ࡱ>  bjbjcTcT 4>>%8/җf3"UUU000uwwwwww8ڜ~w 00 wUU''' UUu' u''9Upq#d`a0җ!tXh#<XX0,\'2000ww':000җ X000000000 : E238 Lesson Plans The following is a collection of lesson plans for a typical course in E238 Twentieth Century Fiction. Since there is no required booklist for teaching E238, these lesson plans will have a general focus whenever possible, only mentioning specific books for example purposes. As a resource and guide, lesson plans can be adapted to fit the specific texts from your classes. All lessons are designed for a 50-minute course. E238 Lesson Plans Lesson 1 (Week 1) Lesson Objectives Students will: Become familiar with the course and each other Understand the context surrounding the course Prep One of the challenges of teaching E238 is the diversity of the students in the class in terms of majors and years, freshman to seniors. Some will have a background in literature, but most will not. They have read Harry Potter and Twilight, which we can consider a base to build on. Still providing some background of the history of 20th century fiction, including what changed between the late 19th century and the early 20th (modernism) can provide a basis for the semesters discussions. Materials Woman and The Sailor Exercise Lecture notes on the course context Lead-In Some students may have prepared for class today by buying the textbooks. This means that many of them are shaking in their seats, alive with the fearful prospect of so much reading. This is good for them. The course will require a lot of reading and there is no reason to pretend otherwise. Still, you can alleviate their fears by assuring them you will be their knowledgeable guide through the intimidating texts. Activities Attendance (5-10 minutes) Distribute and review your syllabus (10-15 minutes) Spend time looking at the document with your students. Discuss the course description, your contact information, your grading system, and key course policies. You might not discuss every single thing in detail; if you don't (and even if you do), remind students to reread the document after class and to email you with any questions or concerns. An Absurdly Brief History of Western Intellectual Thought (10-20 Minutes) The following is a brief outline of possible lectures points you would like to touch on to help contextualize 20th century fiction within the history of literature. While this is not an introduction to a humanities course, some history cannot hurt, especially since intellectual and literary history will find its way into your course in many ways. A lecture touching on these points might provide a necessary foundation, particularly in highlighting the transition from the late 19th to the 20th century. Depending on your teaching style, this lecture can be run with hyperbole, meaning you are aware of how absurd it is to give a lecture of western intellectual thought in 10 minutes. First, there was a big bang Antiquity/Greco Roman Socrates/Plato/Aristotle Forms/Archetypes Poetics Emergence of Christianity Monotheism Appropriation/Audience Fall of Rome Augustine merges Christianity with Platonic thought Thomas Aquinas merges science and Christianity The Modern Worldview Renaissance Individualism ReformationMartin Luther The Scientific RevolutionKepler, Copernicus, Galileo Philosophical RevolutionDescartes, Bacon Science and religion at war? The Modern Mind 20th Century Science victory? Darwin. Industrialization Nietzsche, Marx, Freud Changes to every context Woolf, Joyce, Other Arts Make it new! (Pound) Post modernity Textuality/Appropriation Destabilizing of the central or the emergence of new voices! The Woman and the Sailor (15-20 minutes) The following exercise has two major objectives, both of which connect to course goals: Allows the students to become familiar with each other and working in groups Allows students to see that multiple readings/interpretations of the same text are not only possible, they are indeed welcome Step 1: Distribute the exercise Step 2: Read the story aloud Step 3: Ask students to do an individual ranking of their favorite characters Step 4: Put students into groups of 4 - 5 and a) have them introduce themselves b) have them come to a consensus on a group ranking of the characters THE WOMEN AND THE SAILOR A ship sank in a storm. Five survivors scrambled aboard two lifeboats: a sailor, a woman, and an old man in one boat; the woman's' fianc and his best friend in the second. That evening, the storm continued, and the two boats separated.The one with the sailor, the woman and the old man washed ashore on an island and was wrecked.The woman looked all night in vain for the other boat or any sign of her fiance. The next day the weather cleared and still the woman could not locate her fianc. In the distance she saw another island. Hoping to find her fianc, she begged the sailor to repair the boat and row her to the other island. The sailor agreed, on the condition that she sleep with him that night. Distraught, she went to the old man for advice."I can't tell you what's right or wrong for you," he said. "Look into your heart and follow it." Confused but desperate, she agreed to the sailor's condition. The next morning the sailor fixed the boat and rowed her to the other island. Jumping out of the boat, she ran up the beach, into the arms of her fianc. She then decided to tell him about the previous night. In a rage, he pushed her aside and said, "Get away from me! I don't want to see you again!" Weeping, she started to walk slowly down the beach. Her fianc's best friend saw her and went to her, put his arm around her, and said, "I can tell that you two had a fight. I'll try to patch it up, but in the meantime, I'll take care of you." THE EXERCISE Rank order the following characters from 1 (the person you liked best) to 5 (the person you liked least). After you have individually ranked each person, as a group, you must come to a consensus as to the ranking of the characters. Individual Rank Group Consensus Rank Rank: The Sailor ________ ________ The Woman ________ ________ The Old Man ________ ________ The Women's Fianc ________ ________ The Fianc's Best Friend ________ ________ Exercise Discussion You might take a brief poll on the individual rankings and compare them to the group rankings. Develop some questions for discussion aimed at highlighting differences and how people who read the text differently still managed to get along in a group. You might discover some outliers, like a few students who may have liked the sailor the best, give them a chance to back up their rankings before allowing students to respond. Sample Questions: Were people surprised at the different readings of the text? Did groups have difficulty coming to a consensus? Did anyone have trouble getting his/her voice heard within the group? Why would we take the time to do this exercise? Conclude and assign homework for next class Put the homework on an overhead transparency or write it on the board. 