Module 16 APPROACHES TO TEACHING LITERARY AND CULTURAL STUDIES

Contents 16.1 Introduction 16.2 Why teach literary and cultural studies? 16.3 Approaches to reading and criticism 16.4 Working with the meta-language 16.5 Using different audio-visual aids in LCS teaching 16.6 Using the Internet 16.7 Assessment materials 16.8 Suggested reading

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Approaches to Teaching Literary and Cultural Studies

16.1 Introduction
The aim of this reader module is to provide advice and guidance for postgraduate teaching assistants and language assistants in British higher education institutions who teach literary and cultural studies at undergraduate level.

16.2 Why teach literary and cultural studies?

It is perhaps appropriate to begin by identifying some general aims of teaching literary and cultural studies as part of the undergraduate modern languages curriculum. We may be teaching several things at once. For example: 1. Ways of reading a written or visual text. 2. Ways of writing about a written or visual text. 3. A deeper appreciation of a text. 4. The cultural context for language acquisition. 5. A critical awareness of other worlds, namely the symbolic worlds of other communities as well as the ideological worlds which shape or are brought into play by the literary or visual text. In this way, the text might be viewed as a window onto another world, rather than a mirror which reflects back the students own concerns and immediate points of identification. 6. Acquisition of vocabulary and structures in the target language. From your point of view, it is necessary to be clear about the aims and objectives that you are trying to achieve in the classroom and what you are required to assess. This is perhaps more difficult to quantify in literary and cultural studies teaching because of the emphasis on personal interpretation. Nevertheless, the ability to perform a critical interpretation of a text is an element which we can assess. It is also essential that students know in detail what they are required to do, how and when they are required to do it, and what is being assessed. If a student is required to give a seminar paper in French on one of Sartres plays, what is being assessed? Are we assessing the quality of linguistic expression in the target language, the knowledge of Sartres philosophy (if relevant), an awareness of his stagecraft, the students presentation skills or general evidence of his/her wide reading? Are these elements of assessment equally important? In short, we need to be clear about
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what we are teaching and assessing and be systematic in the application of the assessment criteria generated. The way in which you carry out many of your activities will be pre-determined by your departments or schools teaching, learning and assessment requirements, practices which are regularly inspected by the Quality Assurance Agency. So it is essential that you familiarise yourself with these requirements and that you seek guidance from more experienced full-time colleagues. Before you begin teaching, some preparatory steps are needed. For example: 1. Familiarise yourself with departmental or school policy and ensure that your teaching adheres to it. 2. Consult experienced colleagues whenever possible. 3. Ask if you can observe classes taught by more experienced colleagues. 4. Ask for a departmental/school mentor (preferably in the same subject area) and meet with her/him regularly to review your progress. 5. Find out as much as you can about your student group, even if you only teach them for a one-hour literature seminar a week. Find out what course they are on, whether they have any relevant experience (for example, if they have studied A Level English Literature or if they are very interested in contemporary Spanish film, or even that they did not get on with their former literature teacher) and any relevant information on their background as a student in your institution (for example, that they are a persistent latecomer or that they never wanted to study literature). This type of information helps you in all sorts of ways, especially to know how to pitch your teaching, and enables you to work effectively with the students as quickly as possible. 6. If you teach part of a course, try and attend some sessions relating to the rest of the course or at least read the relevant documentation relating to the rest of the course. 7. Draw up a lesson plan for every class which includes extra activities in case you need them. 8. Design a scheme of work so that you have a long-term view of your teaching. 9. Distribute course/module documentation to the students which contains all necessary information (class schedule, assessment information, background information, bibliographies, etc). 10. Ensure that you know how to operate any equipment or software which you intend to use in class.
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11. Make students aware of any prerequisites before the module/course begins. For example, do they need to have seen the film or read the book? In literary and cultural studies departments in higher education, the notion of text has expanded to include literary, filmic and visual media which are increasingly finding their way onto the syllabus. Some students who choose to study literary and cultural forms are less inclined to analyse 500-page novels and are more interested in analysing imagebased cultural forms. They may be dismayed to discover that they may still be required to read written texts in the target language or that they need to learn specialist terms and concepts. This requires us to be more attentive to their needs and more inventive than ever before in arousing and maintaining students interest. So, how can we help our students to acquire a deep and critical understanding of the text?

