Brandon+Watt

Salutations! My name is Brandon Watt, and I am from Iva, South Carolina. I am currently a Junior attending Clemson University, and am an English Literature and Secondary Education double major. I am a full-time student, involved in America Reads tutoring foundation, and volunteer coach for my hometown high school's Cross Country team. I have always wanted to be a teacher; getting involved in the lives of young people, helping to build up their confidence in their writing ability and shaping their minds to love literature has been my goal. As a future educator, I want my student's to share my passion for words, writing, and communication. I want students to learn the importance of writing and reading, not only in an academic setting, but in their everyday lives as well. I also want my enthusiasm for reading to be a trait I hope to instill in my future students. As an individual, I enjoy the company of my friends and family. I love Disney cartoons, romantic comedies, and the works of Jane Austen. I am a rodent enthusiast, and I have //f////ive// pet rats that I love dearly--all named after country music singers. Some may find my rats to be a strange choice of pet, but I can tell you with extreme confidence that they make better pets than dogs.

=**EdSec 324**=

//Brandon Watt - August 31, 2011//
//Do you think we can teach English and/or literacy for love and wisdom?//

Teaching literacy for love and wisdom is a possible, and incredible, accomplishment. To reach this achievement however, one must embody a complete sense of passion for the subjects of reading and writing, and exude this love in his or her teaching methods. When it becomes obvious how much a teacher loves the subject they teach, I feel students will react in a positive way. Teacher's who immerse themselves in their teaching methods, and find new and interesting ways to connect the material to the interests of their students, will succeed in crafting understanding of literacy in their students. These teacher's will succeed in having students that are proud of their literary accomplishments, and will produce students with a strong inclination for learning.

Understanding the wisdom that derives from literacy is something that can be held in high regard, by both teachers and students. Having the ability to comprehend English grammar rules, think critically, and analyze literary texts are skills to cherish. Obtaining these skills will increase one's knowledge, the ways in which problems or situations can be addressed, and will make for stronger arguments in both academic and nonacademic settings. Understanding how words function, conveying thoughts and emotions in such complex ways, will only further an individual's capacity to learn and appreciation for their literacy. The aforementioned skills one obtains from understanding literacy acts as a gateway to higher levels of intellectual ability, such as philosophical reasoning and debate. Knowing the intellectual power one may receive from comprehension of literacy, teachers should strive to challenge students in ways that push them to think at critical levels, showing student's the benefits and excitement such thinking can reward them.

Above all, literacy can and should be loved by all. To share a true passion for reading and writing, students will grow exponentially as critical thinkers, and choose the sweet escape of literature on more than forced occasions. Teachers should engage their students in fun activities and reading assignments that expose their students to a variety of literary subjects, and in turn teachers will instill a genuine love for literacy in the hearts of their students.

**EdSec 324**

//Brandon Watt - September 7, 2011//
//What is English? Please share in your own words how the field of high school English has evolved over the years. What were the major conferences and/or leaders who have influenced the field. What is it today? Do you think we should change the title of our discipline to Personal Studies? Why or why not? What would you like to see the field of English become in the years ahead?//

Trying to define ‘English’ as a subject I feel is extremely difficult. A great deal of academia, reasoning, and passion is what supports the study as a legitimate field, but what really //is// ‘English’? To attempt a definition, English can be described as the understanding of language, the acquisition of reading comprehension skills, and the development of higher levels of critical analysis thru literature. All of those things are extremely important to the individual, yet sadly English as a subject is misunderstood all too often by the general public.

While unfortunately not held to as much regard as I feel it should, the subject of English has a distinguished history as part of the United States’ education system. Initially the subject was added to our core national curriculum for the means of a ‘national unity.’ (22) This so called nationalist perspective on English as a subject has changed significantly throughout the years. Originally the teaching of English was meant to promote efficient language development and reading proficiency to make progress towards a “national language and a national literature,” (22) but over time the subject has transformed into something much more complex. The Dartmouth Conference held in 1966 saw the first steps towards revolutionizing the subject of English far past just standard lessons of grammar. This conference sought to personalize English so as to make it more relevant to students and intensify the importance of the subject’s foundations. One such reinvention of English convention was the scrapping of English as a means of “national unity” and instead push for a sense of “personal unity.” (25) Instructors of English were hoping to promote “the discipline once seen as serving primarily to constitute a people as a group” into a new constitution of “helping… persons as individuals.” (25)

The Dartmouth Conference was only one stepping stone towards this idealized ‘English.’ In 1987, the English Coalition Conference brought English instructors together again in hopes to reshape the curriculum further. This conference saw a new attitude about teaching ‘literacy,’ emphasizing the importance of what the individual student gets out of the material, and on the individual growth of the student both socially and cognitively. Personally, I appreciate this conference because it helped promote the movement of teachers needing to feel passion for their material and career. This innate passion will make one a better teacher, and better teachers will be more efficient at seeing students to their full academic potential.

Today in the 21st century, the subject of English is still trying to be defined, but has taken steps towards a greater understanding and legitimacy as a field of academic study. English consist of more than just reading and writing – it serves a multitude of purposes that assist any individual along their educational path. One no longer simply reads a novel for class and is told what they have read means; now students are expected to interpret literature personally and argue and criticize what they find in their reading. Students now learn about history through the use of texts from various cultures and times; they learn proper writing style through creative writing and professional writing strategies; they learn how to think critically about various subjects by analyzing literary texts as vehicles towards higher cognitive ability.

