Email Discussions
Learning is a collaborative process. This option requires you to collaborate with a peer via email
to discuss major issues in the course. Using email, you will be required to have a minimum of five
exchanges between you and your partner about issues presented in class. At an agreed upon
point, collect your conversations and use the information gathered to reflect upon your learning
in the course. Your reflection should respond to the course objectives outlined in the syllabus.
Your reflection paper should be no more than 5 pages, typed and double-spaced using 12 pt font.
Option F:
Creative Assessment
Assess yourself in some creative way. You might choose to write a series of poems, songs, or
letters to demonstrate what you have learned from this course. You might also want to create a
rap video, a hip hop/graffiti collage, blog, and so forth to demonstrate your learning. Or you
might want to use a multi-genre approach. Your creative product should respond to the
objectives outlined in this course syllabus.
Option G:
Create Your Own Assessment
Create your own instrument to assess what you have learned in the course of this class. Your
assessment should respond to the objectives outlined in the course syllabus.
Part 2. Read the poem. It is an authentic text, which we will assume is written in response to a classroom
writing prompt. The poem is also written to a general audience (primarily to you as the teacher). How
would you respond to it?
U turn
left b Hind
Legs sprawl ing on top of Black back
Mountains
Rivers that Run Deep
Like Sheba’s Queens and she Loves
Open pours
inside empty cups that run over
hope like Escalades
that phaint in Darkness
that phreeze in Night
That phuck in morning, morning
Uprising
Lite skin white men
Blues is my brothers
Black is my Berry
Sweet is my juice
So U turn back to me
I re turn back to U
I die daily 4 U
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a)
Demonstrate your understanding of its themes and structures. What point is
the student making? How does the student’s language (diction, discourse,
syntax, etc.) contribute or take away of the point being made?
b)
Based on ideas from the class, identify what you see as the generative uses of
language in this text that can used to teach students literacy in the disciplines.
c)
What would you teach to your students about writing using this text—what
goals do you identify?
d)
How would you help students incorporate aspects of this text into their future
writing? That is, how can you help students refine and hone their use of
language?
e)
Design and sequence a set of 5-10 questions you might use to begin working
with students to refine her or his writing. That is, what do you want students
to be aware of when they write? Explain the basis for these questions and
discuss their theoretical implications for diverse contexts.
3.
Critical Media Literacy Project and Expo
Assess yourself in some creative way. You might choose to compose a series of critical media
projects in the forms of poems, songs, or blogs that demonstrate what you have learned from
this course. You might also want to create a video documentary, a digital story, website, and so
forth to demonstrate your learning. Or you might want to use a multi-genre approach. Your
creative product should respond to the objectives outlined in this course syllabus,
examine/respond to some larger social issue, and use some form of media as a genre to compose
your argument. Media projects will be put on display at the end of the semester expo. The expo
will more or less be a poster presentation featuring your work. Please invite guests to attend.
4.
Story Slam
Story Slam is a storytelling competition in the vein of poetry slams. Story slammers have 5
minutes each to tell a story, based on a theme chosen for the class. Stories can be read, must be
compelling, well written, and passionately delivered. Participants are judged by teams of
classmates/audience members. Stories will be workshopped in class. You are expected to polish
and improve your story between class sessions.
Attendance Policy
Attendance matters. It matters to us as instructors; it matters to peers who count on your support and
feedback. I expect you to attend all class sessions. You will be allowed one unexcused absence. More than
one unexcused absence may result in failure of the course. If you know you are going to be absent, notify
me before class. If you are unable to reach me, call my office and leave a message.
Grading Policy
Grades are criterion-referenced. That is, grades will be assigned based on the percent of the total possible
points that you receive on the assignments. Points are distributed as follows:
Grading Scale
Student-Led Discussion
Midterm Self-Assessment Exam
Story Slam
Critical Media Literacy Project & Expo
10 points
30 points
30 points
30 points
6
Total
100 points
Grade point conversions:
94 – 100 = A
90 – 93 = A87 – 89 = B+
84 – 86 = B
80 – 83 = B77 – 79 = C+
74 – 76 = C
70 – 73 = C67 – 69 = D+
64 – 66 = D
59 – 63 = D-
Below 59=Failing
Participation: You will spend much of the next few weeks with classmates sharing ideas, theories, advice,
and experiences. You are a valuable resource for your peers, and the stronger the community we build in
this class, the richer the experiences we will have here. No percentage value has been assigned to class
participation. However, if your final average falls between grades (for example between an A- and a B+)
the following criteria will be used to determine your final grade.
a) Clear evidence that you have read the weekly readings (i.e. productive, consistent participation
in discussions, completion of assignments)
b) Completion of tasks that support the work in class
c) Active and supportive listening in the classroom and offering constructive feedback to peers and
instructors
Students with Disabilities
Students with physical or learning disabilities are required to register with the Moses Center for Students
with Disabilities, 726 Broadway, 2nd Floor, (212-998-4980) and are required to present a letter from the
Center to the instructor at the start of the semester in order to be considered for appropriate
accommodation.