16.3 Approaches to reading and criticism

Given the importance of critical reading in literary and cultural studies, the question is how we can teach students to read and analyse texts and to construct convincing readings. This assumes that texts are vehicles of meanings which we can decipher, whether we think that the meaning is (i) intended by the author, (ii) produced by the formal properties or stylistic features of the text, (iii) generated in the act of reading or (iv) a combination of these three factors. Again you should consult experienced colleagues who have designed the relevant module and/or course on which you are teaching to ascertain departmental or school practice. For example, do colleagues teach author-based criticism which does not use explicit theoretical methodologies? Do colleagues focus on the stylistic or sociohistorical aspects of texts? Do colleagues draw on a range of theoretical methodologies in their teaching? These are important questions because they determine what the student must know, should know and could know, and hence what needs to be taught and is likely to be assessed. Although you will probably not be involved in administering all forms of assessment, you must know what skills and knowledge need to be acquired by the students. The aims and objectives of a given programme of study will determine, on the whole, the level of knowledge and the degree of sophistication in reading and critical interpretation which you should expect from students. For example, it would be unreasonable to expect students who are majoring in Engineering or Accountancy and studying French or German for only a third of their time to have a detailed knowledge of a writers published corpus and the context in which it was produced. Students who are studying several subjects do not have the time to reach this degree of sophistication. Some students may also have difficulty adapting to the specific learning methodologies of different disciplines. For example, students from science or engineering backgrounds,
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who are used to learning and interpreting facts and figures, may find it difficult to work in the more abstract context of literary and cultural theory. Other students may have previously learned how to pass the exam to the benefit of school and college league tables and therefore have precise expectations of the teacher to tell them the right answer or formula for exam success. They may feel anxious when these expectations are not met. You should make the students aware of the specific aims, objectives, and learning and teaching methods to be used in literary and cultural studies so that they have appropriate expectations of themselves and of you, the teacher. Students need to understand why they are being asked to engage in a particular activity and what the intended learning outcome may be and how it relates to the bigger picture of their studies. So, where do we begin to teach reading and critical interpretation? According to the specific aims and objectives of the course and module in question, you will have to attribute greater or lesser emphasis to the elements listed in Table 1 below. An initial way of thinking about texts is for students to relate them to their own experience, although the problem with this approach is that they can become trapped by their own concerns and preconceptions. Consequently, they do not encounter the text on its own terms or develop the skills of objective appraisal. One of the rewards of studying cultural forms is that it offers the student the possibility of encountering and developing respect for other world-views, rather than simply reinforcing her or his own. In order to foster this encounter with difference, students might be encouraged to focus on textual elements which diverge from their own expectations and experience. You can use the questions below to guide students as they read and re-read the text: Argument What is the novel, poem, film about? For example, how would you describe it objectively to a friend? Who is speaking? How do you know their identity? Do you identify with the narrator? If not, why not? Is identification important? What is the significance of the chosen setting? How is the target language used? Why is it used in these ways? Does the text claim to represent the world? If so, how? If not, what does it claim to do? What kind of a film, poem or book is it? How do you know? Does that knowledge affect how you read the text?

Voice

Setting Language Relation to the real

Genre

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Intertextual issues

What is the texts relationship to other texts in a given language community? What values are expressed? How does this world-view correspond to or differ from your values and views about the world? Does this ideological correspondence or difference affect your reading practices?

