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Category Archive for 'my classes'

It happened again this semester.  It’s not just that they were good students and good people, which they were. It’s not just that they were diverse and charming, and often funny, which they were. I fell in love most with their openness, their enthusiasm, their willingness to engage, to learn.

Here is what they answered when I asked the question:     What did you learn this semester? 

Two years ago, a similar class answered the same question this way.

  • Keep readers in mind.
  • Use the thesis statement as a road map for readers.
  • KILL PROCRASTINATION.
  • Learn American-style writing.
  • Learn to be a responsible college writer who can deliver a competent college essay.
  • i-Movie is not hard, but fun.
  • Ideas cannot stand without good evidence.
  • The difference between revising, editing, and proofreading is huge. Don’t forget it.
  • Don’t rant in your formal essays. You can do that just for yourself.
  • Make sure topic sentences lay out what your paragraph is about–a mini road map.
  • Use active voice. Eliminate “to be” verbs as much as possible.
  • Write a strong first draft.
  • Structure a good thesis to give a good direction to the paper
  • Give a different style to your paper depending on your reader.
  • Proofread.
  • Have a good thesis before you start writing.
  • Use the quotation sandwich.
  • Topic sentences need to flow.
  • Be an active and helpful team member.
  • Getting feedback from your professor and your peers is effective.
  • Ask “So what?” and “Who cares?” for better analysis of papers.
  • Make eye contact during oral presentations.
  • Be disciplined in your work.
  • Tie up thoughts in the conclusion, and add something more.
  • First impressions do not count (We read Pride and Prejudice!).
  • Americans own things and ideas.
  • In a sentence, paragraph, or paper, the most important thing comes last.

What We Learned about Writing

I asked the members of my WRPR 0100 class to indicate three things they had learned about writing this semester. This is their list:

  1. editing process is useful–print  drafts to read somewhere else helpful–fully explain quotations
  2. set paper aside to marinate–use more details–flow and coherence
  3. thesis more concise–reread papers several times–comma plus and!
  4. how to write a paper–structure of a paper–introduction–thesis-unity/coherence/development–passive voice–participles
  5. collaborate and edit with peers–write in drafts–eliminate passive
  6. paper with thesis statement–good flow of ideas–dep and indep clauses–analyze in an essay
  7. dangling modifiers-write in complete non-fragmented sentences–analyze other writings and use their techniques
  8. use scientific method on papers–details! eliminate redundancy
  9. word placement–subtle changes can hold reader’s interest–paragraph structure–participles!!
  10. comma splices! topic sentences! drafts are your friend (esp. when done before midnight)
  11. difference between hyphen (-) and dash (–) consider reader’s feelings when writing–use other media to express ideas, too
  12. MLA citations–avoid change in verb tenses–do not create your own facts about a book or movie
  13. thesis statement–topic sentence–how to make conclusion better
  14. how she writes and her strengths and weaknesses–passive voice–form a stronger argument by manipulating sentences, paragraphs, paper as a whole
  15. grammar rules–add specific details to thesis statement–coherent sentences
  16. topic sentence should start the paragraph– avoid this and that in the beginning of a sentence–difference between long and short sentences in paragraph can help ideas
  17. participles–dangling modifiers–adding new ideas to the conclusion

Participated in Teaching with Technology,

Tech Fair, Co-sponsored by the CTLR and LIS @ Middlebury on Thursday, June 4th.

I looked at some of the ways I’ve used technology in four classes:

Mack made posters for all of us who presented:

The National Resource Center 21st International Conference on

The First Year Experience

Dublin Ireland

June 23-26, 2008

Presentation:

FYS as a Locus for Faculty Development: Creating Mini Learning Communities

Handouts:

Dublin:minicommunities

Yesterday, I was asked how to conduct a writing workshop without a particular paper due. Although nothing can quite replace the immediacy of a newly-written paper, we and our students can benefit greatly from a look at past work. In fact, sometimes a little distance from the due date of the assignment can add a much-needed perspective to the writing discussion.

One of my favorite non-specific paper exercises is Sentence Clinic. I ask students to do the following before class.

