Skepticism and Historical Authority

Reading student work elicits all manner of emotions, but given time and support to do it properly I like it. I had better, given that my basic goal is to deliver a continuous stream of feedback to my students while having them write and revise as much as I can genuinely respond to in a semester.

This cycle offers two advantages. First, having students write regularly gives them opportunities to develop transferrable communication skills that people often use to justify teaching fields like history, but then don’t always actually teach. I like to put substance behind my words. Second, picking up on John Warner’s dictum that writing is thinking, having my students write gives me a good sense of what they are picking up and where I can help.

Today, for instance, I opened a class with discussion of one of their quiz questions from last week where many people uncritically repeated a claim found in ancient sources that one of the Ptolemaic pharaohs started the decline of the dynasty in part because his insatiable lust let him be ruled by his mistress. I pointed out that the way in which the sources (and more than one historian, let alone the students) talk about this make it sound like the problem is that he listened to what a woman had to say, rather than that she and her brother were (perhaps) using her relationship to get wealthy. Thus the entire episode, should we accept it, is about corruption at court, not that a woman was involved in making decisions.

This is a fine distinction, perhaps, but an important one that offers opportunities to inspect our own biases. Moments like this happen quite frequently, and regular written assignments give opportunities to catch and talk about issues that would otherwise slip right by.

Today’s example comes from an upper-level class with a lot of history majors and other interested folks, meaning that there is a relatively high baseline for basic skills and skepticisms, though there still remains a tendency that is more common to intro classes: deference to historical authority.

Students in my lower-level survey courses struggle with source analyses. In part they lack sufficient context, but I think that deference is a more pernicious and deeper-rooted problem, and the only remedy is “more history” (delivered in the voice of Christopher Walken, of course). Students weren’t there, so to speak, and the source was, at least in theory, so the source must be right. So too when they read history books they often default to reading for “how it was” than “what argument is being made,” and then to the professor and down the line. When students are coming from history testing regimes in high school that prioritize factual knowledge and at best the facsimile of an argument, then they have to be taught skepticism with regard to history that might come instinctively to other parts of life. This credulity is a matter of conditioning and experience, not intellect.

I don’t have statistical evidence support this observation, let alone answers, but it strikes me as curious that in an age seemingly defined by conspiracy theories and a resurgence of skepticism of things that can be tested, there is nevertheless a deference to history, a topic that by definition cannot. Even more curious is when “research” begins and ends with Wikipedia, or perhaps worse, when it entails carefully triangulating internet sites that echo each other as sources of legitimacy.

Learning to question historical sources––not to mention claims of historical authority––critically and carefully therefore not an idle pastime, but a critical life skill. Just because someone “was there” doesn’t mean that what he or she produced is accurate. Nor does an appeal to history automatically lend authority to a position, particularly if it is based on shoddy use of evidence. There is only so much that can be done in one class and no school is going to re-write its curriculum around history any time soon, but learning to think this way (skeptically, critically, carefully) is the most important skill a student can take away from any history class.

Form and Content: a note on writing

“Do I have to write in paragraphs?”

I used to receive variations of this question every semester, and I’m sure that I will hear it again from students, often first years, who are deeply concerned about the expectations of an academic essay.

“Yes,” I answer, not because I’m against creative presentation, but because giving the option of using a bullet-point list undermines the hard work of stitching a series of thoughts into a single argument.

Echoes of this frantic question have come back to me in recent weeks, first while reading John Warner’s Why They Can’t Write, and then again when I saw a lament on Twitter about the encroaching tyranny of the listicle as a medium of discourse.

Every format has strengths and weaknesses.

The essay, a medium for which I have a great deal of affection, lays out an argument or tells a story by leading the reader from one point to the next. In the hands of a master the essay is a lyrical medium, but it is not only hard, but also unsuited to all tasks.

A list, for instance, conveys information simply and concisely in the face of tumult and complexity. There is comfort in lists, but they belie fluidity. An example: I have kept one of my favorite novels for years, but between the fogginess of memory and whims of a given day the novel that belongs in the ninth spot of the list changes.