Ideological world-view

Table 1
Teaching and learning activities Although it is unlikely that you will be able to determine the content of the curriculum or the method of its delivery, you may be able to determine teaching and learning activities once in the classroom. Perhaps the key word here is pro-active - the more you encourage your students to be pro-active learners, rather than passive learners, the more chance you both have of enjoying the teaching and learning process and for it to be successful. Below are some examples of teaching and learning activities used in literary and cultural studies which can be undertaken in English or in the target language. If you are intending to work in the target language, it will first be necessary to check students level in the language, for example, through general conversation. Student Activity Read text/view film Teacher Activity Explain role of the LCS critic; set general and specific questions to guide reading/ viewing (see Table 1 above for general questions) Explain role of note-taking; explain method of notetaking; supply examples of effective note-taking which facilitates recall Supply information on how to access local and virtual sources of information; provide reading lists; encourage students to be judiciously critical of information sources; explain relevant research methodology Student Input Read text/view film; answer questions; note down any preliminary ideas

Note-taking from text, secondary critical material, lecture, seminar

Practise and experiment with effective personal notetaking styles; read and review notes regularly

Information-gathering

Go on library tours; surf the Net; organise research material; review and update research material regularly

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Oral presentations (solo)

Explain O.P. techniques; explain assessment; give students chance to practise in front of an audience

Research topic; answer question; reference critics appropriately; manage questions from audience; practise public speaking Research topic; answer question; reference critics appropriately; manage questions from audience; reflect on pair/group management techniques; practise public speaking as a pair/group Research text; read passage very thoroughly; note down ideas; implement advice on good practice

Oral presentations (pair/group)

Explain O.P. techiniques; explain assessment; assign respective tasks; give guidance on pair/group management techniques; give students chance to practise in front of an audience Explain purpose of exercise; explain technique; supply list of features to look for; supply model commentaries Explain what critical discussion is; decide how much meta-language is required; manage discussion by probing, prompting, asking for clarification and critical reflection; help students build confidence and make progress by affirmation and feedback on their participation Guidance on coursework and exam technique; give students the chance to practise with real questions; give feedback to aid progress

Commentary/close reading exercise

Critical discussion (in pairs/group)

Research topic; gain familiarity with metalanguage; participate in discussion; be ready to listen to and learn from others; practise public speaking

Coursework/exam work

Develop time-management skills; practise writing against the clock; research topic thoroughly; read question, answer question; implement advice given by teaching staff

Table 2
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An example of a learning activity in the LCS classroom: commentary The aim of literary and filmic commentary is to enable students to acquire and develop critical interpretative skills and (where applicable) vocabulary and structures in the target language. Commentary employs the technique of close reading of a sequence of film or a literary extract. If you want to use commentary as a teaching and learning activity, it is necessary first to select a short, key extract from the text. You might ask individuals or groups of students to select an extract and present it to the class. Alternatively, you might select an extract yourself and ask students to prepare it in their own time and then use the extract as a basis for classroom discussion. Students first need to read the extract through several times and look up any unknown vocabulary or terms. They might reflect on what happens before and afterwards in the text, or in the text as a whole, which renders the extract significant. After familiarising themselves with the extract, what should students look for? Remember - these are not exhaustive lists, merely some suggested features to look for in a commentary passage or filmic sequence. You may need to explain some of these features and give an easy, relevant example of their use. It is not sufficient to identify them in the text, students need to analyse and to argue WHY (in their view) they might be important. Literary commentary: stylistic and linguistic aspects tense usage (e.g. predominance of a particular tense) adjectives and adverbs (e.g. repetition) punctuation syntax and sentence length (significant when considered with the subject matter?) alliteration (i.e. words beginning with same letter) assonance (corresponding vowel sounds) paragraph structure use of subject pronouns use of names (any symbolic significance?) use of direct speech use of narrative viewpoint use of style indirect libre or free indirect speech metaphor metonymy (use of an attribute to denote a larger concept, e.g. Matignon [French Prime Ministers office] being used to represent the PMs position on an issue). use of interrogative forms use of litotes (negative understatement) periphrasis (long-winded method of communicating for stylistic effect) linguistic register (slang? formal? everyday language?) passive and impersonal constructions enumeration (use of lists)
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generalisations irony emphasis symbolism ellipsis

Filmic language: some general features to note Make sure your students understand these terms in English and in the target language before you ask them to identify their significance in a given sequence of film. Once they understand the terms, show students some brief film clips which contain the relevant features, for example: types of shot characteristics of image (e.g. composition, angle, depth of field) characteristics of lens (e.g. wide angle, telephoto) camera movement editing lighting soundtrack use of colour/black and white scenario special effects flashback frame composition opening and closing credits.