Write down two sentences from your paper or journals we will discuss today :
1. A sentence that you think worked well, one that makes you feel proud (Why do you like this sentence?)
2. A sentence that never quite worked, one that we will look at in the sentence clinic (Why do you think this sentence does not work?)

During class, we use this worksheet. What happens in this exercise is two fold. First, students articulate what they like about their good sentences. From this discussion, we can develop norms and expectations for sentence writing. Second, they bring their bad sentences to the clinic. Depending on the size of the class and the time we have to devote to this, the clinic will either be the whole class or smaller groups within the class. Students discuss what these sentences fail to do, and the other clinic members make suggestions for improvement. I like to do this exercise in the middle or towards the end of the semester when students have developed their vocabulary for discussing writing as well as some trust in each other. Always I want to emphasize the “Why” factor—Why did you like this sentence? Why did you not like that sentence? The “Why” discussions are the best part of the whole exercise.

Another quick exercise I like around the middle of the semester is Thesis Blitz. Students write a current or past thesis statement at the top of a paper, and we send it around the class, so everyone (including the faculty member) and comment quickly. I do this after I have already introduced and discussed thesis statements quite a bit, so this exercise is usually a wake-up call to students. By looking at some better thesis statements, students quickly become exposed to good models. By seeing not so good models, students understand better the importance of the thesis statement. Finally, this exercise has the value of producing a preponderance of evidence. When students see that nine people think a thesis is not specific enough, they begin to take that comment seriously.

Finally, some of my favorite workshops are the ones on style. I usually conduct these between drafts two and three of a paper, but they can work any time. For these, I use the work of students long graduated to illustrate style concepts, such as clarity, coherence, emphasis:
Finally, some of my favorite workshops are the ones on style. I usually conduct these between drafts two and three of a paper, but they can work any time. For these, I use the work of students long graduated to illustrate style concepts, such as clarity, coherence, emphasis:

Click here to read more

I’m heading back to our Annual Writing Retreat tomorrow, to talk about Syllabus Building and Assignment Sequencing again. My top three points for this presentation are:

  • Start at the back end, and know your goals.
  • Build forward, adding challenges and difficulties to achieve those goals.
  • Make your pedagogy transparent to your students.

Last fall, I followed this last advice to the extent that I shared part of my presentation to the faculty with my students and discussed with them the way I structured the course to achieve specific goals.

In an optional journal entry, some of my students discussed whether or not we had met our goals. Here is one of my favorite comments:

We achieved all these goals! Wow, we did learn a lot in this class, didn’t we? In retrospect, I am so glad I got into this seminar and wrote/revised papers every week because they really shaped me as a writer. We achieved Goals #1, 2, 6, and 8 through posting online discussions, Goals #2, 3, 4, 5, and 7 through writing papers, and Goal #9 through participating in class discussions and giving oral presentations. I definitely learned how to compare and contrast between the novel and the film and to compare three different things in a paper. We all did an awesome job in our digital media projects, and of course, after Jane Austen dance dinner, we can call ourselves dance masters :)

Syllabus for this course is here.

If you attended my session at the CCCC in NYC this March, you might like to see more about the assignments for my course. Discussions and papers will not be open to you, but you can check out my syllabus and assignments.
Here is the Movable Type Blog I used to communicate extra information to my class.
I, also, used a class management site, SEGUE, which is Middlebury’s home-grown course management tool. It’s actually quite a robust program, and allowed me to stream in a del.icio.us feed as an RSS feature. I love this feature, and I’ve used it for other classes, too.

To protect their privacy, I do not have links to digital stories done by Writing to Heal class, but here are links to digital stories done by some of my other classes.

I blogged about my Writing to Heal class last year when a high school class visited Middlebury. You might be surprised at what happened.

I’ve included some sources that helped me prepare my course:

Anderson, Charles M. and Marian M. MacCurdy (ed). Writing and Healing. Illinois: NCTE,     2000.
Ballenger, Bruce. Beyond Note Cards. New Hampshire: Boynton/Cook, 1999.
Center for Digital Storytelling
DeSalvo, Louise. Writing as a Way of Healing. Beacon Press,     2000.
Pennebaker, James. Opening Up. New York: Guilford Press, 1990.
Rico, Gabriele. Pain and Possibility. New York: St. Martin’s Press, 1991.

