Authors and Authority

There's a collection of memes that have retained some currency among teenagers these last few years and they're aimed squarely at the not-so-humble English teacher. In the simplest terms, it goes:

AUTHOR: "The curtains were blue"

ENGLISH TEACHER: *Insert analysis that seems over-the-top and ignores the fact that curtains are sometimes just blue*

At some point, sometimes perhaps only on the most symbolic of levels, the English teacher has to do battle with the senior English student as said student asserts that not everything can be analysed from an English standpoint. This debate can be fun and, in a way, plays right into the teacher's hands as it involves students exercising their critical thinking skills and forming independent opinions. In laying groundwork for the Year 11 'Reading to Write' Common Module, however, it also provides an opportunity to talk about something completely different to the merits of metaphor and analysis: the concept of literary authority. 

On this subject, the French semiotician Roland Barthes famously said,

"The birth of the reader must be at the cost of the death of the author"

We can use this quote to introduce students to the concepts of post-modernism and literary authority. The idea that an author doesn't get the final say on what they write is a genuinely unsettling question for many students to deal with, and the debates that arise from this can be challenging and disruptive to even the teacher's concept of what English is all about. At the heart of this idea though is something that gets to the very core of our role as teachers...

We teach with the aim of relinquishing our authority as knowledge-holders, and we teach to empower the student to become their own authority on the text. 

This isn't a straight-forward exchange or journey, and the success rate inevitably varies, but if even just one of our students becomes confident and equipped enough to develop a contrary opinion backed by their own judiciously-selected evidence... then this is the apotheosis of teaching, is it not?

Perhaps the quote should be:

"The birth of the student must be at the cost of the death of the teacher"

In engaging teenagers with such a challenging idea it becomes necessary to break it down and develop material that will re-contextualise academic theory within a 21st century adolescent space. I've included a PowerPoint below that went some way towards helping my current Year 11 Advanced English students.

• Slide 1 - Students engage with both sides of the debate via the Roland Barthes quote and one of the previously mentioned memes.
• Slide 2 - Students engage with a popular online meme to break down the idea of looking at a text from multiple points of view. This text, supposedly drawn by a young child, gives a straightforward account of a young student's current home life. In isolation, the text can be viewed as an authentic example of the unreliable narrator - a storyteller who is unwilling or unable to relate the reality of the events around them. The point here is that students are asked to consider four separate ways of 'reading' the text; the ultimate goal being to disrupt/challenge the concept of the author having ultimate authority over the meaning of the text. 
• Slide 3 - Examine a range of statements that reposition the concept of authority and authorship. Students are then asked to assign each statement a score based on how much they are in agreement with it. The class can then decide (argue) over the placement of each statement on a line that shows a spectrum of agreement/non-agreement. [Numeracy in English. Nice!]

Here's the PowerPoint: Authors and Authority.

Craft of Writing: Irony and Symbolism

Hello! Our cohorts should be passingly familiar with both irony and symbolism by the time they reach Year 12 but it never hurts to revisit these keystone elements of writing, especially as students are preparing themselves to engage with the Craft of Writing module in the HSC. Below are some mini-lessons designed to support students in their consideration of writing craft. Students are shown how to use a technique, alongside examples, and then put it into practice. 

Irony

What is it: Irony occurs when words are used to indicate something opposite to their actual meaning. There are three types of irony, all of which reflect a difference between appearance and reality. These are:

1. Verbal irony - which can take the form of sarcasm, exaggeration, contradictory phrases, or deliberate understatement.
2. Situational irony - when an audience's expectation of something in a text is not fulfilled. Otherwise known as 'subversion'.
3. Dramatic irony - when the audience is aware of something that some of the characters are not.

Examples:

• Verbal Irony: "Some animals are more equal than others" - Animal Farm by George Orwell
• Situational Irony: A woman receives a letter about her husband's death and struggles with the news. When her husband then miraculously shows up, she dies of a heart attack from the idea of not being free of him (subverting the audience's expectation that she is upset that he has died). - The Story of an Hour by Kate Chopin
• Dramatic Irony: The audience knows right from the outset that Iago is manipulating Othello in regards to Desdemona's handkerchief, however, Othello is driven into a jealous rage at the ideas that Iago suggests as he is unaware of the truth. - Othello by William Shakespeare.

Why use it:

• Irony brings an additional level of meaning to a situation, and calls attention to ideas through a contrast between what is said and reality.
• Readers are forced to use their imagination to consider the full implications and underlying meanings when irony takes place.
• Verbal irony can work effectively to create humour when used in conjunction with kairos (the right time and place).
• Situational irony helps writers subvert reader expectations for more effective and original storytelling. It can add extra dimension and impact to the emotional connection between the reader and the text. 
• Dramatic irony if often associated with the tragedy genre as it emphasises the fatal impact of a character misunderstanding something. Dramatic irony also assists an author in building reader engagement as it creates a tension between the reader (who knows what is happening) and their need for a character to realise what the reader already knows.