General questions to aid close reading What effects are created in the passage or sequence? How is the literary extract or film sequence structured? How is the reader or viewer positioned in relation to the text (as collaborator, enemy, gullible recipient)? What, in your view, is the aim of the passage/sequence/frame? What is the writers or directors attitude towards the subject matter? How is this evident? What tensions exist in the extract? What is the rhythm of the piece chosen?

16.4 Working with the meta-language

In many modern languages departments, lectures and seminars on aspects of literary and cultural studies are delivered in the target language. In addition, as detailed above, students are expected to develop their skills of critical expression. This raises a number of
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issues for the student and consequently, for the teacher. Barriers to discussion: interpretation and use of the target language As most experienced teachers recognise, it can be difficult to get a discussion started in any area, be it in English or in the target language. The abstract nature of literary and cultural studies and the emphasis on interpretation can frighten many students off, preventing them from developing their own skills of critical analysis and expression. Some weaker students may perceive the requirement to express their slight knowledge and interpretation of the text in the target language as an added burden. In the course of their prior learning experience, they may not have acquired adequate proficiency in the target language to discuss a text in detail, or they may not be familiar with the relevant critical terms. This can result in a total lack of student participation and consequently an entirely teacher-led seminar which tends towards facilitating surface learning rather than critical and independent learning (see Module 1 - How Students Learn). The acquisition of these meta-languages in literary and cultural studies - be it in the target language or the critical language - is crucial because without them, students will not develop their expertise in the target language or the necessary skills of critical thinking and expression. Consequently, they will not be enabled to achieve the aims and learning outcomes of their programme of study. Students need to be made aware that if they are to take a professional attitude to their studies, they need to acquire the necessary linguistic and conceptual tools. If the aim is for students to acquire vocabulary and structures in the target language, then source material, discussion and handouts should all ideally be in the target language to avoid giving the students the chance to lapse into their native language. Similarly, if the aim is for students to acquire a critical vocabulary, then these terms and concepts must be introduced. How might this acquisition and practice of the meta-language be achieved? Students can be introduced to key terms in seminars, lectures and web-based materials. Students can be asked to draw up a glossary of key terms and concepts with which they are unfamiliar from entries in text books, encyclopedias and the Internet. Key terms from lectures can be reinforced by teachers soliciting the appropriate terminology, by supplying the correct terminology when students are floundering and by short question-and-answer slots at the start/end of a class. Students can practise key terms, vocabulary and structures in different exercises (see Teaching and learning activities above).

Using critical theory For many years now, some modern languages syllabi have included optional introductory
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modules on aspects of critical and cultural theory which stand apart from the core syllabus. Other approaches have been to import information on diverse theoretical approaches directly into core literary and cultural studies classes. Although there is no obligation to use critical theory in teaching interpretative reading strategies to students, no teaching practices are value-free and you should at least make your own perspective and assumptions explicit. Moreover, many published works of literary and cultural criticism are informed by a diverse range of theoretical approaches, and for that reason too, students should be made aware of these approaches. Within any department, there will be staff who are more or less interested in using critical theory in their teaching of literary and cultural studies. Problems can arise when students and teachers have to find their way through a range of secondary critical material which employs unfamiliar theoretical approaches. How should you proceed? 1. Use annotated bibliographies. Providing a brief commentary on texts cited in a bibliography which is distributed to students is an established practice and helps them navigate their way through an everexpanding field of reference material. If they know that Text A is a psychoanalytic reading of Madame Bovary, then they can eliminate it or include it in their search for bibliographic material, according to their level of theoretical literacy and to the remit of their assignment. Such annotation may encourage them to discover and appreciate the wealth of critical approaches available to them. 2. Explain the jargon. Critical theory has produced a huge lexicon of complex terms and concepts which can seem incomprehensible and off-putting. These conceptual and terminological tools of the trade should be used as a shorthand to facilitate critical thinking and discussion, not to blind your students with science! Explain the necessary terms and concepts in stages as simply as possible by using easy, relevant examples and familiar vocabulary. Students are almost always capable of understanding the concept if it is explained clearly. 3. Use introductory guides to literary and cultural theory. There is now a mass of accessible and short introductory guides to literary and cultural theory available (some of which are listed at the end of this module). Refer to them and encourage your students to use them from the outset. 4. Read the same passages using different theoretical approaches in small groups; assess the merits and shortcomings of these different approaches. Using departmental Web pages or seminar discussions, you can distribute textual extracts employing a range of different theoretical approaches among groups of students for close reading. You can use question and answer sessions or buzz groups (break
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the class into small groups for discussion) to check understanding and identify the strengths and weakness of the different approaches. Obviously, this must be preceded by explanation of the particular approach at issue, for example, feminist psychoanalytic or new historicist, although this can be hard-going for students and can seem irrelevant until you explain your aims. Most usefully, once the basic concepts of a given theoretical approach have been explained, the discussion should be kept as practical as possible - providing examples of features of a particular interpretative strategy in the text under discussion. A helpful approach to understanding the practical use of theory is offered by Peter Barry in Beginning Theory, An Introduction to Literary and Cultural Theory (Manchester University Press, 1995) in his sections What Structuralist/Feminist/Freudian Psychoanalytic, etc, Critics Do. In these sections relating to the various critical methodologies, Barry lists the activities involved in applying a particular theoretical approach to a text. For example, we learn that (among other activities) feminist critics rethink the canon to include texts by women, challenge representations of women as Other and examine gendered power relations as they affect reading and writing practices. Supplying students with practical applications of different theoretical methodologies in this way should help them use theory effectively.