An outline gives the structure of an argument, even if the actual order, at least in my experience, is liable to change in the execution.

The listicle, by contrast, is a cross between the list and the essay. It takes the argument and points of an essay and meshes it with the order and structure of a list. Meatier than a list and more easily digested than an essay, it is perfect for consumption on a mobile device, matched for a fast-paced world.

Good writing is good writing, and the same holds here, but the very efficiency of the listicle also contributes to its forgettability. Where I can rattle off a dozen or more essays that I recommend to people, there is not a single listicle I can say the same about unless I thought to do so while reading it. But I’m also busy, and therefore generally happy to skim through a listicle on any number of topics where I might decide that reading and processing an essay is too much of a commitment.

In the classroom there are any number of ways to cut corners and grade more quickly, but my objective is not speed. Outlines are a nice tool, whether to help students organize their thoughts, prepare a long written piece, or (my preference) part of the revision process, but it is not the same thing as learning how to pull together a complete piece of writing.

Hewing to John Warner’s mantra that writing is thinking, the ability to lead your reader from one point to another is a learned skill that requires repetition, feedback, and revision. In this sense, the very trepidation that my students exhibit about writing is validation for having them write fully-formed essays.

Why They Can’t Write

I just wrapped up my second read for the #PhDSkills project, John Warner’s Why They Can’t Write. Much like I did for The Writer’s Diet, I want to provide some summary thoughts here to supplement the lengthy Twitter thread.

In Why They Can’t Write, John Warner has written a two-pronged manifesto. On one level his target is a system starved of funds, weighed down by folklore, wracked by misguided fads, and ruined by rounds of reformers without experience. It is a bleak picture, and Warner does not shy away from it. Teachers are expected to work miracles, while being expected to take a vow of poverty and to work with inadequate resources. Meanwhile, student performance has remained roughly constant. There are no easy solutions outside a large-scale re-commitment to education, but Warner articulates how these failures undermine his ability to teach writing at the college level.

In other words, it isn’t their fault.

I found this argument compelling, but, as I tweeted at one point in the thread, I am the choir for Warner’s preaching.

In this post I want to reflect on the second prong, lessons from years in the classroom. At its heart, Warner’s advice consists of key ways to reconsider assignments and assessments to bring them closer in line with what we claim to be teaching.

  1. Avoid teaching writing through a list of rules of dos and donts. Rules only work if the students understand why the rules exist.Deprogram students from thinking about writing as mere word-generation designed to pass superficial examination, encouraging them to think about writings as thinking.
  2. Give students agency over what they write.
  3. Find ways to make writing meaningful. For instance, encourage students to write for an audience that is greater than the professor.
  4. Give students the agency to fail, to learn from failure, and to try again.
  5. Don’t require students to write about topics they do not know about.
  6. Approach assignments as activities and unpack the process students need to go through.
  7. Frame assessment in terms of improvement and the next opportunity, not simply justifying a grade.
  8. Remember: writing is hard and students need opportunities to develop expertise

This advice emerges from the comp classroom and some of the specific tips such as to teach “writing experiences” struck me as most useful in that context. Yet, these underlying lessons are broadly applicable across disciplines and Warner includes an oblique indictment of professors in other fields who lament their students’ inability to write, namely that they, too, bear some of the responsibility.

I teach history at a college level and since entering graduate school I have heard history professors bluntly declare that they don’t teach writing. They explain this position by falling back on the claim that history is too big (true) and that students learn those skills in English classes (stretching the truth, particularly since lit professors could similarly pass the baton). The silo approach to academic disciplines is backward on a number of levels; in this case it sets overworked composition teachers up to take the blame for failing an impossible task.

Since I want to put my words into action, I have my students write as much as I can feasibly give feedback on. The methods I use, however, have changed over time and will continue to change.

I particularly have an issue with the pedagogy of the “bluebook” in-class exam, which I see as a concession to scale. As a TA I probably graded a couple thousand of these exams, which usually consisted of an essay (sometimes with the prompt given in advance) and short answer questions from an ID bank. The students came to class stressed and sleep deprived (few people ever took my advice to get a full night’s sleep before an exam) and then dumped anything and everything they knew onto the page as quickly as possible.