Another controversy facing the subject of English is the idea that a better identifier should be constructed to fully convey the components of the subject it attempts to teach. “Personal Studies” is one such suggested title. Personally, I feel that it would not serve well to change the subject’s label to something with the word ‘personal’ in the title. While the subject is (supposedly) taught towards the idea of the individual student’s personal and literary growth, I feel that the label ‘Personal Studies’ make the subject out to be something it is not. It sounds more of a study of the self, something that is self-contained, and seems to elude the fact that the subject is about teaching through the use of literature and writing.

For the future of the subject I love, I would like to see a personal revolution take place within the minds and hearts of the established teachers in the field. I want to see students react positively towards lessons geared directly at their personal growth as writers and critical thinkers, and most importantly, I want teacher’s to feel extreme passion for the English subject and their individual students.

=EdSec 324=

** http://edsec324.wikispaces.com/Brandon+Watt **
//Brandon Watt - September 13, 2011//

//What is meant by the evocative dimension of a literary transaction? Explain what this is and give examples. Then, begin to imagine at least two ways that you could encourage the evocative dimension within your future English classes. Do you see any evidence within the field that the evocative dimensions is being encouraged within literary transactions and instruction? Please share.//

'Evocative' is a strong adjective, meant to imply a sense of production or calling. To use the word in a sentence you could say: The food was evocative of Mother's home cooking. The word draws out a certain sensation within someone, allowing connections to be made between anything. As is the case with literary transaction when addressed in an evocative manner; it simply means that students make connections between the texts they are reading and to things they find personally or culturally relevant. More formally it can be described as, "the essence of inquiry: the intensely personal is connected intimately to the material at hand, and this is connected back to the world." (78) As a teacher, it is our jobs to always be aware of the way our students address literacy. Simply unloading all the information on students with no prior set-up will produce unfavorable results. This is why teachers must imply strategies like frontloading which introduces students to a new unit of literacy in small steps, but does so in a way that makes the unit relevant to them. For example consider a lesson on Shakespeare's //Hamlet//. You would frontload the lesson by asking students to think of what family means to them, or ask the students to think of what betrayal means to them. Once your students have had adequate time to consider these topics, have them present their thoughts. Ask them to make connections by finding clips from family sitcoms or songs that represent their feelings and present that to the class as well. With these connectors in mind, you as the teacher can now begin to delve into //Hamlet,// and you will now know what things to address within the story for better student reactions. You as the teacher can now make the experience of what would otherwise just be another arduous play to the students into a fun, evocative learning experience that focuses on what the students want to feel and learn.

After studying the fine art of classroom instruction I must say I am extremely interested in the concept of 'frontloading' and applying it the literary transaction. Personally I feel that by mastering this concept we as teachers will become better instructors and "much better off proactively frontloading instruction and preparing students for success then reactively trying to correct and save a failed attempt." (80) If we are better prepared and more conscientious to our teaching strategies the result will be improved classroom success. Thinking ahead, I would love to apply these strategies to my classroom. The studies show that frontloading is an appropriate method to improve student learning, and my job as a teacher is to do everything within my means to see that they do in fact receive the best possible education. I could see myself encouraging this method by asking students to make connections between the texts we read to their lives; whether it be their family life, their hobbies, or their favorite foods is up to them. Any sort of connector -- as long as it is school appropriate -- would suffice, and would ultimately benefit the students' willingness and ability to learn. I also can see myself incorporating multimedia into my classroom. If I'm teaching a lesson on 'humor' and need to define for my students the differing types of humor in literature, I would show various video clips of the humors being enacted. The visual feeding into the literary world would increase their interest, and if the students find the video clips to be funny and personally relevant, that would be an added bonus!

Thus far I have not seen these //evocative dimensions// within the field. I have started my field experience, but so far I have only observed teacher-to-teacher interactions and the construction of lesson plans during my assigned teacher's planning period. During my assigned teacher's planning I was given insight on her methods of developing grade-level and academic-level (for the overall class and on an individual student basis) plans that presented the class material in an appropriate manner. One of the lessons she has planned for an upcoming English III American Literature class is having her student's come up with their 'Native American names.' Her class will be studying Native American literature and myths, and she plans to introduce the material by first "baby-stepping" her class into the material by having them do what she calls "fun work" by naming themselves and making Native American masks. This type of work represents the frontloading of material, and I believe fits the qualifications of the evocative dimension of literary transaction. I hope during my next observation to see this lesson plan put into fruition.

** http://edsec324.wikispaces.com/Brandon+Watt ** //Brandon Watt - September 21, 2011//
 * EdSec 324 **

//Do you agree with the Harold Brodkey quote at the beginning of Chapter 5?// //“Reading is an intimate act, perhaps more intimate than any other human act, I say this// //because of the prolonged (or intense) exposure of one mind to another.” – Brodkey// //As you think about this quote, please reflect on how the Connective Dimension of the Aesthetic, Transactional Response relates to it if at all. Please share at least two ways that you might encourage your future students to connect to the implied authors of texts. Are you seeing examples of ways that English teachers help students connect to authors? Please share.//

I definitely agree with Brodkey’s statement, for his choice of calling reading an “intimate act” is such a spot-on description. When I am reading, I feel like I have been granted access into someone else’s mind. Like a close secret between friends, I consider myself fortunate to be trusted enough as a reader to be granted audience into the events and thoughts of the character(s) of the story. (Wow, that sounded ridiculously overdramatized, but I do feel it is a valid statement). In that sense, claiming it to be the “more intimate” of any human act seems like a daring claim, but still I feel inclined to believe it as so. Brodkey is right in his justification, asserting that due to the intense nature of the experience between “reader” and “read,” that this is a highly personal interaction. Reading is about spending time with the text in question, analyzing and dissecting it for better understanding or enjoyment. What could be more personal than that?