1) Reading: Read James Joyce's short story "The Dead," (BSM pp. 21-59) 2) Writing: Consider the following question and post your thoughts on the Forum: Joyce is famous for the secular epiphany--a sudden flash of perception and insight experienced by characters in literature. We experience epiphanies on a daily basis; it is much rarer that these flashes of insight are taken into account and acted upon in a way which changes our lives. Describe Gabriels epiphany in the story and take a guess as to how Gabriels life will be different after this story takes place. Connection to Next Class Today you have taken care of a lot of "business" and you have prepared students for what they can expect next time. Be sure to tell students what the homework is so they can get reading. Connection to Course Goals. Introducing students to each other and the course prepares students for what lies ahead. Tip. Writing a daily schedule to fit the needs of your particular class can help solidify daily class goals in your own mind, and build connections from one class to the next. Tip. Remember to prepare handouts and transparencies well in advance of your class, so that you are not stuck in a line at the copier two minutes before class! Attendance: Daily writing exercises or quizzes can be a convenient way to take attendance, though a time-tested sign in sheet can really help in a class of 46! Tip. Get students used to engaging in class by calling on them to read parts of the syllabus; this can also help you learn their names faster. Tip. The formality of your introduction will help set the tone for the semester, and remember that it is much easier to become less formal as time goes on than it is to become more formal. Tip: You know what approach will work best for you, so adapt this lecture to fit the way you would like to contextualize the course. Tip: it might be worth mentioning what constitutes the literary canon, and how the canon is dynamic, constantly challenged, expanded and contracted, thanks in large part to developments during the 20th cen. Tip: One of the most exciting things about a course on 2oth century fiction is the chance to show students how drastically the canon changed, with a polyphony of new cultural and gender voices. Transition. Now that we are experts in everything from Plato to Pound, lets take the time to get to know each other! Tip: Group work is an effective way to enhance student learning; it touches different learning styles and takes some of the burden off of your shoulders. Tip: Consider daily writing, both in-class and out of class, a central component of the course. Writing exercises allow students a chance to consider, analyze, synthesize, apply, and reflect, etc. on the fiction they are reading. Tip: Sometimes we look up from classroom exercises or lectures and see that we are out of time. Even when pressed for time, formally concluding a class and connecting to the next class can provide students with always needed clarity.  Lesson 2 (Week 2) Lesson Objectives Students will begin to identify elements of craft (critical approach = formalism) understand some approaches to reading fiction critically Prep Review the major elements of craft in fiction and prepare notes on how to teach elements of craft. This formalist approach is a good way to begin each new text, as it allows students to grasp the changes between texts. It can be disorienting for a student to go from a short story, written from the first person point of view, to a sprawling novel of magical realism with an omniscient narrator. Materials Notes/handouts/overheads on elements of craft Notes/handouts/overheads on elements of craft Lead-In How often have we put down a book of fiction because we just, couldnt get into it? Part of the problem might be that we didnt take into account some basics about the book, like the point of view or the setting. Some books are more challenging in this sense. Often books we refer to as literary are challenging to the way we are used to understanding narrative. Activities WTL (Write to Learn) (8-10 Minutes) It has been said that in all of literature there is essentially only three plots: a) a stranger comes to town, b) someone goes on a journey, or c) a terrible truth is told. Even in our western tradition we see these elements in some of our earliest stories. The serpent arrives to tempt Eve (a stranger comes to town). God finds out what Eve did (a terrible truth is told)! Adam and Eve are cast out of the garden (they go on a journey). Have the students think of the last book that they read, their favorite book, or even the last movie they saw. Can they recue the plot to one of these basic plot outlines? While this is obviously reductionist, it can get students thinking about how to read literature. Lecture on how to read fiction (10-15 Minutes) How to Read Literature Critically How to Read Literature Critically in 6 Easy Steps (from the CSU Writing Studio) Even if you are taking your very first literature class, it is easy to read critically if you follow our 6-step method. But before you get started, always keep this in mind: reading critically doesnt mean tearing a work of literature apart. Instead, it means understanding what the author has written and evaluating the success of the work as a whole. 1) Figurative language. As you are reading, make note of expressive language such as similes, metaphors, and personification. Then consider why the author employs these devices. Heres a brief definition of each term and an example: Simile. A simile is a comparison of two terms and frequently uses the words like or as. For example, in HYPERLINK "http://www.enotes.com/authors/john-steinbeck"John Steinbecks short story HYPERLINK "http://www.enotes.com/chrysanthemums"The Chrysanthemums, he writes of the character Eliza: She crouched low like a fawning dog. The image gives the reader a clear indication of Elizas state of mind as she reaches out to the peddler for acceptance. Literary works are replete with similes, so being aware of their presence and possible meanings will aid your critical analysis. Metaphor. A metaphor is a comparison of two seemingly unrelated subjects. In HYPERLINK "http://www.enotes.com/authors/toni-morrison"Toni Morrisons novel HYPERLINK "http://www.enotes.com/beloved"Beloved, her character Paul D.s pain is expressed in a metaphor: He would keep his heart where it belonged: in that tobacco tin buried in his chest where his red heart used to be. Metaphors are used to give language color and depth and to impact the readers senses. Personification. Personification is the granting of human traits to objects or animals. When Nick in HYPERLINK "http://www.enotes.com/authors/f-scott-fitzgerald"Fitzgeralds HYPERLINK "http://www.enotes.com/great-gatsby/"The Great Gatsby describes the trees in his hometown as friendly, he is giving human qualities to an object that obviously cannot feel anything, friendly or otherwise. But for the reader, personification provides yet another way to understand the authors intent. 2) Structure. Many times an author opts to tell a story out of chronological sequence, perhaps with flashbacks or integrated tales. HYPERLINK "http://www.enotes.com/authors/william-faulkner"Faulkner does this in his short story HYPERLINK "http://www.enotes.com/rose-emily/"A Rose for Emily. The purpose of the nonlinear structure is for the reader to understand, in retrospect, how prior events led to the discovery of Emilys dark secret and how the towns complicity contributed to her death. HYPERLINK "http://www.enotes.com/authors/amy-tan"Amy Tans novel HYPERLINK "http://www.enotes.com/joy-luck"The Joy Luck Club uses flashback and multiple voices in the narrative to create a new perspective on immigration. 3) Influence. For every writer, some other authors work appeals to him or her on some level, whether it is in the lessons learned, the style used, or the conclusions reached. Try to discover who has influenced the author of the work you are studying. HYPERLINK "http://www.enotes.com/authors/herman-melville"Herman Melville dedicated his novel HYPERLINK "http://www.enotes.com/mobydick"Moby Dick to fellow writer HYPERLINK "http://www.enotes.com/authors/nathaniel-hawthorne"Nathaniel Hawthorne. Although the two men have a markedly different style, Melville so admired Hawthorne that he wrote to the elder author: I feel that the Godhead is broken up like the bread at the Supper, and that we are the pieces. If you can trace an influence like this one, your critical approach will be more nuanced. 