On occasion students wrote brilliant essays in this format. These essays received all the validation of a dozen check marks, a high grade and a “Great job!.” More frequently these exams were objectively a mess as the students tried to prove that they had learned, at least for those fifty minutes, the content of the class.

The truth is that I am not interested in what a student can memorize and write down under those conditions. When I got my own classes I resolved that I would not give bluebook exams unless absolutely necessary and I have kept that resolution.

(I also have a few ideas how to modify bluebook exams when the logistics of a large class overwhelm my principles, but I will cross that bridge when I come to it.)

What I do instead is assign a variety of writing assignments. Some have not worked: a book review proved too challenging because students didn’t have adequate context and I am still tweaking how to best have students write source analyses.

Others have been smashing successes in my opinion. I assign take-home exams where my students write essays on big questions in the field. The assignment guide the students receive gives them several sets of prompts (it changes, but usually a set of two and a set of three prompts) and they are expected to use at least one primary and one secondary source to answer the question. I also add some additional advice: these are big questions of the sort that you could write a comprehensive exam answer in graduate school or a book; you ARE NOT expected to address the entirety of the topic, but need to narrow the focus and make an argument on the topic.

When I return the assignments covered in marks about a week later, I summarize the common problems. Students tried to do too much; there wasn’t a clear argument; that sort of thing. I tell them that the notes focus on how to improve on future assignments because the final is the same format. Then I say that if they are not satisfied with the grade, they have an opportunity to revise the assignment, on the condition that they meet with me.

About 20% of my students take me up on the chance to revise. When they come to my office, I usually skim their papers briefly, hand the exam back, and open with the question “how would you improve this essay?” What follows is a 15-20 minute conference where the students and I reflect on their essays and talk about how to improve the next draft.

Some students come back to conference more than once, but students write significantly improved essays after revision across the board. Even more encouraging is that these experiences carry through to the final so while most students improve from the midterm, the ones who revised their midterms improve more.

I also work in additional ways to help students think, write, and reflect throughout the semester, but this exam format is my favorite. Thinking about the points enumerated from Why They Can’t Write, this assignment fits in the genre of historical essay, but in a class where students are developing the necessary subject knowledge. Further, my emphasis is on writing as thinking, not word-generation. Students receive the opportunity to learn from their mistakes and reflect on their process, and my feedback is on how to improve on their writing for next time.

This is by no means a perfect assignment; I particularly want to find ways to give students more agency, other assignments could scaffold to this one better, and, ultimately, students are still only writing for me. But it is a start.

Why They Can’t Write has given me a lot to chew on as I design my syllabuses for the coming semester. I am particularly giving closer thought to unpacking the assignments as activities where “writing the paper” comes only at the end of the process.

And so this choirboy sings, teaching students to students to write is a project that professors across disciplines need to own (see also: the writing across the curriculum movement) and whether this sentiment appeals to you or you remain a skeptic, you should read Why They Can’t Write.

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#PhDSkills is a collaborative project created by Naomi Rendina and Greg Wiker where graduate students and early-career academics volunteer to read and review on Twitter books on teaching and writing. Why They Can’t Write is my second contribution and I am happy to talk about the book further here or on Twitter. I will be back with another review in early February when I tackle Steven and Victor Cahn’s Polishing Your Prose.

The Writer’s Diet

Over on Twitter I signed up to participate in a Teaching and Writing project where members sign up to read and tweet about books using #PhDSkills. I completed my first book, Helen Sword’s The Writer’s Diet, with a lengthy thread. Here I want to jot down some thoughts, most of which is reflected in the linked thread.

Sword pitches The Writer’s Diet as a fitness routine for writing, meant to inspire long-term change through straight-forward advice and exercises. She divides the book into five chapters that tackle five common flaws in (academic) writing: “zombie nouns” (nouns made from adjectives or verbs), “be” verbs, excessive preposition use, excessive adjectives and adverbs, and using “it,” “this,” “there,” and “that” indiscriminately without attention to referents or precision. Each chapter comes with a series of exercises to draw the reader’s attention to these mistakes, to expand his or her vocabulary, and to otherwise improve writing. Similarly, each chapter comes with both positive and negative examples, making it clear that while these are pitched as rules there are exceptions when an author breaks the rules with a specific effect in mind. Shakespeare comes up a lot in these examples.