In relation, I do feel that qualities of the “connective dimension” (specifically, the “aesthetic”) fuel Brodkey’s quotation. This idea evokes the thought that “personal reflection”(99) must be enacted from readers to fully accept the intimacy and understanding of literature. This is honestly something I have never thought of before. That for literature to be appreciated and understood, readers – and in this case students – must have: a willingness to learn, make connections between what they read and themselves, and find a form of beauty in the meaning of the text. It all seems so innate to me, but as a self-proclaimed literature-lover, that is understandable.

Furthermore, reading is an intimate process because it allows for insight on not just the characters, but on the author of the text. As a future teacher, I plan to demonstrate the importance of making connection to the authors of the texts I assign. For instance, when reading James Baldwin’s //Giovanni’s Room//, I found myself riddled with questions such as: “What does it mean to be an American?” “What does race and sexuality have to do with defining a citizen?” and “What is a more deep-rooted concern, race or sexuality?” These are just a few of the questions I myself have pondered while reading this novel, and they are some I could pose to a classroom. These questions would make excellent prompts, because they would challenge my students to consider the feelings of the “ostracized other” – like Baldwin’s character David, an American who never felt he had a place in any community, American, black, or homosexual. This would lead to a new way of reading the novel for the students, and then would segue them into making connections with the troubled author. Another great novel to study for implied author relationship would be Fitzgerald’s //The Great Gatsby//. This would allow me to show my students a text where the subject character and the author so closely relate – fascinated by the American Dream and obsession with aestheticism. This text would allow me to garner the class towards topics such as “What is the American Dream?” or “Does being American mean you must be worldly and materialistic?” (much like Gatsby and Fitzgerald).

In my field experience thus far, my teacher has been covering a unit on Native American literature, focusing on legends and the importance of oral tradition. This unit is centered on cultural appreciation, and thus has been more existential in nature, posing questions about the history and importance of Native American culture, as opposed to the specifics of the texts themselves. I would not say that she is pushing the issue of “implied authorship” since the reading material she is covering is based upon oral tradition; however, given her years of experience I am sure I will see a form of this strategy used at some point within the given future.

** http://edsec324.wikispaces.com/Brandon+Watt ** //Brandon Watt - September 28, 2011//
 * EdSec 324 **

//After you have read and reflected on "The Reflective Dimension" of the literary transaction, please share how you would encourage the entire literary transactional approach (guiding students through the evocative, connective and reflective dimensions of the literary meaning-making process) for the book Posted! No Trespassing! that you were given in class. How could you begin to develop a unit that would help students connect their personal experiences to the text? How would you help them make connections with the author, the zoology professor at Dartmouth, Professor Griggs? Then, how would you help them use the wisdom they have accrued to transform their worlds? How will you help them "live more artfully and meaningfully in the real world?" Elaborate as fully as you desire. I'm eager to read what you have imagined! Also, don't forget to share ways that your cooperating teacher or other teachers are encouraging the reflective dimension in their literary studies.//

To begin my instruction on a ‘Nature Unit,’ I would frontload with asking my students to make a mental image of what they consider to be ‘nature.’ I would give no lead-on examples (specifics to animals, trees, mountains, etc). I then would have my students draw–to the best of their ability–the image they considered, accompanying their picture with a brief description of why they believe their image represents what ‘nature’ is.

Once all my students have presented, I would then begin a short lesson on ‘man vs. nature’ type literature, and then ask my students if they know of any examples. I would read an excerpt from Gary Paulson’s //The Hatchet//, which would allow the students to get a clear example of what this type of literature suggests. Since Dr. Griggs makes references to Thoreau’s work, I would also feel inclined to tell students background information of the late Transcendentalist, ending the point with another type of ‘nature literature,’ one of which man and nature are not opposing forces, but instead allies to be understood and appreciated. After I have presented both of these points, I will ask my students to keep in mind what type of literature that they would categorize //Posted! No Trespassing!//

As Dr. Griggs’ book is read, the students will be able to connect to him as the author by his word choices. If the students thought that nature was heavily animal-centered, then they will connect to his understanding of the wildlife he writes about. If the students felt that nature was heavily centered on scenery, then Dr. Griggs’ attention to streams, lakes, and trees will interest them. As well, the Thoreau connection will also have students making a quick connection between how literature connects to each other, as well as influences authors from many generations. Seeing the effect Thoreau had on Dr. Griggs, the students could in turn feel a similar connection to Dr. Griggs through his story.