16.5 Using different audio-visual aids in LCS teaching

It is now broadly accepted that using a variety of audio-visual material to stimulate the learner is good pedagogic practice. Using a range of materials to appeal to students different preferred learning styles is important to keep learning interesting and effective. Some students learn more effectively if information is delivered via a combination of written text and image - perhaps because we learn approximately 70% of information by visual means. For this reason, it is important that you vary methods of information delivery and techniques in small group teaching in order to maximise the chance of accommodating students different preferred learning styles. What kinds of audio-visual media can you use in LCS teaching? Use films in conjunction with novels or film adaptations of novels to promote intertextual readings. Students might watch the entire film in their own time or extracts in class time. You can distribute a questionnaire in advance to guide their viewing which they complete during and after seeing the film. Students might compare how a thematic issue is treated in a literary text and in a film. In the case of film adaptations, students can be invited to comment on the casting, the deletions of characters and scenes, the differences between the written text and the film version(s), the merits and disadvantages of viewing film adaptations of written texts.
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2.

Use visual arts materials (in the form of slides, prints, computer-generated images) with literary texts to promote learning of the cultural context. The pairing of artists and writers work - such as Zolas novels or art criticism with Manets paintings, or Verlaines poetry with Watteaus paintings - in the teaching of a literary module can enable students to understand the cultural context of a given writer more effectively and broaden their knowledge base. You will need to supply students with basic terms relating to visual arts criticism. In pairs or small groups they can think about how these different media might affect what the writer or artist is communicating and how multi-media access to texts might facilitate different readings of a given theme. For example, students might compare the representation of orientalism in Delacroixs painting with that of nineteenth-century French travel writing. Use music of the period to promote learning of the cultural context. For example, you might contrast Baroque with Romantic music in a module on the nineteenth-century German novel. You should explain any relevant musical or cultural terms in advance. If there are any students who have a musical background, you can pair them with students who do not. You might then play music in the background and invite students to comment on it or complete a questionnaire on their personal responses to the music in relation to the texts being studied. Once they understand the concept of Romanticism, you might ask them to identify common Romantic elements in an extract of music and a written text. Use the Net (see below).

3.

4.

16.6 Using the Internet

(For general information on how to use the Internet, please refer to Module 12 - IT in Language Learning.) Educational use of the Internet is commonplace these days and teachers have access to a vast range of resources. It is very likely that staff in your department or school use the Net for pedagogic purposes, and this section aims only to be a brief overview of areas of resources which you might consider using to facilitate student learning. So, what can you and your students use the Net for? obtaining pedagogical advice using Author/Topic web sites for teaching/learning resources access to general information on political, historical, cultural background participating in discussion lists accessing text archives
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reading film, literature and visual arts journals and magazines designing web sites for student use (hyperlinked extracts, booklists, etc) accessing bibliographical databases

16.7 Assessment materials

It is imperative that you consult colleagues in your department for information on departmental assessment requirements and practices. On the next pages, there are some sample assessment materials which you may find useful to use. For general information on assessment, please refer to Module 5 - Assessment.