Quick Activity #1: Write a paragraph using characters from either The Tempest or Hag-Seed that demonstrates one of the three forms of irony.

Quick Activity #2: Write an explanation of which irony you used in your previous exercise and how it was demonstrated.

Quick Activity #3: Did you write about Hag-Seed or The Tempest last time? This time write a paragraph using the characters from the other, and use a form of irony that you didn't use last time.

Quick Activity #4: Write an explanation of which irony you used in your previous exercise and how it was demonstrated.  

Symbolism

What is it: The use of symbols to represent ideas or qualities. Symbolism is closely related to the human ability to think abstractly, which is what led to the creation of language. The moment humans could think of things that didn't exist in the physical world was the moment that they needed to come up with symbols to represent them. Written language is symbolism at its most basic; a series of symbols representing different sounds.

Examples:

• "Rosebud," the final word of the ruthless entrepreneur Charles Foster Kane on his deathbed,is revealed to the bed of his childhood sled. The sled symbolises the happier childhood that he lost forever at age 8. - The film Citizen Kane directed by Orson Welles. 
• The Golden Country, dreamt of by Winston repeatedly, symbolises the pleasant world he can never live in. - Nineteen Eighty-Four by George Orwell.

Why use it:

• Adds depth to a text and its ideas, and demonstrates the abstract themes that 'power' the text.
• Can allow authors to 'say' things without having to explicitly say them, which in turn allows the audience to bring their own interpretation to the text.
• Symbolism can help the reader identify the sort of text or story they are reading, due to the associations and connotations that come with more well-known symbols (such as the generic convention of a full moon in a horror text).  

Quick Activity: Consider the masque scene in The Tempest, and the discussion in Chapter 28 of Hag-Seed where different ways of staging it are discussed. In what way (different to those discussed) would you stage it? Justify how your version would symbolise one or two themes from the text.  

 

Here are these two writing elements on the one sheet for ease of use:

• Writology Issue 5

Happy writing!

Bill and the Beast: Building Vocabulary

Teaching in Western Sydney has been my passion, particularly in regards to teaching working class and middle class students. One aspect of this process is recognising the children who find it much more difficult to engage with our pedagogy, some of who may be inherently gifted, but many of which who are also simply just not equipped to reach higher stages of education.

Much has been written on this in academia.

One of my favourites is Basil Bernstein's work on elaborated and restricted codes in Class, Codes and Control: Volume 4.

Bernstein is best known for his groundbreaking work in the sociology of education and, to a lesser extent, for his love of knitwear

Bernstein's writing concerns itself with research conducted into the disparity between IQ results when working class children are tested both verbally and non-verbally. The resulting discourse theorises (without getting too much into the research here) that the lack of vocabulary endemic in the working class is a contributing cause to said children being unable to articulate and understand abstract concepts.

To put it simply, the more words that we understand and have at our disposal, the more we are able to name that which we cannot see. A large lexicon allows us to create context where we previously had none - it's our ability to call upon and create new systems of understanding that allows us to assimilate new knowledge and understand abstract concepts. How could we do that if we lacked the words to articulate anything from outside of our immediate, everyday context?

So what do we, as the classroom teacher, do about this?

In some cases, such as teaching a Stage 4 targeted class for students with additional learning needs, I've found that the easiest way forward is to work on vocabulary. My friend and mentor, Kira Bryant, comes back to this a lot under the banner of 'building the field'. I've written more about this aspect of grammar here.

Bill and the Beast

Such students often struggle to access longer or specialised text because they lack both the contextual information and vocabulary to decode it. In order to scaffold a greater capacity to engage with new texts we need to build the field around the text, and this means increasing a student's ability to use unfamiliar words. The resource below, which works as part of a Year 8 unit on the theme of Survival, assists in achieving this end through the following steps:

1. Students pull words from the word banks at the side of the sheet to complete the story about Bill and his encounter with a monster. There are five word banks: adjectives, verbs, adverbs, nouns, your choice. There are a variety of examples that fit each blank spot in the story, allowing for multiple possible creations. This kind of activity, where kids place new terms in context, is supported by research from the Focus on Reading program developed by the NSW Department of Education. A lot of research on grammar and literacy supports the idea that the best way to learn new words is to try them out in the context of a sentence. Students respond much better to this than copying out definitions. 
2. Something I've noticed when students do this activity is that they will scan through the available terms and then ask me what a certain one means. I'll tell them and then they'll try it out by slotting it into the sentence. Some students will think I've just given them an answer 'for free' but the point here is that they've just learned and used a new word - and that's what it's really all about.
3. After finishing the story it's always fun to get some students to read their completed work out. There's a definite sense of accomplishment from these students in that they chose the words from the word banks themselves and - especially for those who have never written a story of this length before - there's a new sense of ownership that builds valuable confidence in writing.
4. Students should then complete the title at the bottom of the sheet. This is a form of summary, or abstraction, and forces the student to boil the entire text down to its theme or essence - not always as easy for students as we might think!
5. Included in the resource below are also some follow-up activities that engage further comprehension skills through facilitating visualising, predicting, and creation of symbols. I'm a big fan of getting students to create symbols to represent ideas, it's one of my favourite aspects of the Aboriginal 8 Ways of Learning pedagogy and it works really well for a whole range of kids - not just those with Indigenous backgrounds. The use of visualisation and predicting are from the Super Six framework, and support increased comprehension.