Once the book is finished, a small discussion would take place regarding Dr. Griggs, the content of the book, and the type of ‘nature literature’ it is. Then, I would ask students to take back out their pictures and descriptions they had presented earlier. I would now ask them to take what they have and create their own story. It could either be influenced by Dr. Griggs, and be heavily appreciative of nature and wildlife. Or students can choose to go a different action and write a “man vs. nature” story, of which either the student or a fictionalized character is faced with a dilemma involving a natural force. If students choose the latter option, they must make sure their story relates back to and is represented by their image.

I feel confident that this lesson would adequately educate my students on the elements of nature literature. This unit would also be really exciting, because it would be asking the students to make personal connections to authors and their experiences to complete creative-writing. It will be a string of fun exercises, and if I were to teach it effectively, the students may not even know they were learning! Through personal experience and informative discussion, they would learn more about not only the unit, but also themselves and their classmates.

My cooperating teacher has displayed this type of relevance in her classroom when discussing Native American literature. She deliberately chose to study Native American legends that are from South Carolina tribes. By doing so, she can make connections to landmarks, towns, and even road signs that the students would be aware of, all of which can be traced back to the legends she is instructing. Thus far, the students have really gotten into this unit, and she has done a great job of keeping the students’ interested and learning.

** http://edsec324.wikispaces.com/Brandon+Watt ** //Brandon Watt - October 3, 2011//
 * EdSec 324 **

//In the chapter on Aesthetic Education, what were the qualities of the four teachers who were striving to teach for love and wisdom that you most admired and would like to embody? Please explain.//

While I was reading the section assigned in our text this week, a part of the text spoke out to me. It was when Jeff details his preparations for writing the //Aesthetic Education// piece of our textbook, where he creates a list of all the teachers he felt personally impacted him in a positive way. Jeff concluded that these effective teachers had a few things in common: crafted a leveled and personal challenge onto him as the student; the teaching methods were engaging and exciting; the substance of the material was highlighted as profoundly important; there was a focus on assisting the student in his or her ability to perform; roused personal goals; and an importance placed on how the material taught was connected to larger issues. (156) With Jeff’s list in mind, this helped shape my feelings of the four described teachers: Sarah, Andrew, Debra, and Rachel.

Personally, I admire Sarah—the “good-enough” teacher—a lot, especially because of what she says about teaching being an experimental process. “If you aren’t experimenting, you must think you’ve achieved the pinnacle–and, sweetie, that’s just delusional.” (162) Her words are filled with a gusto and show her incredible dedication for improving her students educational experience, and for improving her teaching abilities. She advocates changing and adapting to new styles of teaching, so not to remain stagnant and dull down the process. Advice I surely want to live by. Unfortunately, Sarah’s innate ability to turn disasters into projects and learn from her mistakes is something I have a hard time doing. As a future educator of literacy for love and wisdom, I best prepare myself for these types of situations, and learn how to assess them with care.

Andrew was an interesting case, as the text describes him as a “curriculum artist.” His means to an end was finding ways to bring in “nonstandardized” (165) methods that engaged and challenged student’s creative abilities, and channel them into the standards of a unit. Andrew is an advocate of the inquiry-type classroom setting, and creates units that focus on not only the goals of the standards, but providing opportunities to help his students make personal connections to the literacy he instructs. The asset Andrew possesses that I admire most is his thinking process when it comes to teaching his students, for he feels it is important to “learn from your students how best to teach them.” (166) This is something I most definitely can agree with, and if I take anything away from this reading, I want it to be this thought process. I want to keep my future students’ needs in mind, and teach //to// them, not above, under, or through them.

I appreciate Debra for two reasons: her devotion to challenging the critical thinking processes of her students, and that her favorite novel is //The Great Gatsby//. (It’s mine too, you know). Debra teaches from a philosophical stance (hence, “the philosophical dimension”), with the mindset of “the meaning of all stories is not predetermined.” (166) She teaches in the opposite way of what has unfortunately become the norm for high school English classes: teaching not by interpretation, but dictated instruction. Debra decides to focus her students with unit questions, and have them read the assigned texts and interpret them to fit their liking. What they take away from the text personally is more significant to Debra than them knowing technical things such as: the protagonists, ‘what is a symbol,’ ‘what is the theme,’ etc. I also really love Debra’s positive outlook on education and adolescence. She really holds an attitude of personal confidence.

Rachel serves as the text’s example of a “transactional teacher.” Rachel and Debra seem very similar to me in their ideals on teaching, especially since both are advocates of challenging their students to think critically about the assigned texts, making personal meaning for themselves. Rachel in particular struck me the right way with her implications of wanting to challenge students’ beliefs and thoughts in such a way to expand their understanding of the text, related issues, each other, and themselves. Teachers like Rachel—and I have had a few—never cease to impress me with their ways of controlling, molding, and harboring a classroom in ways of proper academic discussion.


 * Unit Rationale** Draft (Brandon Watt, Travis Farnham, Kristin Sutton, Georgeanna Westmorelan):

//What does it mean to be an American citizen? What factors define American citizenship? Is citizenship defined externally (by the government, documentation, etc.) or internally (sense of home, belonging, etc.) What is discrimination, and how does it shape and influence American citizenship?//

Thus far, we as a group have agreed on this set of overarching questions to shape our unit. It is our goal to have students reflect on what they learn from the texts and class discussion to shape their own opinions on what defines an American citizen. These questions will also allow students to see the differing perspectives on citizenship, and will open their eyes to the complicated, internal structure of this concept--as well as an external factor that is more heavily recognized. Students will be instructed towards the end result of how complicated it is to define citizenship. Along the way, students will also be exposed to varying types of discrimination that has plagued American citizens throughout history, ranging from racism, sexism, xenophobia, and homophobia. This will be accomplished through the study of a variety of texts, including political documents (such as the 14th amendment to the U.S. Constitution), reading of smaller texts (possible slave narratives, etc.) leading up to our large novel of choice: //Giovanni's Room//, written by James Baldwin.