Academic Integrity
The following has been retrieved from NYU Steinhardt’s Policies and Procedures (available from
http://steinhardt.nyu.edu/policies/academic_integrity):
The relationship between students and faculty is the keystone of the educational experience in The
Steinhardt School of Culture, Education, and Human Development at New York University. This
relationship takes an honor code for granted. Mutual trust, respect and responsibility are foundational
requirements. Thus, how you learn is as important as what you learn. A university education aims not only
to produce high quality scholars, but to also cultivate honorable citizens.
Academic integrity is the guiding principle for all that you do; from taking exams, making oral
presentations to writing term papers. It requires that you recognize and acknowledge information derived
from others, and take credit only for ideas and work that are yours.
You violate the principle of academic integrity when you:
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Cheat on an exam;
Submit the same work for two different courses without prior permission from your professors;
Receive help on a take-home examination that calls for independent work;
Plagiarize.
Plagiarism, one of the gravest forms of academic dishonesty in university life, whether intended or not, is
academic fraud. In a community of scholars, whose members are teaching, learning and discovering
knowledge, plagiarism cannot be tolerated.
Plagiarism is failure to properly assign authorship to a paper, a document, an oral presentation, a musical
score and/or other materials, which are not your original work. You plagiarize when, without proper
attribution, you do any of the following:
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Copy verbatim from a book, an article or other media;
Download documents from the Internet;
Purchase documents;
Report from other's oral work;
Paraphrase or restate someone else's facts, analysis and/or conclusions;
Copy directly from a classmate or allow a classmate to copy from you.
Your professors are responsible for helping you to understand other people's ideas, to use resources and
conscientiously acknowledge them, and to develop and clarify your own thinking. You should know what
constitutes good and honest scholarship, style guide preferences, and formats for assignments for each of
your courses. Consult your professors for help with problems related to fulfilling course assignments,
including questions related to attribution of sources.
Through reading, writing, and discussion, you will undoubtedly acquire ideas from others, and exchange
ideas and opinions with others, including your classmates and professors. You will be expected, and often
required, to build your own work on that of other people. In so doing, you are expected to credit those
sources that have contributed to the development of your ideas.
Avoiding Academic Dishonesty
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Organize your time appropriately to avoid undue pressure, and acquire good study habits,
including note taking.
Learn proper forms of citation. Always check with your professors of record for their preferred
style guides. Directly copied material must always be in quotes; paraphrased material must be
acknowledged; even ideas and organization derived from your own previous work or another's
work need to be acknowledged.
Always proofread your finished work to be sure that quotation marks, footnotes and other
references were not inadvertently omitted. Know the source of each citation.
Do not submit the same work for more than one class without first obtaining the permission of
both professors even if you believe that work you have already completed satisfies the
requirements of another assignment.
Save your notes and drafts of your papers as evidence of your original work.
Disciplinary Sanctions
When a professor suspects cheating, plagiarism, and/or other forms of academic dishonesty, appropriate
disciplinary action may be taken following the department procedure or through referral to the
Committee on Student Discipline.
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Departmental Procedure
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The Professor will meet with the student to discuss, and present evidence for the particular
violation, giving the student opportunity to refute or deny the charge(s).
If the Professor confirms the violation(s), he/she, in consultation with the Program Director and
Department Chair may take any of the following actions:
o Allow the student to redo the assignment
o Lower the grade for the work in question
o Assign a grade of F for the work in question
o Assign a grade of F for the course
o Recommend dismissal
Once an action(s) is taken, the Professor will inform the Program Director and Department Chair, and
inform the student in writing, instructing the student to schedule an appointment with the Associate
Dean for Student Affairs, as a final step. Copies of the letter will be sent to the Department Chair for
his/her confidential student file and the Associate Dean for Student Affairs. The student has the right to
appeal the action taken in accordance with the School's Student Complaint Procedure as outlined in The
Steinhardt School of Culture, Education, and Human Development Student's Guide.
Referral to the Steinhardt Committee on Student Discipline
In cases when dismissal is recommended, and in cases of repeated violations and/or unusual
circumstances, faculty may choose to refer the issue to the Committee on Student Discipline for
resolution, which they may do through the Office of the Associate Dean for Student Affairs.
The Steinhardt School Statement on Academic Integrity is consistent with the New York University Policy
on Student Conduct, published in the NYU Student Guide.
NYU Classes
This course has an NYU Classes site. Required readings for some class sessions will be available on this
site, as indicated on the course calendar. The syllabus, details about assignments, and any other general
course information will be available on the site as well. In addition, postings will be made regarding events
or other items of importance regarding this course. Please also feel free to use the site to continue
conversations started in class or raise new points for discussion during future class meetings.
Ground Rules for this Course
1.
Acknowledge that oppression (i.e., racism, classism, sexism, etc) exists.
2.
Acknowledge that one of the mechanisms of oppression (racism, classism, sexism, etc.)
is that we have been systematically taught misinformation about our own group and
especially members of devalued/subordinate groups (this is true for both dominant and
subordinate group members).
3.
Agree not to blame ourselves or others for the misinformation we have learned in the
past, but accept responsibility for not repeating misinformation after we have learned
otherwise.