Reading The Writer’s Diet gave me flashbacks to high school English, but also improved my writing. The advice is not complicated, but it is hard to execute. It works here, though, because you read the book because you want to improve your writing and reading the book forces you to write more mindfully. Certainly as I tweeted about the book I noticed that I paid more attention to my syntax and word choice than usual.

The accompanying test is a useful diagnostic tool that I had some fun with over the past week. I ran a portion of my own writing through the test each day, including two articles published in 2018, my book proposal, a conference paper, and the chapter I’m revising right now. The test is a blunt instrument and every day I found some words that the algorithm swept up that I would have forgiven for one reason or another, but on the whole it provides a snapshot of the words you are using in a given piece of writing.

The elephant in the room about The Writer’s Diet is the overarching metaphor. Sword has fun with her writing and like in Air & Light & Time & Space, she creates an overarching metaphor for the book. In the other book it was a house. Here it is fitness and the body. The fitness part of the metaphor is fine, as is the diet, but when it comes to the test in particular there is a sense of body-shaming your writing. The best writing is lean, the second best is fit and trim, then needs toning, flabby, and heart-attack. Fits the theme, yes. Unnecessary, also probably yes.

The Writer’s Diet is a short, cheap, and effective writing guide, but my lingering sense upon completion is that there are others, including her Stylish Academic Writing, which I have not yet read, that provide as much or more without this glaring flaw.

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The Writer’s Diet is the first book I tweeted about for this Teaching and Writing Group, but is not the last. I signed up for at least one more book, John Warner’s Why They Can’t Write, in mid-January.

I must admit that I have only intermittently been following along with the hashtag, but the founders of the group Naomi Rendina and Gregg Wiker have done yeoman’s work putting the thing together. The main cause of my inattention (other than Twitter and being busy) is that a number of the books have been about dissertation writing—an experience behind me and not to the point where I am advising anyone on the process.

First day fragments

My fall semester begins in earnest today, with the first session for both of my classes. I don’t have a single back-to-school post idea, but rather a bunch of loosely connected ones, so decided to go with a fragmentary format.

“I didn’t get everything done” is a standard lament for academics come late August, bemoaning some combination of the cult of productivity, human limitations, and the difficulties of researching during the school year. I am no exception. I set an ambitious schedule for reading scholarship beyond my immediate research, but only managed to read a handful of books and articles, and a couple of books on teaching.

There are a couple of explanations for this failure. One is that the summer quickly became very busy, with multiple family trips that had less down-time than anticipated, meaning that there was neither opportunity for reading nor for a deep recharge of my batteries. Another was that I taught an intensive summer World History course in June, so much of my spare reading went toward preparing for class. A third was that seemingly every spare moment around these time commitments was sucked up by working on revising my dissertation as a book. My goal for that was to have it under review by the start of class, but I missed that deadline, too. At least I am in a position to meet my revised goal of August 31 for that one…

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There has been a movement in recent years to normalize failure, particularly in academia, leading to people sharing their failures on Twitter over the last week. I mentioned there that I respect the movement, and appreciate the baseball analogy where if you’re a batter and only “fail” (make an out) at the plate six out of every ten times, you belong in the hall of fame. (There are obviously other statistics from baseball that could make that more or less extreme. If you’re a pitcher and batters swing and miss just 20% of the time, you’re incredible, but if that is the percentage of the time you throw strikes, then you probably quit playing in little league.) I respect the impulse to normalize failure because it is inevitably going to happen, regardless of how generous and kind the academy becomes. Everyone is going to experience article/grant/abstract/job/proposal rejections for a host of reasons. Sometimes those reasons are good (the project needs more work), sometimes they are petty, and a lot of the time is a simple numbers game that has almost nothing to do with what was proposed.