=EdSec 324= ** http://edsec324.wikispaces.com/Brandon+Watt ** //Brandon Watt - October 12, 2011//

// In the chapter on Aesthetic Democracy, the opening quote is this, "I've never been in a classroom that was a real community before.” Is this your situation? Why or why not? What would it take for the "third space" to come into being, a space "in which the students took in one another's life"? Be as detailed as you can be at this point in your career. How do we help students move the third space from the inward to the outward world? Explain (if you dare). //

The high school I attended was so small that just walking through the halls I felt the sense of community. Teachers knew a majority of students by first name; bullying and fights were a rare occurrence, and cliques were not as formal as in most high school settings. This tended to translate for me into the classroom. For example: my AP World History class always interacted with the teacher during his lectures by cracking jokes and assisting in the lesson. I remember how it was always a recurring joke that I could never get above a certain grade on our weekly chapter quizzes. One day the teacher and my class got together and created a decorated sign that read: “You can do it Bwatt!” (my high school nickname). It was a nice gesture, one that made me feel a sense of belonging to the class; however, I still bombed the quiz (which only served to further the joke). I really loved my high school years because of the familiarity and sense of “home” it held, but I am not really sure where I stand on whether or not it served any sort of academic function. As my example cited, while I felt more comfortable because of the way class was ran, I did not always succeed. While I have experienced this community feeling, I do feel I may not have experienced it fully—like the way Bruce describes his experience with this feeling at the beginning of the //Aesthetic Democracy// chapter. His sense of community allowed his class to come together to make decisions based on academic articles, while my understanding of community arose from just having fun in the classroom.

This is when the argument of the “third space” arises. In Bruce’s classroom example, students became invested in the material so much that they interjected their thoughts on the curriculum, finding relevance in the reading material, etc. Unfortunately, I feel this is very hard to do in the high school classroom. I am not saying it is impossible—I feel that given the right teacher and the right unit anything is possible. Now, granted, there will probably be that one student who will connect to //Pride and Prejudice// because she herself has felt the pressures of society, and seeks a love like that of Mr. Darcy’s. But achieving that sort of connection on a class-wide scale? Extremely hard, but that does not mean we should not try, right? There will be students that will not view their education, the subject of English, or you as the teacher very important to their lives, but it is our responsibility to be as enriching as we possibly can. Fostering a sense of community—including feelings of comfort, belonging, and importance—will assist in the process of reaching student’s “third space” environment.

To give an example of reaching the “third space,” my cooperating teacher recently asked for my assistance during an assembly she put together for her American Lit classes. Her classes had just completed a unit on Native American literature, and to reach an area of higher transaction and relation of the texts they studied, she invited two guest speakers to the school to talk with her classes about the Native Americans that have lived in the area throughout history. Witnessing this assembly firsthand—and after observing her classes throughout the year as they were taught this unit—brought me to understand my teacher’s motives. Connecting back the unit to her student’s homes, something they would find very relevant to themselves, worked magnificently. Her students got heavily involved in the assembly, asking detailed and inquisitive questions, even arguing over who would be the one to present the speakers with the welcoming gifts prepared by my cooperating teacher. These students successfully entered into a “third space” in this final transaction of the Native American unit, and it was an amazing sight to behold.


 * Text Selections**: //see Georgeanna Westmorelan's wiki.//

** This Land is Our Land ** A seminar of American Literature depicting differing perspectives on American citizenship, a sense of identity, and positive influences that inspire hope

** Resource Palate ** ~ //Giovanni’s Room// by James Baldwin ~ A narrative of an American expatriate who experiences longings for a sense of home, and who struggles with his sexual orientation. Author relates because he too suffered from the same weakness-of-heart; being a homosexual African-American.
 * Larger Text**

~ Children’s literature ~ //Little Blue, Little Yellow// by Leo Lionni ~ Geometric shapes with solid colors—they blend together to make green. This text will demonstrate for students the importance of differences. ~ //The Rainbow Fish// by Marcus Pfister ~ Fish is segregated because of his appearance. He shares his scales with the other fishes to gather a sense of community. This text will address the importance of caring about your fellow neighbor and fostering a sense of belonging and community. ~ Young Adult literature ~ //The Outsiders// by S.E. Hinton ~ This novel will show class distinction within mid-20th century America through the struggles of the protagonist trying to survive his harsh adolescence. This text will show students that prejudice exists within other realms—not just your identity based on race, sexual orientation, etc., but also extensions of yourself such as your income, possessions, and class. ~ //Kira-Kira// by [|Cynthia Kadohata] ~Tells of a Japanese-American family’s struggle to live in a post-WWII United States. Details her mother and father’s efforts to provide for their family, even through bitter racism. The young narrator is a young eleven-year-old girl that sees the world through young, innocent, growing eyes.
 * Supplementary Texts**