Click here to read more

Midterm evaluations are the optimum teachable moment, and we should think hard about what the process of those evaluations teaches our students.
At the midpoint of the semester, I have my students’ complete attention because they believe there is still time to change their fate, and so I take that opportunity to push, to poke, to prod, to encourage, to set the bar higher, to inspire, and sometimes, to frighten if necessary.

The first step in this process is to increase students’ self-awareness of their progress and achievements during the semester and at the same time to encourage them to be self critical about their work. To this end, students hand in a midterm portfolio, which includes a written self-examination of their progress in the past semester and of each major assignment they have completed.

Assessment Questions
• What have you discovered about yourself as a writer so far this semester?
• Which of the following have you found helpful: (workshops/online journals individual conferences/blog/class discussions) so far, this semester?
• Which particular techniques and strategies have you found most useful? Why?
• What are your strengths as a writer?
• Where are you still struggling as a writer?
• What are your goals for yourself as a writer for the remainder of the semester?
• How will you achieve those goals?
• What have you learned from the experience of preparing your midterm portfolio?
Assignment Questions
• What changes have you made on this paper from draft to draft?
• What did your peer editors suggest?
• What did your peer writing tutor suggest?
• What did I suggest?
• What have you learned from working on this paper?
• What would you still like to work on in this paper?
Assessment Questions for digital media project
1. Title of your digital story: _________________________________________________
2. Exact name of folder and file of the final version of your project:
Folder: ________________________ File: _________________________
3. Which section of Jane Austen’s Mansfield Park did you choose? Why?
4. What did you discover about the novel (or your section of the novel) from creating this project?
5. Why did you choose the visual images that you used in your piece? What did they add to your project?
6. What music did you choose? Why? What did it add to your project?
7. How did all these elements (voice-over, music, visuals) work together? How did they influence each other in your final project?
8. In a paragraph or two, describe your work process for your digital story. Include:
a. Who helped you?
b. How did you start your project?
c. What was the most frustrating aspect of this project?
d. What was the most fun aspect of this project?
e. What did you learn from doing this project?
f. What advice would you give a student starting a digital story?
g. What would you change in your digital story if you hand more time (and/or more technical knowledge)?
9. If you somehow forgot to cite the source of any music or visual images in your digital story, please do so now:
10. Write a no-more-than 75-word introduction to your project that will introduce it on our site.
11. You will receive one combined grade for your digital story, for your oral presentation, and for your analysis on this sheet (10% of your total grade). Realistically, what do your think your grade should be for this project? Why?

An important part of students’ self-examination entails their setting goals for themselves for the remainder of the semester. In this way, students begin to assume ownership of their progress and success. If time permits, I’ll use part of the class on the day the portfolio is due for class discussion about challenges students faced in the first half of the semester and goals they have formed for the remainder of the semester.

As I begin my part of the midterm student assessment, I question how much I’m assessing what I have actually taught that semester as opposed to assessing what skills my students had before they walked into my class. My aim is to have students’ grades reflect the former.

After I have finished my written assessment and graded assignments, I arrange for an individual conference with each student. We start that conference with the student’s self-assessments, move on to graded work, and conclude with goals for the remainder of the semester. My goal is for students to leave the conference excited and ready to approach the remainder of the semester with renewed energy and determination.

Click here to read more




austen dancing

Originally uploaded by mebertolini.

This fall (and last) I hosted a Jane Austen Dinner Dance for my first-year seminar (FYSE 0144), Jane Austen and Film. I used my Atwater Commons money to mount each event. In each case, I invited another Atwater Commons FYS to attend (and use its money) for the event. Both dancing and food play an important part in Jane Austen’s novels. In fact, the marriage prospects of Austen’s characters often depend on their willingness and ability to dance, so the experience of dining and dancing as Austen’s characters do enabled my students to better understand both Austen’s characters and their milieu.

