Again, these anthologies are excellent, compiled and edited by leading scholars in the field—all acquainted and attentive to the concerns of teaching the literature survey course. For many working-class, first-generation students, the costs of the text—or, the means to access it, a credit card, for example—are simply prohibitive. As a result, just two or three students bought the latest edition outright—though, they were all generous enough to share with friends. The ensuing scramble and unevenness of our discussions proved a semester-long irritant.
The rest had different editions with different page numbers, or online texts without page numbers; all seemed to be missing crucial excerpts at some point in the term. While a handful of students read along in physical texts during class discussion, others multitasked on laptops or squinted through smartphone screen readings; still others, lacking any portable device, simply stared at the front of the room.
That is its appeal. The problem here was that, at the same time, the anthology was making some assumptions about our students, not just in its hefty price tag, but in its very centralizing and authoritative structure.
Poet & Professor
Right away, I decided I would scrap the paperback anthology the following fall, but I wavered on an alternative outside of simply posting a syllabus of hyperlinks on the site and providing introductory context through mini-lectures. In the waning months of graduate school, — when I should have been writing — I began reading up on the burgeoning discussion around Open Educational Resources OER , materials made free and available on the web to be accessed, downloaded, revised, and recirculated.
The conversations of OER had already evolved beyond advocacy for their adoption as learning content, moving instead to sketch the larger contours of Open Education as a pedagogical principle. Still, over and above replacing expensive industry textbooks, OER proponents contemplate how the virtues inherent to open materials necessitate new kinds of teaching and learning, methods that embrace the open ethos to reuse, remix, revise, and redistribute in content and practice.
Gardner Campbell recently called  for an Open Pedagogy centered on producing insight, where educators turn design over to students, encouraging them to take responsibility for their own learning.
The discourse spoke to me. In line with its disciplinary history, literary studies found itself at the forefront of open initiatives. The project entailed that students read widely through the Early American syllabus and decide collectively which authors to excerpt and provide contextual materials for, before polishing and collecting their works in an online anthology to be read and revised by the following crop of students.
Drawing on the legacy of Paulo Freire, DeRosa described  the project in more detail:. In the latter half, we shifted focus to the hands-on project of remaking the anthology.
Most frequently terms
The core difference came in the final product, and here there is, I think, a significant distinction. The traditional boss-level challenge in an English course is the literary critical essay, i.
The practice forced students to take a kind of critical ownership of the project by thinking both proactively and reflectively on their own learning and engagement. I leave you with a few tidbits of wisdom from my experience—including a sample syllabus and assignments, all of which you are welcome to steal I mean, retain, reuse, revise, remix, and redistribute  for your own course.
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As far as expanding, revising, and publishing a scholarly anthology via Pressbooks, Julie Ward has written a fabulous primer for chapter fifteen of this very handbook. Skip to content Increase Font Size. Open Educational Resources and the Literature Anthology Right away, I decided I would scrap the paperback anthology the following fall, but I wavered on an alternative outside of simply posting a syllabus of hyperlinks on the site and providing introductory context through mini-lectures.
Patrick Blessinger. What is an anthology? The works are chosen by the anthology editor s and the editors are responsible for compiling the entire volume.
The works that appear in the anthology may include both previously published works and original unpublished works. Typically, the contributing authors retain the copyright to their individual works. An anthology therefore serves as a flexible format to showcase both established writers and new writers. For previously published works, the name of the previous publication is typically credited alongside the work.
This series will provide educators with an artistic and literary medium for expressing their individual and shared experiences as educators. It will provide many windows and doors into the varied perspectives, thoughts, and feelings of educators from around the world. It seeks to showcase the creative use of language and writing and how language and writing can be used as vehicles for inquiry, creative self-expression, professional development, personal empowerment, and human agency.
Viewing teaching and learning from the lens of poetry and creative prose provides a novel way to engage teachers and students more deeply in the teaching-learning process.
- Available copies.
- Amides (1970).
- Timothy Robbins, assistant professor of English at Graceland University;
- Understanding poetry : an anthology for college students - Bibliomation.
- Gender, Migration and Domestic Work: Masculinities, Male Labour and Fathering in the UK and USA.
- Naturalization of the Soul: Self and Personal Identity in the Eighteenth Century (Routledge Studies in Eighteenth-Century Philosophy);
- Understanding poetry : an anthology for college students.
A such, the focus of this series will be to use creative writing as an artistic means to express and describe those aspects of teaching and learning that are most meaningful and life transforming. This series will include several volumes that will showcase all types of poetry e. The volumes in this series can also serve as textbooks for college courses in poetry, creative writing, and the like in arts and humanities disciplines as well as supplemental readings for courses in instructional leadership, teacher preparation, and the like, in the social science and education disciplines as well as any interdisciplinary, transdisciplinary, and general education courses.
What is poetry and why is it, and this anthology series, important? Poetry is a literary art form that uses the aesthetic qualities of language to express the full depth and breadth of human experience in personally meaningful ways. Poetry is a type of subjective interpretive process used to be better understand and convey the full depth and breadth of the human experience.
Understanding Poetry: An Anthology for College Students
Poetry is a multidimensional form of language and artistic expression concerned with the full range of human experiences. Poetry uses the pen or keyboard as its brush, ink or pixels as its paint, and paper or screen as its canvas. The writer thus makes creative use of language the play of words and their many multi-layered meanings to paint a unique and rich depiction of life and to express the manifold aspects of human experience in unique and meaningful ways.
Related Understanding Poetry: An Anthology for College Students
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