Resource (click to download) - Bill and the Beast

Elysium - Characterisation and Representation of Ideas

The first shot of Max establishes a few things: the cramped nature of his house, his criminal or low socio-economic background (reflected in the Latino-styled tattoos), and the dated technology in his home juxtaposed against the robots and space station outside.

I'm a big believer in advocating for students who might not be harnessing their gifts to their fullest potential. In English, this means those students who are naturally gifted in terms of critical thinking and analysis, although they may not have the skills to formulate these gifts into the traditional modes of English communication (writing, representing, reading, etc.) So, with this in mind, I think there's still a lot of room in Preliminary Advanced English for scaffolding students. I don't want to assume that a student comes into Advanced English already knowing everything, and that includes knowing all the "how to" skills. What would be the point of that? If a student already knows what you're teaching and how to do it, then they should be skipping grades and looking for early entrance to university!

I've spoken about using Elysium as part of a comparative study on dystopian texts here, here and here, so I wanted to extend this a little further to show how students can analyse the way characterisation reflects the themes and context of the film.

My first-year teaching self would have just asked the students to look at a character and tell me what they represent. I would have left it open-ended in the belief that an Advanced English student could pour their magic mojo on it and interpret the characters independently. My time teaching a multiplicity of students and diverse student-types has taught me that this approach only achieves one thing: it gets answers out of those who already know how to do it. 

The mercenary Kruger is modeled after the notorious rogue soldiers known as 32 Battalion, who served in South Africa in the 1970s and 1980s. The shot above, where he uses a samurai sword to BBQ meat on a rooftop, reflects the ease and confidence in which he moves within the dangerous favelas.

In recent years I've been taking a different approach to high-achieving students. Why not just give them all the information they need, and therefore force them to focus more explicitly on the skills rather than the content? This isn't a new idea... it's reflected in flipped classrooms, project-based learning, scaffolding, etc., so it's not so much an epiphany as just a reinforcement of where I want to push the students.

The lesson below features character profiles of the major figures in Elysium - Max, Frey, Delacourt, Kruger, Spider, and Carlyle. Each profile contains some basic shot analysis, explanations of the etymology of the character's name, and additional context that links to what writer-director Neill Blomkamp was aiming for in his stylistic choices for how the characters are represented. It's all there for the students. They wouldn't know this stuff automatically; I had to arrive at the contextual knowledge through my own research and analysis so it would be silly to assume that the students could come up with this deep knowledge of content on the spot during the lesson.

The point is to instead discuss and read this stuff with the students and then get them to deconstruct the character with a higher order question (EG. 'In what way...', 'What is the significance...'). The student takes the information given to them and uses it to formulate their own response. It's okay for the information to be explicitly given to them because they're essentially doing what a university student does, which is working with a reading or text to bring a diverse array of content into their own hands as they put pen to paper. The more they do this, the wider and deeper their personal knowledge of the subject will become. It's not a radical concept; I just wanted to share the resource below and explain how it works :)

Resource - Representation/Characterisation in Elysium

Comparative Study: Elysium Comprehension Questions

In this post I outlined my thinking for teaching a Comparative Study on Animal Farm and Elysium. Whilst there isn't much point in presenting resources on Animal Farm (there are plenty of activities on Orwell's fable already out there), I do think there is a niche to fill on Elysium resources. My previous post detailed the contextual elements that Elysium draws on, so the next logical point from here is to have students work through some study guide questions that get them to engage with the text on a more immediate level. 

The resource below presents a mix of comprehension and visual analysis questions, and requires students to interact with the film on literal, figurative and contextual levels.  I recommend projecting it onto the whiteboard so students can see the screenshots in full colour.

Resource - Elysium Student Guide (click to download).

I've also included a teacher version for ease of delivery, which gives possible answers. If you use this, please don't feel restricted by my answers. I actually composed most of these answers via whole class discussion with my Year 11 Advanced English students, and there are no doubt a whole bunch of other interpretations that would work in response to the questions as well.

Resource - Elysium Teacher Guide (click to download).

Happy Dystopias!