4) Archetypes. Your critical reading should also include an awareness of archetypes. Like influences, archetypes are things patterned after an original, and many are so common that you often dont need extensive knowledge of the original to appreciate the meaning or intent. For example, Cervantes HYPERLINK "http://www.enotes.com/don-quixote/"Don Quixote is an example of the most notable of archetypal buddy pairs; both the Don and his sidekick Sancho Panza are clueless but essentially well-meaning characters who stick together (even when they'd prefer not to). Friends who rely on one another through thick and thin are a staple of literaturefrom John Steinbecks HYPERLINK "http://www.enotes.com/ofmice"Of Mice and Men to HYPERLINK "http://www.enotes.com/authors/jack-kerouac"Jack Kerouacs HYPERLINK "http://www.enotes.com/road"On the Road. Archetypes often fall into one of two categories: character archetypes and situational archetypes. Along with the buddy pair, common character archetypes include the Christ-figure (Simon in HYPERLINK "http://www.enotes.com/flies/"Lord of the Flies), the scapegoat (Darcy in HYPERLINK "http://www.enotes.com/pride"Pride and Prejudice), and the hero who saves the day (Homers Odysseus or J. K. Rowlings Harry Potter.) Situational archetypes include the quest and the pursuit of an elusive goal, whether that quest is King Arthurs relentless pursuit of the Holy Grail or Frodos search for the ring in Tolkiens trilogy. Another readily identifiable situational archetype is the loss of innocence, such as HYPERLINK "http://www.enotes.com/finn/"Huck Finns evolving racial awareness or HYPERLINK "http://www.enotes.com/catcher/"Holden Caulfields recollection of the harsh realities of adulthood. Initiation is also a frequent situational archetype. In fact, HYPERLINK "http://www.enotes.com/authors/ernest-hemingway"Hemingways short story HYPERLINK "http://www.enotes.com/indian-camp"Indian Camp combines both the initiation and loss of innocence archetypes: Nick, the young protagonist, must be initiated into the world of sexuality by witnessing its most profound productchildbirth. At the same time, he is stripped of any romantic illusions about a womans body. 5) Symbolism. Ah, the most dreaded word for many a reader. What is a symbol and how can you identify one in literature? A symbol typically encompasses both a literal meaning and a figurative meaning. Unlike a metaphor, a symbol is not necessarily a statement: a single word can evoke meaning and become a symbol. Being aware of common symbols in novels will increase your ability to read a work critically. Spring, for example, is often a symbol of renewal; conversely, winter often symbolizes a figurative death. Fitzgeralds short story HYPERLINK "http://www.enotes.com/winter-dreams/"Winter Dreams is heartbreakingly rendered from the outset by the symbolism of its title. We know that the harsh, symbolically loaded word winter offsets the fragility and hope of the word dreams. Other common symbols include lightness and darkness, the Christian cross, the Star of David, and the Nazi swastika. The more symbols you are able to identify, the richer your critical interpretation will be. 6) Read and reread. Resist the impulse to assess a work after you first read it, even if you have diligently completed the first five steps given here. A thorough critical analysis cannot be accomplished until you have reread the work. Group Work on Identifying elements of craft (15-20 Minutes) Have students work in small groups to identify elements of craft. Elements of Craft What to look for Character Who is the protagonist? Are there multiple protagonists? Who are the major characters? Plot What major dramatic questions have emerged? Does the protagonist have a strong goal, along with obstacles (both internal and external) that she is facing? Are there places where conflict is introduced? Are there places where the conflict escalates? If students have read the full text, can they identify crises, climax and consequences? Point of View From whose viewpoint is the story being told? Are there multiple narrators? Is it written from: First PersonI like eggs Second PersonYou like eggs Third Person Limited (close to one character)John likes eggs Third person Omniscient (Unlimited)John likes eggs, and so does Sally, who incidentally hates John and wants to throw an egg in his face. The egg would rather be left alone. Some mix of the above? Consider the narrative distance, or how close to the events the narrator is to the events of the story Dialogue Authors often use dialogue for the more important events in a story. Can we find examples of this? Through the dialogue, are certain character personalities becoming clearer? Setting Where and when the story takes place? In what time frame? How does the place and time effect the action in the story? Tone What is the mood of the story? Use adjectives to describe the tone. Style How is the story dressed? If the story was a person, what would the person look like? Voice What is the storys personality? If the story was a person, what would the persons personality be like? Conclusion and Connection to Next Class As we become more familiar with what it takes to read literature critically and closely, be mindful of the craft, looking for things like symbols, point of view changes, important dialogue, major plot events, like crises and climax, etc.  Tip: Beginning with a close reading is a good way to orient students to a text before introducing more complex critical concepts. WTL Writing-to-Learn: Write to Learns (WTL) are short writing exercises intended to help students collect their thoughts, start a discussion, or reflect on an assignment. Tip: though there are times when the easiest and most efficient way for a teacher to give students information is through a lecture, most lectures can be turned into group work, using clear task representation and directions. Tip: Some students may feel as if this is a review from high school, while some students are hearing this for the first time. It is always a good idea to recognize students prior knowledge and perhaps elevate them with mentor roles to make them more patient as you teach to all backgrounds. Tip: take advantage of the CSU writing studio, which regularly adds to its compiled resources on literature.  