I used my FYS funds to hire an expert on English country dancing. You can see pictures from the two events here: (F06) & (F05)

The dinner provided by catering consisted of authentic Regency recipes, many form the Jane Austen Cookbook. Each dish on the menu, also, paralleled a quotation from an Austen novel. The green tablecloths reflected our Atwater Commons affiliation. Here is our menu.

Here is a short i-movie I created for my students with pictures and video of this year’s event: Dance i-move.

At the end of the semester when students chose individual research topics, several chose dancing or dining in the Regency era.

because tomorrow morning is my last class with my first-year seminar. I love this class–their enthusiasm, their willingness to learn, their exuberance, their concern for each other, all of these things have made showing up to class, to films, to conferences with them—fun!

I’ve thrown papers and drafts at them, oral presentations and digital media projects, Regency Dancing, and even electronic journals before classes began, and they constantly exceed my expectations.

When I finished my practice teaching (about 35 years ago!), I lamented to my mentor that I would never again have a class like them. She wisely told me that I would have many wonderful classes, and, of course, I have had wonderful classes since, but I never had that class again, just as I will never have this class again. Tomorrow’s class will be bittersweet. I’ll have to console myself with their final papers!

At ten o’clock at night in the second to last week of class, I feel as bone-tired as my bleary-eyed students. Strangely, though, I cannot wait for my Friday class. Why? We play SENTENCE CLINIC tomorrow.

Write down two sentences from your paper or journals we will discuss today:

1. A sentence that you think worked well, one that makes you feel proud (Why do you like this sentence?)
2. A sentence that never quite worked, one that we will look at in the sentence clinic (Why do you think this sentence does not work?)

Tonight, chuckling to myself, I devour their responses. They LOVE their good sentences, and they know exactly why they are good: flow, analysis, emphasis, brevity, strong verbs, complexity, and clarity, precisely capturing an idea. My students revel in their best sentences. They have worked hard all semester, draft after draft, paper after paper, workshop after workshop, conference after conference, and their pride shines as they write:

I think this sentence perfectly demonstrates how succinctness, brevity, and lack of “to be” verbs creates a coherent, flowing, sentence.

Additionally, it does not contain any code words like important, vital, essential, etc; it rather specifies what makes the situation so.

I like it mainly because it took me a long time and a lot of effort to get it to sound quite right. I think it flows well, doesn’t include any “to be” verbs, and lays the outline for my paper perfectly. It’s a complex sentence and expresses specifically everything that my paper will talk about. It addresses the characters directly and gives specific proof.

This is also a sentence where I am “analyzing,” and we all know how important analyzing is (especially with Mrs. B!)

I think this sentence flows and I like the content conveyed in it.

It is the final sentence of one of my body paragraphs from my P&P essay and I think it brings the paragraph together really well with good grammar and no “to be” verbs.

I like this sentence because it is my first ‘love it’ from Mrs B. The sentence itself is not very extraordinary except for six words that I used within it to describe Elizabeth’s feelings for Mr Darcy.

But, oh—they loved to hate their bad sentences so:

First of all, there’s a dangling participle. The second clause of the sentence is placed next to “talents” but it isn’t describing talents, it’s describing Mr. Woodhouse’s behavior. Secondly, it contains a “to be” verb (“all that is good”). It also, begins, instead of ends, with new information. And finally, I just don’t like the way it sounds.

This sentence is bad because the known information should be at the beginning of the sentence, but it’s not.

The structure of this sentence and its resulting length render it unclear and awkward. . . The ending of the sentence seems so wordy and strangely ordered that it just does not sound harmonious when reading it out loud or to myself.

First of all, semicolon. Second of all, my participle doesn’t agree with the whole sentence. Third, I wrote pretend and intend in the same sentence. Re-reading this, I was wondering what I was thinking. This sentence needs to go to the sentence clinic.