4.
Agree not to blame victims for their oppression.
5.
Assume that people (both the groups we study and the members of the class) are
always doing the best they can.
6.
Actively pursue information about our own groups and that of others.
7.
Share information about our groups with other members of the class and we will never
demean, devalue, or in any way "put down" people for their experiences.
8.
Agree to actively combat the myths and stereotypes about our own groups and other
groups so that we can break down the walls that prohibit group cooperation and group
gain.
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9.
Create a safe atmosphere for open discussion. If members of the class wish to make
comments that they do not want repeated outside the classroom, they can preface their
remarks with a request and the class will agree not to repeat the remarks.
10.
Synthesize ideas, readings, and materials across (y)our classes into fresh, innovative
teaching practices. While university policy on academic honesty stipulates work created
for one course cannot be turned in for credit in another, we do hope that ideas,
practices, and materials from our courses will be mutually informative and made to
speak to each other in new ways.
Course Organization
The chart below denotes readings and other materials to be discussed in class on the corresponding date.
Therefore, all required materials should be read [or watched] before attending class. The protocol for
most class sessions will correspond with the following format: (1) Student-led discussion, analysis,
synthesis, and evaluation of reading, and (2) interactive touchstone activity/experience. We will also have
occasional opportunities to interact with and create artifacts of “English.”
A=Activities; AD=Assignment Due; SS=Story Slam; WW=Writer’s Workshop
The Teaching of Englishes: Languages and Literacies across Multiple Modes of Inquiry
Date
9/8
9/15
9/22
9/29
Topics & “Readings”
Understanding and Dissecting Literacy across Multiple Modes of Inquiry:
Theory of New English Education
• Course Syllabus
Reflections: Theory of Practice
• The Common Core State Standards (online)
• Kirkland, D. (2013). “Teaching the (Uni)Verse”
• Kirkland, D., & Gilyard, K. (2009). Conversation with David E.
Kirkland.
New English Education Theory Cont’d: Between Culture & Texts
• Morrell, E.: Critical English Education
• Kirkland, D. (2008). Rose that Grew from Concrete.
o Lorde, A. Zami (excerpt)
o Four Women (song/jazz)-in class
o For Women (song/rap)-in class
New English Education Theory Cont’d: Oral/Written Debates and the
Politics of literacy
• Dyson, A. H. (2005). Crafting “the humble prose of our living.”
• Paris, D. (2009. Texting Identities.
In-Class Assignments
& Dues
A: Syllabus Quiz
A: Literacy Tests
A: Reading the Box
A: 4-point Debate
A: Critical Visual &
Oral Literacy Lesson
A: Language and
Power Syllable
Activity
A: Chips Activity
10/6
Teaching The Word and the World: Youth Counter Linguistics
• 8 Mile (Film)
• Low, B. (2006). Poetry on MTV? Slam and the poetics of popular
culture
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A: The List
10/13
Beyond Bridges and Borders: Critically Engaging Video Games
• Gee, Video Games and literacy
A: Oregon Trail
Activity (Please bring
a laptop computer)
10/20
Beyond Bridges and Borders: Teaching Literacy through Cellphones
• Gainer, J. (2010). Critical Media Literacy in the 2.0. (excerpt)
A: Cellphone
Documentaries
10/27
Using Graphic Art (Comics, tattoos, tags, etc) to Teach Literacy in the
Disciplines and Beyond
• Weinstein, S. (2002). The writing on the wall: Attending to selfmotivated student literacies.
• Kirkland, D. (2011). Books like clothes
A: Body Writes:
Expressions &
Tableaus
AD: Midterm SelfAssessment
WW: Prewriting and
Drafting
11/3
Making Music (Together): A Theory of Teaching Writing
• Lamott, A. Shitty first drafts
• Berne, J. Teaching the writing process
o McFerrin, B. (2009). Watch me play . . . the audience!
http://www.ted.com/talks/bobby_mcferrin_hacks_your
_brain_with_music.html (in class)
o Whitacre, E. (2011). A virtual choir 2,000 voices strong:
http://www.ted.com/talks/eric_whitacre_a_virtual_choi
r_2_000_voices_strong.html (in class)
11/10
Back to the Basics: The Toolbox for Teaching Writing
• King, S. Toolbox
A: Toolbox
11/17
Beyond the Basics: Metaphors We Write (and Teach) By
• Lakoff & Johnson, Metaphors we live by
A: The Metaphor
Game
11/24
Writing the Word and the World: Poetics and Performance
• Mahiri, J. Street scripts
WW: Sharing,
Revising, and
polishing
A: Theater of the
Oppressed
12/1
Writing the Word and the World: The Body as a Site for Textual
Production— Skin and Ink (Expanding)
• Santos, X. The Chicana Canvas
• Kirkland, D. (2009). Skins we ink: Conceptualizing literacy as
human practice.
A: Scar Stories/Ideal
tattoo exercise
12/8
Story Slam: Writing for the People
A: Story Slam
Showcase
AD: Slam Stories
12/10
Culmination: Literacies for Learning across Lived Locations
AD: CML Project &
Expo Presentation
11