Lesson Plan 3 (Week 3) Lesson Objectives Students will Learn the pattern of the heroines journey Learn about identifying archetypes Prep Review some material on psychoanalytic criticism, specifically on Carl Jung, archetypes and the collective unconscious. Materials Notes/overheads/ handouts on archetypes Lead-In As we saw when we learned about reading literature critically, there are two common types of archetypes to look for: character archetypes and situational archetypes. Perhaps we can enhance our ability to identify and discuss archetypes if we look at these patterns in our own lives. Activities WTL (Write to Learn) (8-10 Minutes) The Heros Journey (based on the work of comparative mythologist Joseph Campbell) The Heros/Heroines Journey (based on the work of comparative mythologist Joseph Campbell) The Hero at home: A few days, weeks, months, or years ago, you were sitting comfortably at home, perhaps in your favorite chair, maybe watching TV or playing a video game. But suddenly something changed! Call to adventure: You received a letter in the mail from CSU saying you have been accepted to college. Refusal of the Call: you may have found yourself asking, Why bother? I am really happy sitting in this chair, why leave for the unknown? Answering the call: But something changed and you decided to face your fears, leave your comfort zone, and go to college. Crossing a threshold: So you left your comfort zone and entered college, perhaps with the help of guardians (helpers and mentors). While in college, you will experience an initiation, by navigating a series of challenges (mental and physical), which you will successfully overcome. The most difficult challenge you will face, is your crisis called your Abyss. Once you successfully navigate your abyss, you will be forever changed, finding peace and atonement as you become oriented to your expanded comfort zone. A heroine returns from her epic journey with a new wisdom she can share with the world. Consider the steps of a narrative, marked in bold above, and write your own story. Consider how your story is not unlike some of the other narratives we have read so far, with each character being tested with conflicts. Lecture on Archetypes (10-15 Minutes) Understanding Literary Archetypes (compiled by Nishank Khanna) Archetypal analysis of a work is one of the most common forms of literary analysis. It is easy to understand and use with a little knowledge of the basics. First of all, an archetype is a pattern from which copies can be made. That is, it is a universal theme that manifests itself differently on an individual basis. Swiss psychiatrist Carl Jung believed that these archetypes were the result of a collective unconscious. This collective unconscious was not directly knowable and is a product of the shared experiences of our ancestors. Jung believed it was: Primordial: That is, we, as individuals, have these archetypal images ingrained in our understanding even before we are born. Universal: These archetypes can be found all over the world and throughout history. The manifestation of the idea may be different, but the idea itself is the same. Archetypes fall into two major categories: characters and situations/symbols. It is easiest to understand them with the help of examples. Listed below are some of the most common archetypes in each category. Characters: The hero - The courageous figure, the one who's always running in and saving the day. Example: Dartagnon from Alexandre Dumas's The Three Musketeers The outcast - The outcast is just that. He or she has been cast out of society or has left it on a voluntary basis. The outcast figure also can often times be considered as a Christ figure. Example: Simon from William Golding's The Lord of the Flies The scapegoat - The scapegoat figure is the one who gets blamed for everything, regardless of whether he or she is actually at fault. Example: Snowball from George Orwell's Animal Farm The star-crossed lovers - This is the young couple joined by love but unexpectedly parted by fate. Example: Romeo and Juliet from William Shakespeare's Romeo and Juliet The shrew - This is that nagging, bothersome wife always battering her husband with verbal abuse. Example: Zeena from Edith Wharton's Ethan Frome Situations/Symbols: The task - A situation in which a character, or group of characters, is driven to complete some duty of monstrous proportion. Example: Frodo's task to keep the ring safe in J. R. R. Tolkein's The Lord of the Rings trilogy The quest - Here, the character(s) are searching for something, whether consciously or unconsciously. Their actions, thoughts, and feelings center around the goal fo completing this quest. Example: Christian's quest for salvation in John Bunyan's The Pilgrim's Progress The loss of innocence - This is, as the name implies, a loss of innocence through sexual experience, violence, or any other means. Example: Val's loss of innocence after settling down at the mercantile store in Tennessee William's Orpheus Descending The initiation - This is the process by which a character is brought into another sphere of influence, usually (in literature) into adulthood. Example: Ayla's initiation both into the Clan and into adulthood in Jean Auel's The Clan of the Cave Bear Water - Water is a symbol of life, cleansing, and rebirth. It is a strong life force, and is often depicted as a living, reasoning force. Example: Edna learns to swim in Kate Chopin's The Awakening Group Work on Identifying Archetypes (15-20 Minutes) Break students into groups and have them work on identifying archetypes in the fiction the class has covered so far. Option 1: Provide an archetype handout to guide students as they identify characters and situations. Option 2: Use an overhead or the board as a guide and split tasks among groups, some looking for character archetypes and some looking for situational archetypes. Have groups present their findings to the class. Conclusion and Connection to Next Class Archetypes are one of those themes that will reoccur in this class, and in your lives, if you are paying attention, so lets keep the skill of indentifying archetypes alive as we progress through the semester.  Tip: not only is it important to destabilize common gendered language in a class with post-modern sensibilities, but it is fun to challenge students in this way. Tip: There are no shortage of archetypal summaries on the Internet. I have provided a simple one here, but a more complex and comprehensive list of Jungian archetypes can be easily found or you might compile your own. Tip: Teaching about structuralists like Joseph Campbell and Carl Jung can provide the opportunity to bring up a critical view of structuralism found in post-colonialist thoughtthat westerners develop their own cultural patterns and only see what fits the western template. Connection to course goals: Having students share their group work with the class or take the lead in class discussions hits on the core competencies of reading, writing, speaking, and critical thinking, which fulfils a criterion of the AUCC.  Lesson Plan 4 (Week 4) Lesson Objectives Students will Take a quiz geared towards gauging their close reading and prepare them for some possible sections of the midterm Prep Prepare a quiz Prepare notes/overheads/handouts on Postcolonial thought Materials Notes/overheads/ handouts on Postcolonial thought Lead-In Explain the purposes of quizzes and a bit about using criticism to look at literature. Activities Quiz (8-10 Minutes) Who Am I? 1) Im covered in tattoos and the ladies say Im well equipped for life 2) Everyone expects my speech to be great; I just hope its not over their heads 3) I saw a man executed as a boy and it was like seeing my fate 4) Ive seen so many men come and go they all look familiar to me 5) Though not a Buendia, there is a room in the house named for me Certain quizzes, like this one, have one right answer for each question. Save yourself time by having students exchange papers and grade each others quizzes before collecting them for your records. Lecture on Postcolonial thought (10-15 Minutes) What Postcolonial Writers/Critics do: For this lecture, you might distinguish between what literary critics, including students of literature do, and what writers do. A critical lens is just that, a way to view literature. But creative writers rarely chose critical lenses to guide their writinga didactic approach which creates conditions where most artists cant flourish. They reject the claim to universalism