~ “The Civil Rights Movement 1954-1963” ~http://faculty.smu.edu/dsimon/Change-Civ%20Rts.html ~This timeline describes the major events that occurred during the Civil Rights movement. It also has pictures that coincide with each event, and we can easily use some of these pictures and historical context as we build our unit.
 * Timelines**

~Frederick Douglas’ //Speech on the Dred Scott Decision// ~This text offers a view that many people presumably did not agree with: the maltreatment of African Americans at the time of the court’s decision. This text also speaks to the change that was sure to come about in the coming century due to political movement and further education of black American citizens. ~ “What to the Slave is the Fourth of July?” by Frederick Douglas ~ This text will challenge students’ comprehensive thinking about what “Independence” stands for. Douglas’ speech evokes demons of hypocrisy, and challenges the white American’s celebration of a free land that in fact is not so free. ~ “I Have a Dream” by Martin Luther King Jr. ~While most people know about this speech few have read it, and as it is an important speech in history we want our students to be familiar with this. It will be a beautiful segue into the final portions of our unit, displaying to students the benefits of sustained effort and fighting for your rights as citizens. It will serve as a link to our aesthetic challenge, and instill a sense of hope for the future. ~ “Concerning the Savages of North America” by Benjamin Franklin ~ In talking about the treatment of Native Americans, Franklin focuses on the idea that the savages are really the Americans. This turntable approach will be an interesting concept to challenge students with. ~ “To the Person Sitting in the Dark” by Mark Twain ~This text works in a similar aspect as Franklin’s. Twain writes about imperialism and the problems with American colonization around the world implying that Americans are the people sitting in the dark not the people around the world that America was trying to “civilize”. ~Excerpts from “Common Sense” by Thomas Paine ~At a time when America was beginning to form a sense of national identity Paine writes this pamphlet to get at the heart of Americans and urge them to separate from British rule and establish a separate government. ~ “The Artificial Nigger” by Flannery O’Connor ~A short story about a white boy who, under his grandfather’s tutelage, is conditioned to misunderstand and hate black people. This story will allow students to make connections about how the past influences our behaviors and beliefs, and how we must make our own decisions to change that. Racism will be seen as a mindset passed down through ignorance.
 * Supplementary Literature**

~The 14th Amendment of the US Constitution ~This amendment broadens America’s definition for citizenship to be more inclusive specifically towards African Americans. In order to develop our own understanding of American Citizenship as a class we must understand and look at how it is defined politically by our government. ~Dred Scott vs. Sanford ~This court case gives a historical view of America’s decision to deny blacks the rights of citizenship. Students need to understand the rationale for why they were denied citizenship and understand how long they were a part of our country without full recognition as citizens
 * Nonfiction Texts**

~//American Born Chinese// by Gene Luen Yang ~A “nonconventional” text that will allow for more colorful reading. The story is of multiple adolescents, but all feeling as outcasts wanting to fit in with the rest of the crowd, while still holding on to the culture they have known.
 * Graphic Text**

~ “Let it be” by the Beatles (as seen from //Across the Universe//) ~This song will be shown through a scene from a movie, depicting the Race Riots and Civil Rights movement, and the bloodshed and tears that surrounded it. The songs message, however, will ring clear—that even in the darkest times one must hold on to hope, because it is the strongest motivator we have at our disposal. ~ “A Change is Gonna Come” by Sam Cooke ~A song about the civil rights movement, with specific lyrics targeting racist acts in the South. ~ “A Change is Gonna Come” covered by Adam Lambert ~Adam Lambert’s interpretation and reproduction of Sam Cooke’s song shed a different light on change at a different time in our country’s history. Adam Lambert is an open homosexual changing the song to comment on another population in our country that has been denied certain rights.
 * Music**


 * Art**
 * ~**http://robinurton.com/history/Harlem.htm
 * ~**This website hosts many paintings completed during the time known as the Harlem Renaissance. Paintings depict a rise in African-American culture and intellectual placement in society.

~Across the Universe ~We are only using a short clip from this movie that coincides with our song “Let it Be” by the Beatles. ~Freedom Writers ~A possible film to show that would highlight the strong racial prejudices held between American races in the late 20th century. Specifically targeting African-Americans, Asian-Americans, and Latino-Americans, this film will show students how much better life can be when we choose to understand each other.
 * Movies**

~Photograph of African American rally ~http://www.photoartgallery.com/blog/image.axd?picture=2010%2F9%2FMemphisErnest.WithersPE.jpg ~This photograph shows a group of African Americans wearing a sign that says, “I am a Man”. These powerful yet simple signs epitomize the struggle that African Americans faced during the civil rights movement.
 * Pictures**

~Stonewall and Beyond: Lesbian and Gay Culture ~http://www.columbia.edu/cu/lweb/eresources/exhibitions/sw25/case1.html ~This website offers historical information and newspaper articles about the stonewall riots and the beginnings of the gay rights movement. The articles are offered in chronological order and there are also many larger texts that are discussed and summarized.
 * Websites**