Not counting their summer journal, they post their 22nd journal entry tonight on SEGUE before midnight. Tomorrow, we will tackle the sentences that have arrived bruised and bleeding to the clinic, but as I read the online journals tonight, I marvel at both how much my students have learned and how playful they can still be at this point of the semester. As I sit here, with the computer warm in my lap, I wait for each entry to drop until all fifteen have responded by midnight. Their on-line entries motivate and challenge me. In less than twelve hours, the sentence doctors will show up for class, and I can’t wait to teach them again.

Building a Better Beginning

Teaching a first-year seminar affords faculty the opportunity to explore their interests and expertise and to connect with first-year students in a way usually associated only with senior-level work. Part of the challenge of teaching a first-year seminar is balancing the seminar’s distinctive blend of subject matter, writing instruction, and advising. As faculty members teaching these courses, we often struggle to find the time to fit together the content we love, the writing goals we know are essential, and the advising moments vital to the academic lives of our students. The trick to finding the time for so many worthy goals is not to have the three aspects of the seminar compete with each other, but rather to have them work together. For the last two years, I have found a way to begin to do this even before a single first-year student has arrived on campus.
As advisors, first-year seminar faculty get to know their students well in a matter of weeks. I wanted to speed up the process and get to know my advisees before they came to campus. Thanks to Middlebury College’s own course-management tool, SEGUE, the students in my last two “Jane Austen and Film” seminars learned about each other, discussed the content of our course, and displayed their writing skills on line before they packed their bags and left home.
Because of the ease of the SEGUE interface and because most of the entering first-years are computer savvy, my instructions for entering the on-line discussion were brief:
Log onto our segue site with your Middlebury user name and password. Once you are on the Segue site, click on Summer Assignment, click discuss, and then new post, and then you can type in the box or upload a file with your response. After you have responded yourself, check back and try responding to two other students’ responses.
In early August, I wrote to my students (both by e-mail and by snail mail), and asked them to respond on line to four questions before they came to campus, and to respond to each other’s answers before they came to class. The questions ranged from academic to personal. Here are the questions I asked this year:

1. Tell us what you know about Jane Austen. Do you know anything about her life or when she wrote? If you don’t know anything about her, that’s fine–just say so. Why was Jane Austen & Film one of your first-year seminar choices?
2. Which novels by Jane Austen have you read before? Did you read them in school? On your own? As part of a book group or club? If so, which of the novels did you like best, or find most entertaining or provocative? Why? If you have never read a Jane Austen novel before, tell us another novel that you like or that you have found entertaining or provocative, and why.
3. Have you seen any of the film adaptations of Jane Austen’s novels? Have you seen any modern film adaptation of Austen novels, such as Clueless or Bridget Jones’s Diary, or Bride and Prejudice? If so, which did you like best, or which did you find most entertaining or provocative? Why? If you have never seen an adaptation of a Jane Austen novel, tell us another film that you like or that you have found entertaining or provocative, and why.
4. Now tell us a bit about yourself. Where do you come from, and how did you end up coming to Middlebury? How would a family member, close friend, special teacher or mentor describe you? What are some subjects you want to study at Middlebury? What are your interests and passions outside of class? What do you wish you could bring with you to Middlebury that you cannot bring? Tell us anything else you want about yourself that will help us get to know you better.

The three-week electronic discussion that followed these questions revealed students’ prior knowledge of Jane Austen and prior knowledge of film and novel genres as well as their academic aspirations and personal interests. From across the country and around the world, my students debated the merits of the 1995 and the 2005 film adaptations of Pride and Prejudice and vowed to attend each other’s games and to debate each other about politics, the NFL and Keira Knightley’s performance when they hit campus. While students posted with each other, I wrote to them on our course blog, where I was able to track them checking in on our blog from across the globe. ja6map.jpg
This year, reading my students’ comments allowed me time to make changes in my syllabus and move some of my film showings around because I knew which Jane Austen novels most of my students had read in advance. My students’ 59 summer posts helped make our class a community before any of us met face to face. Now that we have put faces to names, our discussions about Jane Austen, writing and life continue in the classroom, in my office, over a movie, in the dorms, and yes, they continue on line, too.


crocus

Originally uploaded by mebertolini.