made on behalf of canonical western literature and seek to show its limitations of outlook, especially its general inability to empathize across boundaries of cultural and ethnic diversity. What is meant by the canon (canonical)? Why would it have limitations? Would books like this have been published in the 19th century? They examine the representations of other cultures in literature as a way of achieving this end. A critic might look at books in the canon and point out how cultures are misrepresented. Ethnic characters are there to serve the western characters. And if they are truly good, by western standards, they might teach them Christianity (Robison Crusoe.) They show how such literature is often evasively and crucially silent on matters concerning the colonization and imperialism. The most famous is Jane Austin, whose novels take place during the Napoleonic wars, yet hardly is there a mention of this, aside from possible husbands looking handsome in uniform. How many have read a book published recently that mentions Iraq or Afghanistan? They foreground questions of cultural difference and diversity and examine their treatment in relevant literary works. One of Erdrichs themes throughout has to do with levels of cultural hierarchy. She foregrounds this issue. Lets look for some examples. They celebrate hybridity and cultural polyvalency, that is the situation whereby individuals and groups belong simultaneously to more than one culture (for instance, that of the colonizer, through a colonial system, and that of the colonized, through local and oral traditions). How do we see this one playing out in Love Medicine so far? What about in your own lives? Do you come from a multicultural background, and does it ever cause conflict? They develop a perspective, not just applicable to postcolonial literatures, whereby states of marginality, plurality and perceived Otherness are seen as sources of energy and potential change. The idea of other or Orientalism, Edward Said Beyond the Giant to Power Myths Not just acclimation, becoming white or western, but developing ones own language, or as Virginia Woolf put it, A Room of Ones Own. Group Work on Postcolonial thought (15-20 Minutes) It will more than likely take all semester for these concepts to sink in but by introducing critical concepts, you are providing a foundation for how the students view literature critically. This group activity is designed to expand that critical foundation by having the students rewrite the list of six postcolonial activities above into their own language. Step 1: Put students into groups Step 2: Assign each group 1-2 of the above categories for postcolonial critique. Step 3: Have students consider what it is the category does? Step 4: Have students rewrite the critical action in their own language. Step 5: Have students work in their groups, doing what postcolonial critics do, by having them find examples from the fiction. Conclusion and Connection to Next Class Assure the students that you do not expect them to be expert critics, but as the class progresses, these difficult concepts will slowly become second nature.  Tip: Students actually appreciate quizzes as it keeps them motivated to keep up with the reading and makes them feel proud of the reading theyve accomplished. Tip: A well-designed quiz can gauge a students close reading skills, critical reading skills or both. Be sure that you provide quizzes that do both so you dont surprise them on a midterm or final with new expectations. Tip: While you may not be an expert on postcolonial thought, you are well equipped to introduce the concept. Connection to course goals: Since the course emphasizes the late-century post-colonialist and post-modernist writers, post-colonial thought will most likely be pertinent to the books your class is reading. Tip: At this point in the semester, students may have regular groups. Consider mixing up these regular groups to push students out of their comfort zones and avoid any negative cliques that might be forming.  Lesson Plan 5 (Week 5) Lesson Objectives Students will Learn how to identify types of conflict Identify and analyze types of conflict from the text Prep Prepare notes/overheads/handouts on Characteristics of Native American Writing Prepare group exercise/questions for discussion Materials Notes/overheads/ handouts on Characteristics of Native American Writing Lead-In As we read Louise Erdrichs novel, Love Medicine, its important that we recognize her diverse and often conflicting cultural background (German and Ojibwa), the tradition within which shes writing, and some characteristics within that tradition. Activities WTL (8-10 Minutes) Point of View Exercise: One of the striking elements about the novel Love Medicine is the changes in point of view. Lets step into the author role for a moment, and play around with what it is like to switch point of view. Choose a popular myth, story or movie. Consider the crucial moment of the story and write a few sentences in the point of view of the story being told (Ex: Eve eats the apple, Dorothy meets the Scarecrow, Elizabeth is offended by Darcy). Now in a new sentence, switch the point of view so the story is being told by a different narrator, character, or perspective. (Ex: There I was just a piece of fruit minding my own business, hanging out on the tree of knowledge, when suddenly she came and plucked me right off! How was I to know I would forever change the world, just because some woman bit into me?) Lecture on Native American Writing (10-15 Minutes) 5 Major Characteristics of Native American Writing 1) Influence of Oral Tradition Shared knowledge of myths and events Communal experience Storyteller role Downplay individuality of authors 2) Cyclical Time/Spherical Non-linear circles, every moment related to every other Repeated patterns Space/time spherical, not linear 3) Interrelatedness/Interconnectedness NaturePeoplesAnimals Connections and patterns Wholeness desired over separateness Balance 4) The Role of the Trickster Shape shifters Coyote/Rabbit/Raven Comical Speak truth to power Shake up the normal world 5) Identifying Process Reclaiming images of self No longer represented by Anglos Survival factor different (more at stake) then other minorities Group Work on merging Characteristics of Native American writing with Postcolonial thought (15-20 Minutes) The central themes of postcolonial thought apply themselves very well to characteristics of Native American Writing, in that these voices emerge in the 20th century, telling their own stories, where historically others had appropriated them. Group Focus and Questions for Discussion Group 1: Influence of Oral Tradition Discuss how oral traditions have been marginalized by the western preference for writing Does marginalizing the oral tradition cause us to miss out on an important element of storytelling in fiction? Erdrichs narrative is written, but how does it show elements of the oral tradition? Group 2: Cyclical Time/Spherical The idea of linear time is often said to be a conceptual invention of western thought. How has the Wests preference for linear time marginalized other types of cultural narratives? Does the West have a tendency to ignore cyclical patterns? How can diverse cultural literatures teach us about the importance of paying attention to patterns? Where in Erdrich do we see cyclical time displayed? Is there a conflict in the novel between cyclical time and linear time? Group 3: Interrelatedness/Interconnectedness The western tradition has a history of binary distinctions, separating