My shadow CV includes all of these things, including four article rejections, two more revise and resubmits that were later accepted, at least seven paper abstracts rejected that I can think of off hand, too many funding applications for fellowships and travel grants to count them all. And I am only a little more than a year removed from graduating with my PhD.

At the same time, I found the push to normalize, share, and celebrate failure on social media hard to handle. The main reason is that while failure is normal in the academy, and rejections can be handled deftly with an eye toward improving the project for the next time around, it is also a sign of privilege to be able to reflect on this Shadow CV. It is coming from someone still “in the game”, as it were, and I heard with every round of shares “this is what you *should* have been applying for.” As in, your failures themselves are inadequate because the “stars” fail bigger and better.

Then pair this with the part I left out of my Shadow CV that are the all jobs I’ve applied to without making the long list. The Shadow CV is meant to normalize failure so that people can better overcome the natural fear of it and thereby reduce anxiety, but when mixed with too few academic jobs to go around and the sheer amount of time that applying for them takes, it just exacerbated mine.

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I’m looking forward to teaching both of my classes this semester. One I am teaching my own syllabus for the second time, the other I am teaching as the sole instructor for the first time. I had the chance to teach on my own a little bit during graduate school, but this is my second year of continuously teaching my own courses and reading up on pedagogy, so I am now to synthesize some principles for my classroom.

First Principle: Learning, not grades. I do not care about grades beyond making sure that I have created a reasonable and achievable grade scale for the class. My goal as a teacher is to help students develop practical skills such as writing and the ability to understand the world through critical analysis and synthesizing information. Toward that end, I believe that many common assessment tools that are built for scale are next to useless in actually assessing learning. I design my classes around assignments that require students to develop arguments through writing and that build on each other so that students can show improvement in tasks that are not easy.

Second Principle: Empathy. Students are adults who have a larger number of demands on them than even I did when entering school fifteen years ago. I aspire to treat them like adults with responsibilities, just one of which is my class. College is “the real world” where students are on their own for the first time, and I want to be a mentor/coach/guide. This means having empathy, and encouraging them to take ownership of their education by talking with me when they have a conflict or need help.

Third Principle: Engagement. “Meaningful learning experiences” is a hot topic, though my mother assures me that this has been the key phrase for many decades now. Every class is going to be selective in the material it covers, so I see my job being to give students the tools to learn more and to pique their curiosity to want to do so. This means developing activities and assignments that require engagement, through games, debates, and projects where students take ownership of the material. This has not been the easiest task for me as someone who found history books thrilling in high school, but something that I am committed to improving in my own teaching.

There are others, but these are my first three.

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Without further ado, let the semester begin!

Minds on Fire – Mark C. Carnes

Earlier this year I crowd-sourced a list of teaching materials. Now that the fall semester is imminent, I am finally getting a chance to sit down with the list again in order to prepare for my courses.

The subtitle of Minds on Fire is its mission statement: “how role-immersion games transform college.” The book itself is a manifesto for Reacting to the Past, serving to defend and justify the games developed by the consortium.

Carnes’ core contention in Minds on Fire, and the underlying principal behind Reacting to the Past, is that students are engaged in “subversive world[s] of play” that range from video games to Zombies v. Humans to fraternity events. On the other end of the spectrum “all classes are kind of boring.” The solution, Carnes argues, is to harness the subversive worlds of play toward academic ends; that is, give students competitions and games that tap into their natural inclination for this subversive behavior and get them to do more work without thinking about it as work. Teachers facilitate the games, but then step back and empower the students to take the reins.

After setting out these principals, Carnes dedicates much of the book to laying out the advantages and countering the criticisms of using games in the classroom. There are chapters on how Reacting games teach morality and leadership and spontaneously produces community, things which are often touted as the purpose of a humanistic education or baked into college mission statements. Another section rejects the positivist contention that the past is a fixed stream and that opening the possibility of changing the past undermines history education. In each instance, the philosophical and pedagogical ideas are buttressed by excerpts from interviews with students who went through Reacting courses.