I’ve been thinking lately about why I let three months go by without posting here. One reason is that I was preparing for and have since been teaching a course in Writing to Heal. I keep asking myself how I can write about teaching this course without violating my students’ privacy–as if even my pedagogy in this course should be secret. Ironically, I’m always harping about the benefits of transparency in teaching, but whenever I teach this course, I’m super-conscious of the trust my students place in me and what I owe them in return for that trust. I’ve developed protocols about what information is public and what information remains private in this course. I have a Movable Type blog site were I post changing and very general information. Connected to this site, is Middlebury’s homegrown course management site with pages I can open and close to the public. Any reader on the web can see my course description, syllabus and weekly assignments.
No one but my students and tutors can see our on-line discussion and drafts of my students’ papers. Given all this, perhaps it may seem completely contradictory that I threw the doors of my class open on workshop day to 30 high school students and two of their teachers. I did not plan on opening my very private class in this way, but circumstances often lead us down unimagined paths.

For the past three years, some of my Peer Writing Tutors have had an on-line. tutoring relationship with students from Ticonderoga High School in upper New York State just across the lake from Middlebury. Teachers and students planned a trip to visit Middlebury to meet some of their tutors and other Middlebury College students. Most of the time they could visit in the morning coincided with the time of my Writing to Heal class and the workshop on our second paper. I wondered if a few of my students would mind modeling their workshop for the Ticonderoga students. I brought up the subject tentatively in class and followed up with an e-mail to all the members of the class in which I gave students the opportunity to workshop their papers in a private location if they did not want to workshop their papers in front of the visitors. I hoped that of my sixteen students that, at least, eight might volunteer to read their papers aloud and workshop them for the Ti High students, but all sixteen agreed!
To accommodate our thirty or so visitors, I moved my class to the Center for Teaching, Learning, and Research in the Library. My sixteen students formed into four separate workshop groups with six to eight visitors each. As we had done before, my students read their papers aloud and commented on each other’s work by making positive, specific suggestions for improvement. My two class tutors moved between the groups and helped keep the conversations on track. Occasionally, the high school students asked questions or made comments—but mostly they watched and listened as the 18-20 year olds workshopped their papers like pros. My students received a big boost in self-confidence that day, and the high school juniors and seniors caught a glimpse at where they may be headed academically.
One of the reasons I dared to open my very private class to visitors is that they were face-to-face visitors and not on-line visitors. workshop.jpg Anything they heard or observed that day was transitory, fleeting while GOOGLE is forever—or seems like forever. More and more, as I continue to use Social Software and web-based tools for my classes, I feel aware of the future lives of my students and the powerful search engines that will track their on-line past for years to come. Thanks to Middlebury’s course management tool, Segue, I can choose what to open and what to close on our class site. Students can read each other’s discussions and papers on-line, but others outside the class cannot. A reader of this blog, for example, can find the paper topic and worksheet used that day, but will not be able to read my students’ papers. The window for that experience opened a crack for a group of high school students, but the hour has lapsed; the opportunity has closed.




Dance

Originally uploaded by mebertolini.

The semester winds down, leaving behind papers, portfolios, blog posts, digital stories, conversations and memories. Students check out the weather, and hope their planes, trains and rides will take them safely home. or to vacation destinations. The work my students leave behind now sits conventionally in folders for me to grade and less conventionally on DVDs and on live class sites for me to evaluate. In the last few weeks of the semester, I fought desperately agains the urge to add new demands and assignments to my students’ overflowing plates.

At Middlebury, we call the last two weeks of the semester PPZ: the “Professorial Panic Zone” because we want to ADD MORE before the semester is over. Like parents sending children off to college (and I’ve done this twice), faculty want to give the final bits of wisdom, information, evaluation before the door closes and our children or students are gone. Of course, the end of the semester and the car ride to college are the worst times to impart wisdom. In both cases, tired, frightened minds are looking ahead–if they can look or think at all. BG speaks eloquently about the end of the semester burnout when she asks:

Isn’t there something odd about this? Shouldn’t they leave craving the next course, the next opportunity to hang around a bunch of motivated fellow thinkers and work through some relevant, interesting problems together? There’s got to be a better way to end a semester, a more creative, satisfying, rewarding way to move out of a course?