man and nature, the body and the soul, the forms and the material. How does the idea of interconnectedness challenge and question those dichotomies? How does narrative structure in general lend itself to interrelatedness? How does Erdrichs novel specifically display ideas of interconnectedness? Group 4: The Role of Trickster It would be difficult to overstate the importance of Coyote, or the Trickster archetype, to cultures around the worldincluding the western tradition, though his importance to literature certainly has been marginalized. Trickster in western thought appears more in myth and folklore (Hermes, Prometheus, Brer Rabbit, etc.) Joseph Campbell called the trickster "the chief mythological character of the Paleolithic world." Carl Jung referred to the trickster as the expression of a "preconscious" state. What can Native American Literature teach us about the importance of paying attention to this archetype? Is there a reason western literature has de-centered the Trickster? Is it important to listen to our preconscious state, or are we linearly progressing away from it? Group 5: Identity How has the Native American identity been portrayed in popular culture, (movies, TV, books you have read, such as westerns)? Is there a sense that these are people whose identity lies in the past, like a museum relic? How does Erdrichs novel challenge stereotypical Native American identities? How does it reinforce stereotypes? Is there a sense that these are a people on the brink of extinction, or on the road to recovery from that brink? Conclusion and Connection to Next Class Not only does postcolonial thought inform Native American Literature, and vice versa, but themes of Native American Literature, such as a interconnectedness, inform other late 20th century critical lenses such as Ecocritiscism.  Tip: This lesson is on the surface nuanced to Native American Literature though not everyone will be teaching such a book. A closer look will reveal some important points that can be adapted to other texts. Tip: While this is not a creative writing class, and some students will certainly be challenged by this type of exercise, trying their hand at making craft choices is a great way to have them to think critically about literature. Tip: with literally hundreds of tribes, each with their own cultural identity and social structure, categorizing Native American writing and choosing five major elements is problematic, to say the least. Engage the students in a discussion about this. Tip: On organic teaching. No one knows your class like you do. The best way to use sample lesson plans is to adapt them to fit the needs and themes developing within the context of your class. Tip: Group work can often be challenging for students, who may not be listening when you provide task directions. Be sure to repeat directions, providing task representation hand outs or overheads, and try and mingle with each group right away to see them on task. Tip: The trickster is a fascinating archetype worthy of a larger scope than is available here. For more on trickster, see Lewis Hydes book, Trickster Makes This World.  Lesson Plan 6 (Week 6) Lesson Objectives Students will Learn about five basic conflicts in fiction Prep Prepare notes/overheads/handouts on Characteristics of Native American Writing Prepare group exercise/questions for discussion Materials Notes/overheads/ handouts on fiction conflicts Lead-In Have you ever wondered why there is conflict? If our ancestors faced conflict, if our oldest literature portrays conflict, then why havent we learned our lesson? In other words, why is conflict still around? Activities Lecture on (10-15 Minutes) There are five basic conflicts in fiction (from Bullmans A Guide and Glossary to Writing Fiction) 1. Conflicts between people; what may be called Relationship conflicts. These conflicts occur often in fiction as they do in life. 2. Social conflicts are also common. In these, the protagonist may be pitted against semi-anonymous organizations usually represented by one or more characters. 3. Environmental or Situational conflicts occur when the protagonists main opposition is from something such as the elements, being lost in the jungle, or in space. 4. The more thoughtful literature may be concerned with Inner or Psychological conflicts, where the protagonist is opposed by dark inner feelings or demons. 5. Religious or Spiritual conflicts are concerned with belief, morality, the supernatural and ghosts. Relationship Conflicts Boyfriend/girlfriend Mother/father/daughter/son Wife/husband Youth/age Boss/employee Adolescent/adult Teacher/pupil Lecturer/student Eternal triangle Foreigners/indigenous Neighbors Gangs Social Conflicts Social class clashes Race clashes City life/rural life Institutions Prisons Hospitals Schools/universities Government Work place Slums/poverty Social services Environmental/Situational Conflicts Animals Desert Jungle Mountains Riot Sea Space Storm Terrorism Time Urban/crime War Inner/psychological Alienation Ambition Conflicting duties Envy Guilt Jealousy Love Obsession Passion Revenge Secrets Self-doubt Tedium Vengeance Religious/Spiritual Conflicts Belief/lack of belief/loss of belief Demons Exorcism Ghosts Good/bad Haunting Morality Right/wrong Self-sacrifice Unknown Group Work (15-20 Minutes) Conflict circles. In order to gain a better understanding of the book today, have students create conflict models using something like a concentric Venn diagram. Once these models are developed, have the students analyze the triangles, coming up with their own ideas as to how the conflict began, its weight in the book, ho it could be diffused, how it could have been avoided, etc. Which characters are involved in the conflict? What does each character bring to the conflict? Example:  WTL (8-10 Minutes) Choose one of the conflicts from within the list and write a letter of warning to your unborn child, advising them on how to avoid this conflict in their lives. When the students finish writing, have them share (if anyone is comfortable enough) and bring up the following discussion: We can read about conflict in literature, see it on TV and in the movies, even be warned about it and taught how to avoid it by our parents. But does any of that mean we wont have to go through these conflicts on our own, even the conflicts of our own making, the ones we were warned against? We can read about a character making a mistake, know in our heart of hearts that it is a mistake, and then go out and make the mistake in our own lives. Why is this? Conclusion and Connection to Next Class Understanding types of conflict helps us to read literature critically. It also shows us that conflict is not unique, in life or in literature. What makes a story unique is how a character faces a conflict in any given situation. How the author treats the conflict is of the utmost importance; how its introduced, portrayed and resolved, may be one of the elements that separate literature from popular fiction?  Tip: As this is a more fundamental lesson on how to read literature, this lesson might be better suited for earlier in the semester. Tip: According to recent study of first-year writers at Harvard University, the writing exercises that made the most impression on them came from an introductory philosophy class, which asked them to write personally about moral questionsthe same types of questions philosophers have been grappling with for thousands of years. What can we learn from this study and how can we apply it in our literature writing assignments? Tip: See something missing? Why not add your more conflicts to the list. Tip: It may seem antithetical for literature class to use abstract models, but remember the variety of majors your students have. An activity like this might connect with someones learning style like never before.  