Today I’m going to go over the basics of Zoom, for those who are interested in or curious about using it for online teaching. I’m going to try not to talk too much, but I do want to walk you through the features, settings, and options before we try a group meeting. Which I’m sure will get a bit chaotic, depending on how many folks join, but hey—these are trying times, so that’s what we’ll do: try.
In my experience, Zoom is pretty easy to use—very intuitive. So, I’m not going to create a handout; there are tons out there already, along with lots of training materials and tips. Google it! If you do want a handout, here’s a fantastic step-by-step from Liz Lawley at RIT. Note that some screens will look a bit different for you.
- Here are my slides.
- Here is the URL for our group meeting.
- Here is a video I made with Zoom explaining again the next essay project for any stragglers who weren’t in class before spring break. You can appreciate the quality of the video and the sound, as well as the captioning. Which really exposes your verbal tics, and which can be edited.
Breakout Session: Wikipedia in the Classroom
Lunch Discussion: Writing Across the Curriculum
- Questions for discussion: What kinds of writing do your students do? How much writing do you assign? What has worked well? What problems do you encounter?
- Why we can’t teach Johnny to write (Inside Higher Ed)
- Implementing writing-to-learn approaches in STEM (GradHacker)
Do you have students work with timelines in class? Do you teach surveys, or long texts that have substantial narrative components unfolding over time? Have you used Northwestern University’s Knight Lab’s Timeline JS?
I am developing an assignment that uses Timeline JS to recreate a novel with enriched digital resources.
TimelineJS is an open-source tool that enables anyone to build visually rich, interactive timelines. Beginners can create a timeline using nothing more than a Google spreadsheet [and experts] can use their JSON skills to create custom installations, while keeping TimelineJS’s core functionality.
TimelineJS can pull in media from a variety of sources. Twitter, Flickr, YouTube, Vimeo, Vine, Dailymotion, Google Maps, Wikipedia, SoundCloud, Document Cloud and more!
I am testing what this might look like in an assignment focused both on understanding a novel–Frances Burney’s Evelina--and learning how to research using quality, reliable, freely-available materials online. My task is complicated by the fact that Evelina is an epistolary novel, which means it is told entirely in letters, and the dates are not always confirmed.
My ideal use of this tool would be in EN340: Major Women Writers, which is LT-2 and WI, but I could also imagine incorporating it in a history or a survey course. By sharing the google sheet on which the timeline is based via Canvas, students could be assigned letters or chapters to add to the timeline.
Some things I’ve discovered so far are that you can add entries in the timeline to groups, useful for visualizing the epistolary network of who writes to whom, and you can also use simple numbers instead of dates in the year category–by doing that, coupled with providing a “display date” that can be a text string, one can create a non-date-specific timeline, useful for a novel. Here is a link to the working timeline, which is embedded below.
Things to consider when developing the assignment:
- How and when to paraphrase or excerpt a representative quote from the letter? This might teach identifying importance, a notoriously difficult skill for students to learn.
- How to identify what makes a relevant media resource linked explicitly to the letter? This is useful for teaching research and information literacy.
- How to cite and caption that media resource? This helps with citation and “filling in the gaps,” which is important for clarity.
- How might the assignment divide the work, if students work in groups?
- How best to use the date/display date tools, given the nature of the text you’re working with? Evelina is sometimes dated (often not), and is organized by letter number.
- Add a title slide to your timeline by giving it the type feature “title”. “Era” types need a start and an end date. One could usefully define large chunks of the narrative by using “era”–for instance, Volume 1 of Evelina, or the time Evelina spends in London with the Branghtons.
Here is my working sample; the link above will take you to a full-screen version:
This evening in EN340 is the first class of full-on literary analysis, and we are reading several of Anne Bradstreet’s poems. I love starting with Bradstreet in this class because we’re discussing seventeenth- and eighteenth-century women’s writing as a political and self-conscious act that is in some ways always about its status as “women’s writing.” So we are starting with Bradstreet, paying special attention to how she theorizes her agency as a writer–we’ll probably spend most of our time looking at “The Prologue” to The Tenth Muse, and “The Author to Her Book,” though I really hope we get a chance to talk about her poem to her husband, Simon Bradstreet, who is “Absent upon Publick Employment.” Rereading it today paints such a home picture of her passion within Puritanism:
In this dead time, alas, what can I more
Than view those fruits which through thy heat I bore?
I don’t have children, but…. I get her point! At any rate, this is a course that fulfills our LT-2 core requirement and is also writing intensive. So, I have no English majors or minors, and few with recent experience in close reading. I will start with an overview of Bradstreet, and then spend a bit of time discussing how to read poetry, using the Poets.org piece by Edward Hirsch, which I find conversational enough to be compelling without being formulaic. Then, we’ll discuss one or two poems, and finally, I’ll have an activity where students work in pairs to enact a deformance on “The Author to Her Book.”
My goal with this activity is twofold: first, to help students feel more competent with close reading through some fairly mechanical activities that can reveal unexpected things about the texture and the content of the language, and second, to get into a broader discussion of how Bradstreet is imagining her agency as a writer and as a mother. What rhetorical strategies does she use, and why? Are there any fissures or points of friction between those rhetorical strategies? What images can she (and can’t she) use, and under what circumstances?
From my handout:
“Deformance” refers to a mode of altering or “deforming” the text so that you can see something new about it–it’s a neologism combining “deform” and “performance”. This is often done with computers on mass scales, but we’ll do it by hand today and only with one poem so that you get the hang of it and begin to see why it might be useful. It is also a helpful technique in general to look for the way that nouns are being used, or the kinds of verbs at play, or whether there is a preponderance of prepositions or conjunctions, and so on.
Here’s a sample from “The Prologue,” where I eliminate all words but nouns from one stanza:
If students aren’t sure of what part of speech something is, I direct them to google’s define:xxx feature:
- Group 1: Nouns only
- Group 2: Adjectives only
- Group 3: Verbs only
- Group 4: Adverbs only
- Group 5: Prepositions and articles
- Group 6: Pronouns (possessive, demonstrative, and regular)