~ [|A Sense of Place (1998) by Elizabeth Williams, Derek Shackelford, Holly Phillips, Kevin Mullally] ~This page shows an alternative unit designed addressing the issue of finding a sense of place. Interestingly, what they define as a sense of place relates also to the definition of citizenship. This provides a variety of ideas and methods for the teaching of this concept that can be incorporated into the unit if necessary. ~[|America at War with Itself: Social versus Personal Responsibility (2007) by Caitlin George] ~This unit discusses the natural struggle between personal and social responsibility. As our unit focuses on citizenship we want to instill in our students a sense of responsibility towards their fellow citizens especially during times of maltreatment or injustice.
 * Resources for Teachers**

=EdSec 324= ** http://edsec324.wikispaces.com/Brandon+Watt ** //Brandon Watt - October 26, 2011//

//How do the teachers cited within the chapter "What Can English Become?" try to help students relate to and love authors? How will you help students do this within the context of your proposed unit?//

In the concluding chapter of Wilhelm and Novak’s book, the make the claim that “the majority of English teachers already believe… that the most important thing they do through ‘English’ is to foster the personal growth of their students.” (211) I personally feel that deep down, every teacher—not just English teachers—share this sentiment towards their position in student’s lives. They recognize the influence they have over each student they come into contact with. We as educators have the ability to inspire, shape, and challenge students; this may lead to increases in self-esteem, cognitive ability, or foster belief in personal goals. We as teachers are powerful.

Wilhelm and Novak cite in their closing chapter with remarks from a few other teachers that have shown exemplary aptitude for fostering students’ personal growth:

Sarah challenges her students with questions of ethics, and hopes to always inspire hope and possibility within her students. When it comes to reading, she chooses texts that exude incredible readability, showing effective means of communication from the author to the student. By doing so, the student may easy access the story world of the author. She also encourages read-alouds to conjure up group discussion.

Rachel chooses to focus her classroom on “democratic teaching.” (218) She does this by allowing for opportunities for growth in an encouraging setting—she acts as a model and mentor, and gains the student’s trust. This transfixes into her choosing texts for her students, for she wants to choose authors that celebrate life and the ideals she holds dear for her class. She likes texts centered on drama, and even likes choosing unconventional texts—such as multimedia—to expose her students to many types of English outlets. Andrew holds a similar philosophy as Rachel, and hones in on dramatic types of literature. He loves the way these types of texts give students’ “voices” within the classroom that each is encouraged to explore.

Debra’s teaching style is all about promoting the community environment—and in doing so she has students do what she calls “real work.” She believes that students will “go all the way to the wall if they get to do work that expresses who they are and who they can be and how they can become that.” (220) She wants her students to view the authors as “real people” so to relate with them at a more intimate level. By making the connection that they are all authors, and writing expressive pieces about themselves, Debra’s goal is to achieve a love for literature and of self. Relatable to that is Sharon, the final teacher, who chooses to focus on authors that explore the “human condition.” (220) By establishing this connection that authors care about the readers just as much as the readers care about the author’s words, a relationship may form on clear understanding and love of wisdom.

For the unit my group and I are composing, we hope to have students making loving connections with the authors of the texts we chose by instilling in them the importance of their words, for our past, present, and future. Out unit is all about finding your individual place to help guide the larger group (i.e. the citizen and the country). Understanding the hope and passion these authors had should inspire the same within the students, accomplishing the goal that they hold the same power to be just as revolutionary. Texts such as the Martin Luther King, Jr. speech, and the speeches by Frederick Douglas will be more easily recognizable, but texts such as //Giovanni’s Room// and O’Conner’s “The Artificial Nigger” will require a deeper analysis to understand the feelings of justification of hope and “founding of home.”

//For my group's selected teaching methods (assigned for 11/3/11) please look to Travis Farnham's wiki.//

= EdSec 324 = ** http://edsec324.wikispaces.com/Brandon+Watt ** //Brandon Watt - November 2, 2011//

// How could you use the Dynamics of Writing structured process approach to teach for love and wisdom? Please explain in rich detail. Also, explain how you might use this approach in your forthcoming unit? Begin to brainstorm. Finally, are you seeing bits and pieces of the structured process approach to writing within your field experience? Please explain. //

The reading for today’s assignment addressed a topic I have been curious about for some time: how to teach writing to students, and also how to make them care. The book was especially helpful in the way it broken down the approach to teaching writing into eight scenarios for easy assessment. Ideas such as “stressing the class form”—which calls for working structure in writing assignments like the “five-paragraph essay”—allows students to grasp the concept of argumentative writing by knowing the standard procedures (opening, body of information, and conclusion) (4). The text also stresses the importance of group-work, activity based writing assignments, and experimentation of writing styles and genres. I must agree with these approaches, for I feel that writing need not be a cut-and-dry busy assignment. Writing should be engaging and enjoyed by the students, for after all it is a gift not everyone possess. It allows for the individual voice to be clearly spoken and understood. The unfortunately thing is, not every student will feel that way. That is why we as future teachers must find a way to break the cycle of students’ hatred towards the pen and paper. We must instill a love of words—teach writing for love and wisdom.

The text emphasizes the importance of teaching multiple writing instructional strategies; because there are so many types of compositional procedures and forms of writing, we as educators need to focus on our instruction. The better the instruction and more time spent preparing the assignments, the better the chance to see students’ appreciation and interest in the writing increase. Writing assignments should be “goal-oriented,” “and geared towards students’ application of procedural knowledge.” (24) This approach will eliminate the need to fall-back on “recalling” strategies that require students to associate writing with “did-you-read” type assignments. Instead, they will apply what they have been taught to new mediums, and produce a work that is all their own.