Lesson Plan 7 and 8 (Week 7 and 8) Todays sample lesson will combine two classes over two weeks. It will include a task introduction and a follow through, one week later. Lesson Objectives Students will: Chose a topic on the margins of the novel to research and share with the class. Prep You might prepare a brief lecture on research methods, if you havent done so already, so your students dont all Google the same question and find the same answer. Materials Notes/overheads/ handouts on basic research methods. Youll use the dry erase board to come up with topic/issues and put students into research groups. Lead-In Often times when were engaged in a novel questions about context are continually raised: questions such as, what are some of the circumstances that inspired the novels conflict? For example, as we read One hundred Years of Solitude, you may find yourself wondering about the literary technique, magical realism, or what company the Banana Company was based on, or the history of Revolutionary conflicts in Latin American History. Today, we will ask some questions from the read of the novels context and subtext, and over the next week, we will set out to answer them. Activities WTL (8-10 Minutes) Consider the book thus far? What conflicts, themes, subjects, etc. interest you enough that you would like to follow the thread that leads from the book out into the world the book was created in, or now resides? Do a 5-minute free write, trying to come up with as many ideas and/or questions as you can. Getting into groups (10-15 Minutes) Step 1: After students finish their free writing exercise, list the topics and issues the book has given rise to, or the questions that arose, which they want to answer. What do students want to know more about? A good way to keep your list is by categorizing from the more abstract topic to the more specific issue. For instance: Topic Narrowing Issues Inquiry Question  Once you have a pretty good list, you should try and form groups based on topics with similar but different issues, and inquiry questions. You might allow students to pick the topic they want to pursue, in case ideas inspired by generating the list changed their desired inquiry question from their original suggestion. Group Work on Refining Research Questions (15-20 Minutes) Once you are happy with the groups, have students get into their groups and refine their inquiry/research questions so that everyone does not ask the same question. Similar questions are okay, so long as they will eventually lead to different answers. Conclusion and Connection to Next Class Next week, students will return with their research and answers to their questions, ready to share with their groups and the class what they discovered. Lead-In 2 Now that we have gone out into the world, equipped with nothing but eagerness and questions, we have returned with the heroines wisdom and knowledge, ready to share what weve discovered with the class. Group Work on (25-30 Minutes) Allow students to begin by sharing their research with their smaller groups. Have the groups come up with a way to structure a unified presentation to the class. They might first present their topic, provide an overview of what/how they branched out individually from the topic, and the present individual research. Conclusion and Connection to Next Class We will do this assignment again during the next book, so as we begin the new novel, be sure to mark down possible topics for our more in-depth inquiries.  Tip: You may have a better way to form groups, but be sure that each students inquiry is different enough so that he/she is not duplicating research. You might even make your own suggestions to fill any gaps in inquiry.  Lesson 9 (Week 9) Interactive Lecture This lesson can be exciting, in that an interactive discussion guided by your semi-impromptu lecture can take a class discussion to amazing, lively places, reminding us why we became teachers, and how inspiring it can be to talk about literature. It can also be scary, for if it backfires, we are left with quite a dud of a class session. Not to worry. An interactive lecture is worth the risk. With the following tips, you should be able to combine your lecture with a discussion, with few glitches. The reward will be you and your class giving birth to ideas you may not have even considered! You may have tried this type of approach before, only to be met with blank stares, before putting up your overheads and/or PowerPoint and muddling through notes. Here are some reasons for those blank stares: Students know that if they are quiet, you will eventually answer your own questions Your questions are too abstract, with nothing specific for students to cling to Youve asked the question three different ways, creating confusion, not clarity Youre asking a question, but havent stopped talking long enough for them to answer it Youve asked a professorial question, such as, Whats going on in this text? Youre not asking interpretive questions that can be answered in many defensible ways. You may have asked an answered question in one of its many forms (Ex: Doesnt Tomas do this because he is a collector of women?) Youre asking the read my mind question, or youre fishing for the answer in your head. The interactive lecture differs from a traditional lecture in the following major way: Traditional Lecture = communicating knowledge, which means talking about what you know. Interactive Lecture= exploring ideas, but being ready to add lecture points during teachable moments provided by the student driven discussion Lesson Objectives Students will Participate in an interactive lecture which asks them to think critically, but quickly, before responding Prep Prepare notes/overheads/handouts on the major points you would like to cover for the day, followed by some specific follow up questions to those major points. These follow up questions will serve to engage the students, keep the discussion alive. Materials Notes/overheads/ handouts on guiding points for the interactive discussion. Lead-In The point of an interactive lecture is to cover certain points, but not as facts to be presented, rather ideas to be discussed. There are no wrong answers; the point is to keep the conversation alive, by making connections between the novel, the teachers points, and other students responses to those points. Long live the conversation! I have a few points Id like to introduce to you, but then Id like to hear what you have to say about them. Activities Interactive Lecture on Kunderas The Unbearable Lightness of Being (45-50 Minutes) Remember, you have some guiding points, but try not to have an agenda. The interactive lecture is an exploration in which both you and the students are participating. When a teachable moment arises, you might fill it with lectures points, but do not force things to go in that direction. Here is an example using the lecture point of Foucaults Panopticon Gaze in Kunderas Unbearable Lightness of Being. T: What are some instances of characters being watched or spied upon in the novel? Sally? Sally: In the editors apartment, he tells Tomas there might be a bug. Also at his friends funeral, there are cameras. Ben: Also Teresa thinks the engineer may have been a spy who videotaped her infidelity. T: Right, so Sally and Ben brought up points where characters were actually being watched, and werent actually being watched (or may not have been) but where they altered their behaviors anyway, in case they were being watched. T: Options: a) consider this a teachable moment where you can introduce Foucaults idea of the panopticon or, b) keep the exploration going with a follow up question. T: What are the implications of living your life as if you are being watched by an authority at all times? Sally: Its kind of like you believe in God. Conclusion and Connections to Next Class: Today we had a great discussion about even just the idea that someone is watching us can be a powerfully determinant in our lives, consider instances in your own lives this weekend where you behave as if someone (maybe your mother, or your girlfriend) is watching, and how that idea influences your daily decisions. As you consider this in your own lives, continue to look for this in the novel.  