BG pulled a final assignment from her course in order to allow her students more time for reflection. I turned the final week of my course over to my students who gave Research-based oral presentations. They had finished reading the last novel of the course before Thanksgiving, and they wrote the first draft of their final papers two weeks before their final portfolios were due. By somewhat clearing the decks of new work, I hoped to give my students some time for reflection, and for each paper, each digital story, and each portfolio submitted, my students included reflected cover sheets through which they confronted the intentionality of their writing and intellectual choices.

In his “the making of” entry, earth wide moth considers the challenge of tracing narrative of intentionality in his own work;

I have been thinking quite a bit about how things get done, how scholarship gets made, what methodologists want, and where the methodical (as more typically associated with a researcher’s trail) blurs with writing. Furthermore, in light of the recent interchanges on WPA-l, I’m thinking about the limitations of any published monograph to reveal the subtleties of the research and writing that went into it. Yet a conventional model for knowing method~ologies is through inference. Read something likely to have been researched and, from the text, extrapolate. Another model: specific procedural explanations or how-tos (the way to ethnographize, the way to discourse analyze). So what else can we do with method~ology beyond the domesticated regimen (albeit a stabilizing and study-able force) of this is how you do x? What can we do with method~ology beyond the reverse-ordered and confounding in-through-the-exit of method read back through the monograph? Maybe a collection of “the making of” essays that looks back on the production of the project, attends to the special effects, and so on.

I love the “making of” metaphor, he employs here, and I’ve come to see my students’ reflective pieces in their portfolios as a “making of” the semester. The final questions I always ask students on their portfolio cover sheets are

What goals do you have for your writing in the future?
How do you plan to achieve those goals?

Intead of offering my students useless pearls of advice as the end of the semester, I push them in their natural inclination to look ahead and ask them to form their own goals and decide thier own ways to reach those goals. Sometimes I have the pleasure of seeing their goals come to fruition when they take another class with me, when I read their writing on a colleague’s class blog, or when six months later as I make my way across campus they stop me to say “It clicked! I get it!.” Once, when I had given up teaching at the high school level, a student stopped me two years later as I pushed my first-born in her stroller. I hadn’t been able to prevent his dropping out of school, and I’d chalked up my efforts with him as a failure. “Thanks for everything,” he told me. “I went back and finished high school. I just couldn’t do it then.” Remembering his words always helps get me though the PPZ at the end of the semester and gives me hope that even though the semester ends now, the dance of learning goes on.




Dinner Dance

Originally uploaded by mebertolini.

Candles flickered, and tables sported green and white linens for the Jane Austen Dinner Dance. <a href=”Menu items came from foods mentioned in the six major Jane Austen novels:

  • White Soup from Pride and Prejudice
  • French Bread from Northanger Abbey
  • Salmon from the stewponds at Delaford in Sense and Sensibility
  • Asparagus, Apple Tart and Rout Cakes from Emma
  • Negus from Mansfield Park
  • “Too Many Sweet Things” from Persuasion


My students have been reading and writing and talking about Jane Austen all semester. For one night, they dined and danced like Austen too. They learned why Charles Bingley “seemed quite struck with Jane as she was going down the dance” and why Bingley was correct in chastising Darcy for ” standing about by [him]self in this stupid manner” instead of dancing. I hope they did not learn the “misery which a disagreeable partner for a couple of dances can give,” but rather like Fanny Price who although. .

pursued by the ceaseless country–dance, feverish with hopes and fears, soup and negus, sore–footed and fatigued, restless and agitated, yet [felt], in spite of everything, that a ball was indeed delightful.

fysedancing.jpg
My Jane Austen & Film class is a First-Year Seminar here at Middlebury where faculty may elect to have their students live in the same residential Commons (represented by Atwater green in the table linens)> In this case, two Atwater Commons First-Year Seminars (one, mostly girls; the other, mostly boys) met to combine the academic and the residential, and to learn not only by reading and writing but by dining and dancing in English Regency style.

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