These strategies will definitely be of use to my group’s unit. Already we have begun planning ideal writing assignments—writing personal “I Have a Dream” speeches, crafting letters to Baldwin, and research assignments on the Civil Rights movement—and our possibilities are endless considering the rich resources we have at our disposal. I definitely feel as if we should plan to include writing strategy lessons within our unit associated with the texts we plan to have the students write about. This way we will have laid out clear goals and methods, and know what to expect from the students.

As for my field experience, I have seen some of these pieces of this approach in the classes I have been observing. Recently, the classes have begun taking steps to writing their research paper that is to be considered their nine-week unit project. The project is being broken down into steps, so to show the students the proper way of structuring a research-based argumentative essay. My assisting teacher is requiring at least ten paragraphs of information, along with a detailed outline and resource page. For this unit, she has allowed my partner, Shannon Walklet, and I to design the lesson plan to teach her students how to properly use MLA citations. We will be constructing and team-teaching a lesson together consisting of how to do in-text citations, and how to construct a reference page.

=** EdSec 324 **= ** http://edsec324.wikispaces.com/Brandon+Watt ** //Brandon Watt - November 9, 2011//

When considering my approach to teaching literacy and writing, I imagine myself teaching high school Juniors. This would allow me to teach, by South Carolina’s curriculum, American literature. This is important to me because it is the books and authors of America that I most identify with, and that is a trait I hope to encourage in the students I will teach. I envision myself teaching in a high school much like the one I attended: a small town, countryside high school in the rural parts of the Southland. I am very proud of my South Carolinian background, and I know I would have a hard time wrestling with the thought of leaving this state I love so much. I want to educate the students of this great state, and with that I know I will be responsible for a multitude of students with differing backgrounds. I can imagine myself teaching students of various races; I know that I would have students of middle-class families as well as low-end, or poverty level. Honestly though, none of that matters to me. I feel that as an aspiring teacher, I have accepted that this will be a reality I will face. I am willing to accept the challenge head-on, because I feel I have what it takes to not only instruct these students adequately, but also uphold them with the respect they deserve to be shown. I am aware that not all students will learn the same. As well as racial and socioeconomic divides, I will also be faced with students that have learning disabilities or behavior problems. When faced with these circumstances, I will adjust my lessons accordingly to suit the needs of the student, so that each is given the proper education they deserve.

A large test of my teaching ability will come from my views on writing, and the expectations I set upon it for students. I feel that writing, above all else, is a means of communication and personal expression—writing is a gift. I want students to not only be able to write well, but also enjoy doing so, because it is a precious gift that not everyone has. Thus, it should be respected. I also want my students to understand that writing is not just pen and paper. It goes so much farther than poetry, essays, and novels. I do want to stress the importance of those types of writing, and I will implement creative writing, poetry, and research essays into my future lessons, but I also want to stress the importance of what writing can do. Writing is a form of making your words known. Writing is a process of making your words matter. I want students to come to love words, but not just anybody’s words. I want them to love their own words. I want to give students’ a voice. I would stress the importance of public speaking, speech writing, articulation, manipulation, and importance of the media. I want students to understand that there is more to writing that simply jotting down their ideas on paper, or reading something from a book.

Now, you’re probably wondering how I might just accomplish all of these idealistic goals. Well, I have no idea. But, I do want to try, and give my honest effort. I think that students would react well to my approach. It would allow the students to feel like they are the center of the class—that they are the suns in which the classroom orbits. Through their interpretations, opinions, and words, the class will be driven to unprecedented destinations. I can see it now: free-form poetry assignments after studying American Transcendentalists; research papers on current events topics that are of high interest to the student; creative writing pieces as inspired by Poe; crafting satires after reading some of Irving’s works; writing, and then performing, a speech written by the students about their feelings on any argumentative subject relevant to the individual. The possibilities are virtually endless, if enough time is put into the effort. I do not want to short-change my future students. I want to teach to them the importance of literary works, writing ability, and their opinions and voice. I would shape a learning environment based on self-respect; foster a sense of community among the students and myself. I want my students to not only be comfortable with their own voice, but with the voices of their classmates, and the world, too. I want a classroom where students show up every day to class, excited for the lessons and the chance to speak their views. I want a classroom where analyzing the writing styles of Dickinson, Fitzgerald, Hemingway, King, and Sedaris are encouraged, and give students a sense of hope that there is no standard way of crafting a “voice.” Every voice is different, but all the same in importance. I want to expose my students to various types of writing. I want to teach my students proper grammar, and then encourage them to break the rules when their writing voice feels it is necessary to get a point across. I want students in roundtable discussion about their opinions on a text we are reading. I want students engaged in healthy writing activity. But most of all, I want my students to realize that everything I structure in class from them to do is essential to their growth and development as writers.

Finally, I would have to construct a form of assessment, and yes, I do believe that grading and assessing student work is essential to their development as writers. For every assignment I give them, I would have a procedure available so they can understand the process for grading. Such as, if writing a research project, I would say x amount of points would be for the works cited page, y amount of points would constitute of grammar, while z amount of points will be issued to content and writing style. There would be an exact science to it that they themselves can see and learn from. Having this type of assessment will better serve them as writers, for they will grow from mistakes, and be encouraged by performing exceptionally.