Tip: You might provide clearer and more direct task representation for this activity, if you think your students will struggle with creating their own structure to their presentations. Tip: An Interactive Lecture: is well suited to this course, as it allows a teacher to get major points across in a setting where students are responding directly to those points. The trick is to be flexible. If there are points you feel students MUST have, they might be better suited to a traditional direct lecture. Tip: This is not a critique, so much as a lament, since we are all guilty of these mistakes on any given day, even when we know better. Tip: A good questions is a specific question, though not one with a specific answer. Tip: Make yourself vulnerable (ex: share an experience where you didnt have all the answers or made a mistake.) This is a way make students know that they dont have to have a correct answer in order to speak up.  Lesson 10 (Week 10) Lesson Objectives This lesson works particularly well with an author like Garcia Marquez, where elements of both modernism and postmodernism are prevalent. This lesson can be adapted to fit many authors commonly used in 20th Century Fiction. Students will Learn about postmodernism by comparing and contrasting it to modernism Prep Prepare notes/overheads/handouts on modernism and postmodernism? You might find some specific examples of each of these elements working in the book your class is currently studying. Materials Notes/overheads/ handouts on modernism and postmodernism Lead-In We began the semester with a discussion about modernism, the major literary movement of the early 20th century. Much has changed since the modernists, such as Joyce and Woolf, wrote their masterpieces; changes in both creative and critical thinking have led to what thinkers call postmodernism. You may have heard this term in your other classes or around the water cooler. Today lets take a close look at what the term means in 20th century fiction, seeing if Marquez can fit in one particular school of thought. Activities Lecture: What is postmodernism (15-20 Minutes) First, review modernism by displaying the overheads. Next, introduce postmodernism. Garcia Marquez: Modernist or Postmodernist? Modernism A new emphasis on impressionism and subjectivity, that is, on how we see rather than what we see (a preoccupation evident in the stream of consciousness technique). A movement (in novels) away from the apparent objectivity provided by such features as: omniscient external narration, fixed narrative points of view and clear-cut moral positions. A blurring of distinctions between genres, so that novels tend to become more lyrical and poetic and poems more documentary and prose-like. A new liking for fragmented forms, discontinuous narrative, and random-seeming collages of disparate materials. A tendency towards reflexivity, so that poems, plays and novels raise issues concerning their own nature. Postmodernism: Modernism is known for exposing fragmentation in terms of reality, questioning whether there is a fixed form worth considering. Postmodernism embraces fragmentation further. Postmodernists find fragmentation an exhilarating, liberating phenomenon, symptomatic of our escape from the claustrophobic embrace of fixed systems of belief. While modernists seem to lament fragmentation, postmodernists celebrate it. What postmodernist critics do: They discover postmodernist themes, tendencies, and attitudes within a literary works and explore their implications. They foreground fiction, which might be said to exemplify the notion of the disappearance of the real, in which shifting postmodernist identities are seen, for example, in the mixing of literary genres (the thriller, the detective story, the myth saga, and the realist psychological novel, etc.). They foreground what might be called intertextual elements in literature, such as parody, pastiche, and allusion, in all of which there is a major degree of reference between one text and another, rather than between the text and a safely external reality. They foreground irony, in the sense described by Umberto Eco, that whereas the modernist tries to destroy the past, the postmodernist realizes that the past must be revisited, but with irony. They foreground the element of narcissism in narrative technique, that is, where novels focus on and debate their own ends and processes, and thereby denaturalize their content. They challenge the distinction between high and low culture, and highlight texts, which work as hybrid blends of the two. Group Work Have students work in groups to find elements of modernism and elements of postmodernism in Marquez, before deciding if he belongs in the modernist camp or the postmodern camp. You might provide them with a handout, equipped with some direct questions to urge them on. Example: Modernism A new emphasis on impressionism and subjectivity, that is, on how we see rather than what we see (a preoccupation evident in the stream of consciousness technique). Stream of consciousness writers, like Joyce and Wolfe, tried to convey a narrative point of view that displayed a relationship to what goes on in peoples heads. Does Marquezs narration resemble what happens in peoples heads? Compare Marquezs narrator to the narration in The Dead. Postmodernism They foreground the element of narcissism in narrative technique, that is, where novels focus on and debate their own ends and processes, and thereby denaturalize their content. Consider how Marquez ends One hundred Years of Solitude with Aureliano Babilonia deciphering the parchment manuscripts and the very conditions of his death. Conclusion and Connections to Next Class: Reiterate that the point isnt to categorize Garcia Marquez so much as consider how multiple techniques are used in his novel and that various critical lenses can be applied to literature.  Tip: At this point in their development as critical thinkers in literature, it is not important that they remember complex literary theory, so much as they begin to experience it as a lens for looking at the books. In this way, they wont be overwhelmed if they take upper division English classes, as theyll have been introduced to come literary critical thinking. Tip: Engaging students in a critical discussion of this nature allows them to experience the type of arguments that literary critics engage in. Tip: If students are struggling, you may tell them that there is really no right answer. The point to make is to have a discussion and maybe make reasonable arguments based the text.     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