Minds on Fire is a convincing read, though I should say that I went in predisposed to think that as someone who has always balanced a fascination with history books with hours of subversive play. Carnes acknowledges, but also skims past, some courses are not going to be suitable for Reacting games and that not every Reacting exercise will be a raucous success. Nor is there much acknowledgement that Reacting is a radical proposal that seeks to achieve a fairly standard aim: significant learning experiences. Reacting classes, by not seeming like school work, give students ownership over their education and “trick” them into having experiences that cannot be faked or cheated.

There are other means to this same end, but there are also numerous classes where Reacting is a particularly effective way to grapple with issues, and I think it is no coincidence that some of the success stories came from Freshman Seminar or great ideas sorts of classes. I also think that long-running games could be particularly successful in discussion sections as a complement to lectures.

In sum: there were times that this book was too much of a manifesto, but while not every course needs to be a Reacting game, but every course can take lessons from Minds on Fire.

AP World History (Ancient)

The College Board received push back a couple of weeks ago when it announced changes to the AP World History curriculum, making the course begin in 1450. Critics online gnashed their teeth about a number of things, raising the legitimate concern that this would further marginalize the pre-modern world and that the chosen date, such that it meant anything, would default to a Euro-centric world view. The board responded this week by announcing that the new date is 1200, not 1450. Critics gnashed their teeth, albeit also in befuddlement at the seemingly arbitrary date.

(For what it is worth, the College Board’s stated explanation for the date, that it will allow “a study of the civilizations in Africa, the Americas, and Asia,” does check out. Now Genghis Khan, Mansa Musa, and the rise of the Aztecs all fall within the range. 1200 starts the course in media res, but that was inevitable when you put a start-date on a course.)

Reading the College Board’s announcement about the changes, I am of two minds. First, I am sympathetic when they say, based on the feedback from teachers that the current model is unsustainable because they are trying to do too much.

The current AP World History course and exam attempt to cover 10,000 years of human history—from the Paleolithic Era to the present. In contrast, colleges manage the unique breadth of world history by spreading the content across multiple courses.

The announcement is a little misleading when it says what college courses do and do not do—I did have a World History from the beginning of time to 1960 course in college—but, from the other side of the table, these broad strokes courses are incredibly hard to teach. Even “just” teaching a world history or Western Civilization before 1500 is covering a laughably enormous swathe of time, which is also the reason I have no pity for the US history professors who complain that there needs to be another mitotic division of their survey sequence, taking it from two to three courses. It has, however, been my position for a while that if I were made Grand Poobah of History Curriculum, I would invert the current paradigm and only teach the survey courses after students had been exposed to historical methods in specialized courses. The idea here is that by going from the specific to the general rather than the reverse, the students are better prepared to appreciate historiographical arguments and big themes.

The problem with this approach is that it is not scale-able as part of a standard test scheme meant to grant college credit. The situation the College Board finds itself in is quite the bind. It needs a single survey course to stand as a substitute for a college course because fragmenting the courses would neuter its ability to be a standard test and therefore undermine credibility. At the same time, the enormity of the course makes it difficult to teach the material in such a way that prepares the students to succeed at the work asked of them on the test. I don’t love this incentive structure with regard to student testing, but given the incentive structure in college courses I at least understand it. Moreover, in looking at old sample questions, the test itself isn’t bad in terms of the skills it is designed to measure. But it is also a lot. Obviously something needs to change.

This does not, however, mean that I agree with the changes the College Board made. My main issue is the decision to prioritize modernity, particularly because the AP European History, which starts in 1450, has already done the same thing. At this point I could start declaiming, ridiculing the absurdity of teaching a world history course that takes for granted the miracle that is agriculture, that conveniently forgets that Rome laid the groundwork for modern Europe, or that doesn’t bother trying to understand the founding and development of *any* of the world’s major religions. Yes, there are a couple of things that happened after 1200 (or 1400) that are important, but these are all built on precedents and developments that came before.

The college board has put out that it is open to creating a second AP World History (Ancient) course, which, despite the awkwardness of the name (congratulations, Richard I of England, you’re an ancient king!), is a fine ambition. But here is the thing: I am skeptical of how quickly yet another AP course can be developed and instituted, let alone how widely it would be picked up. Things have changed since I was in high school, but when I was coming up I didn’t even have access to one AP World History course, let alone two. I got my start with classes on all things ancient through my Latin teacher. Now I am fortunate enough to teach ancient history to college students and am consistently impressed with how many students from all sorts of disciplines come out to take my classes.