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SAMPLE 1
Coursework Assessment Sheet which supplies student with detailed

feedback and mark.

COURSEWORK ASSESSMENT MODULE: STUDENT: MARK AWARDED: 1. CONTENT:

2. QUALITY OF ARGUMENT AND ANALYSIS:

3. ORGANISATION AND STRUCTURE:

4. QUALITY OF LANGUAGE AND EXPRESSION:

5. USE OF REFERENCE SOURCES:

6. QUALITY OF PRESENTATION:

7. GENERAL COMMENTS:

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SAMPLE 2 Some suggested essay marking criteria

The criteria below are suggested only as a general guide. All features may not necessarily be present simultaneously in a given piece of work. If an essay is written in the target language, it will be necessary to decide what percentage of the marks is devoted to the use of the target language and the quality of target language required. This will depend on the specific aims and objectives of the module and the course of which it is a component. For example, depending on your departments or schools policy, certain types of error might be overlooked in first year students work but will be heavily penalised if they appear in final year students work.

Classmark I (70 and above)

Features which may be found Well-structured; analytical approach to key terms of question; answers the question, evidence of original thought and insight; well-researched and refers to a wide range of primary and secondary reading; logical reasoning; essay methodology is explicit; appropriate use of quotation; concise; well-presented; bibliography included and correctly laid out. Largely well-structured; analytical approach to key terms of question; answers the question, some limited evidence of original thought and insight; well-researched and refers to a range of primary and secondary reading; logical reasoning; essay methodology is explicit; appropriate use of quotation; usually concise; well-presented; bibliography included and correctly laid out. Some apparent structure; more descriptive than analytic; engages with only some of the key terms of the question; no real evidence of original thought or insight; some research evident but not sufficiently well-organised to answer the question; refers to primary and some secondary reading although this is not always relevant; essay methodology is not always explicit; use of quotation may not always be appropriate in choice/length; tends towards a superficial engagement with question; presentation acceptable; bibliography included but incorrectly laid out.

II.i (60-69)

II.ii (50-59)

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III (40-49)

Little apparent structure; descriptive; engages only vaguely with some of the key terms of the question; no evidence of original thought or insight; little research evident, essay methodology is not very explicit; use of quotation may not always be appropriate in choice/length; a superficial engagement with question; illogical reasoning; presentation acceptable; no bibliography. No structure; descriptive; does not engage with the question; no evidence of original thought or insight; no research evident, essay methodology non-existent; use of quotation inappropriate; illogical and chaotic reasoning; badly-presented; no bibliography.

FAIL (below 40)

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16.8 Suggested reading

Barry P. (1995): Beginning Theory. An Introduction to Literary and Cultural Theory. Manchester University Press, Manchester.

Computers in Teaching Initiative Textual Studies. Humanities Computing Unit, OUCS, 13 Banbury Road, Oxford, OX2 6NN. Web site: http://info.ox.ac.uk/ctitext/
Culler J. (1997): Literary Theory. A Very Short Introduction. Oxford University Press, Oxford. Durant A. & Fabb N. (1990): Literary Studies in Action. Routledge, London. Eagleton T. (1983): Literary Theory. An Introduction. Blackwell. Oxford. Gibaldi J. (series editor) Approaches to Teaching World Literature, Modern Language Association of America. An extensive series of guides to teaching specific literary texts which is aimed at specialists and non-specialists. Jefferson A. & Robey D. (1993): Modern Literary Theory. B.T. Batsford, London. Porter S. & Sutherland S. (eds) (1999): Teaching European Literature and Culture with Communication and Information Technologies, Selected Papers. CTI Centre for Textual Studies Occasional Series, Number 3, OUCS, Oxford.

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