The Results of the Course: “The Developmental Education”

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Alena Mikrukova

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Vasilyeva J. Kruze D. Mikryukova A. Cheremnykh L.

The Whole language Learning Critical thinking Concrete poetry TMI Model Text

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68 En glish Journal 103.4 (2014): 68– 75 wanted to write a darn story/poem/play) never meant to convey. Some students fall in between— either trusting teachers to have a reliable method, or not particularly caring how we do it. While I don’t mind being thought to possess some magical second sight, these (mis)perceptions all disturb me because I care more about students’ mastering the hows than about any of the whats, more that they can interpret a text than that they can recall the literacy motif in The Tempest. Like most En glish teachers, I often use apprenticeship to build students’ interpretive skills, using class discussions and modeling to offer “sup- ported interaction with people [namely, me] who have already mastered the Discourse” of En glish studies (Gee, “Literacy” 7). James Paul Gee distin- guishes apprenticeship from learning, which en- tails meta- level language and cognition as students recognize and have language for the knowledge they are acquiring (“What”). Apprenticeship is ef- fective in many ways, but it asks students to fake their way through literary analysis by groping for the kinds of language and thinking they have heard from (perceived) genuine literary analysts (e.g., the teacher and perhaps savvy classmates). This im- provisation using inadequate materials, which Gee calls “mushfake,” David Bartholomae calls “invent- ing the university,” and my students call “fake it ’til you make it,” goes only so far in developing critical and analytical reading skills. My students deserve to be explicitly taught the distinctive practices of En glish studies in a way that adds learning to apprenticeship by offering meta- level language and thinking beyond literary terms and the like. n recent years, professional influ- ences on all sides have pressed me to put my students in the driver’s seat, making them more active in their own learning, giving them more voice and choice in their work, and developing skills that will ben- efit them well beyond my classroom. And I’ve done pretty well, I think— I’ve increased the emphasis on research; created flexible, problem- based assign- ments with multimodal products; improved the bal- ance between writing and literature. But the better I felt about how my writing instruction addressed 21st- century skills, the worse I felt about my literature instruction. My students came to understand texts and explain the meaning they found there, but I knew something was missing. The skills they gained in using textual details to make meaning seemed to start after that key first step: deciding which textual elements were notable. I had to admit that most of the time, I gathered (or pointed the way to) the raw materials— passages, images, and patterns— and then my students constructed meaning from them. But that’s not enough; if I’m committed to teaching the skills of literary study in addition to the content, I have to go all the way. Students’ .

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