Maybe I am wrong and this interest will prompt dedicated high school teachers to make the second course come to fruition, but in the meantime I cannot help but think of this as a missed opportunity on the part of the College Board. There had to be a change to the AP World History course, but instead of even temporarily erasing antiquity, it should have kept the earlier portions, perhaps as an AP World History (Foundations), and developed (Modern) as the secondary offering.

Pedagogy in the Humanities – a reading list

On the list of things I don’t really have time for, but want to do anyway, is spend more time reading about the mechanics and craft of teaching. I am particularly interested in issues of course development and planning, active learning, student engagement, and assessment. I sent out a tweet for book suggestions and in the first couple hours it was posted more people boosted the signal through retweets than suggested bibliography, though suggestions did begin to trickle in.

It has been about twenty four hours since I sent out that request; here is my reading list so far:

  • Ken Bain, What The Best College Teachers Do (Harvard 2004)
  • Peter Brown at al., Make It Stick (Harvard 2014)
  • James M. Lang, Small Teaching (Jossey-Bass 2016)
  • Marc C. Carnes, Minds on Fire (Harvard 2014)
  • Jay Howard, Discussion in the College Classroom (Jossey-Bass 2015)
  • L. Dee Fink Creating Significant Learning Experiences (Jossey-Bass 2013)
  • Susan Ambrose, How Learning Works (Jossey-Bass 2010)
  • bell hooks, Teaching to Transgress (Routledge 1994)
  • Nancy Sorkin Rabinowitz and Fiona McHardy (edd.), From Abortion to Pederasty (OSU UP 2015)
  • John Gruber-Miller (ed.), When Dead Tongues Speak (Oxford 2006)

Jay Dolmage, Universal Design: Places to Start, Disability Studies Quarterly 35 (2015)

BU Proseminar in Classical Pedagogy, resources curated by Dr. Hannah Čulík-Baird.

This list will be updated. Additional suggestions are welcome in the comments.

Preparing for class and my undergraduate experience

The process of preparing for class makes me try to remember about my undergraduate courses. In terms of specifics, the answer is not much. Obviously I absorbed a good deal of content that I am now able to speak with varying levels of confidence about, but much less stands out about the actual classes.

Take, for instance, the equivalent of the course that I am now teaching—a survey of Greek history. I remember my professor’s opening spiel about the etymology of history and how it comes from a root that has to do with judgement, I remember bantering with a friend of mine who also went on to get a PhD in ancient history, and I remember one of the other students making a diorama from wax sculptures after taking the wax from individually wrapped cheese “cuties.” And some of those memories could easily be from other classes with this professor.

Most of all, though, I remember loving the class (and other classes like it) because the professor gave us room to explore long sections of ancient sources, even to the extent of seeming disconnected and disorganized. In fact, I remember having an argument with a fellow student in a class in another department altogether because this student hated the disorganization, feeling that it meant that she wasn’t learning anything. I vehemently disagreed at the time, which was something of a running theme in a course that had us working in a group for most of the semester. Believe it or not, we actually worked pretty well as a team.

Before laying blame on the professor, though, reflection shows this limitation of my memory is true even in courses with amazing lecturers. For instance, I have clearer memories about my favorite college lecturer declaring that blue exam booklets were the ideal form for writing lectures in, the fact that the Anatolian peninsula is, north to south, the international measurement unit “one Kansas,” and his apologies for the boring but necessary excursuses on medieval agriculture. Or that in the last week of class he never failed to take a photograph with a disposable camera and that I invariably left class every day with an aching hand. That pain and some later sweat ensures that I can go back to my notes if necessary, but, once again, I don’t remember much at any given moment.

I could go on, but there is one particular exception: language classes. The memories are almost certainly just as flawed, but I remember the act of being there, the feel and the look of the book chapters, and all of the things Homer taught to his brother. More to the point, my memories of language courses are clearer regardless of whether I liked or disliked the teaching styles of the professors. I don’t know why, exactly—maybe I found languages more difficult and so the classes left a deeper impression or the way that I learned the languages was tied to the classroom in a way that history never war—but the division in my memories is real.

Obviously I learned facts from these courses that, ten years later, have been baked into the collection of knowledge tucked into the dusty corners of my mind or else that I have forgotten. I also learned note-taking skills, research habits, a critical eye for source criticism, and something of writing. (Less by way of common sense, however, even if one of the professors mentioned above did try to warn me off of graduate school.)

I think about all of this when I am preparing for my own class. My class is just too large to toss the textbook in favor of embracing the glorious confusion of reading sources together, and I feel some responsibility cover a certain number of topics in a survey of Greek history. I tend, therefore, to err on the side of structured lectures with a powerpoint presentation modeled on the US history survey courses that form the large portion of the teaching styles I have seen in recent years. There is only so much that can be covered, so, in this sense, I look to give students a taste along with some tools to learn more.

At the same time, though, I think back to being encouraged to engage in forms of source analysis and informal, seminar-style debate with great fondness. Unstructured though those may have been, they also reflected active learning at its finest. As much as this form of class worked for me, ironically, it often takes a leap of faith for me to try it from the other side of the table (so to speak). I will probably never abandon lectures altogether in a class like this where there are details that I hope will encourage students to go out and learn more, but at the same time I am always looking for new activities where the students can grapple with the primary material together or on their own because, more than the lectures, that is often what I remember being most useful from my undergraduate experience. This experience didn’t do me any favors in terms of downloading and debating historiography for graduate school, but in the more universal tasks of evaluating how a source is presenting the world and challenging its prevailing biases, it is absolutely essential.

(Re)visions and Assignments

Every student paper should be revised. More than once. In an ideal world, that is; in the real world there are problems of scale and deadlines.

Periodically I receive an request from a student to revise a paper in return for extra credit. In the past when teaching in surveys of American history with up to a hundred students at a time, I feel obliged to reject these requests. I would love it for students to revise their papers, but extra credit is not something I can extend to just one student in good conscience and there isn’t enough time in the semester to let every student do this unless it is built into the course. On the one hand, I feel bad about rejecting some of these requests since I am acutely aware of the challenges facing the current generation of college students; on the other hand, though, the requests are framed in terms of getting a higher grade, not in terms of education.

This disparity comes in part from the nature of these assignments. I suspect that nobody has looked at a survey-level essay on the changing conceptions of race in America from 1865 to 1925 as an opportunity to write a brilliant and incisive critique of race in America. Even if the author has a fiery passion for the topic, the prompt and supporting materials don’t lend themselves to it. The disparity also speaks volumes about how courses like this one are treated. They are a grade, not an opportunity to learn about American history or learn practical skills such as writing or rhetoric.

Returning to the nature of the assignments, one-off submission that return marked and assigned a grade lend themselves to thinking about the assignment in terms of the grade instead of in terms of process. I understand the counter argument that history classes are for teaching history and not for teaching writing, particularly in these large survey courses. And yet, history is fundamentally discursive.

This fashioning of history, along with how we remember history, is going to be a point of emphasis this fall when I teach a survey of archaic and classical Greek history. I am going to do this not only because of the recent and not-so-recent appropriations of antiquity for political agendas, but also because I hope that pushing people to think about these issues in a Greek context will make it possible to think about in our contemporary context.

I am also planning some opportunities for my students to revise their work, made possible in large part because of a smaller class size. As of right now the idea is to give an option for students to revise at least one of their assignments for a higher grade, as well as making that type of assignment recur once more later in the semester in order to maximize the benefit for the student. The plan is to have revisions take place in two phases, with the first being that they come meet with me to discuss the assignment, before then making revisions based on both the written comments and conversation. My hope is that in addition to setting assignments that push the students to write a decent amount, adding this (optional) revision stage will meet the students halfway toward thinking about assignments qua grades. That is, maximize the students’ opportunity to earn a higher grade while underscoring that writing (and thinking) is a process that doesn’t happen simply by vomiting words onto a page.