From the monthly archives:

October 2008

Tip 21: How to Weed Out

by Dr Davis on October 21, 2008

Sometimes when you plan a course, there is plenty the school wants you to do and that you think is important and fascinating. Sometimes, in fact, there is too much to do. How do you keep the coursework manageable, both for you and the students?

Look for redundancy.

Do you have two works from the same time period? Two works by the same author? A work likely read in high school or a previous course?

If you do, there is something you can delete.

Do you have two papers of the same type? Do you have two expressive papers?

Again, if you do, there is something you can delete.

What if there isn’t redundancy in your course?

Keep major concepts over minor ones.

One of the real issue with eliminating in a course is determining the major concepts or issues over the minor ones.

Obviously in a freshman composition course I cannot teach every style of college writing the students may face. Equally obviously in a survey of literature course, I can’t have them read every work, or even every major work, of every period.

So I need to focus on the most important ones.

Students are more likely to have to write a compare/contrast paper than they are a narrative essay. If I need to drop papers, then I ought to drop the narrative (a type they are probably too familiar with) to keep the compare/contrast (a type they will be writing in exams throughout college).

Students are more likely outside of English class to hear a reference to Bunyan than to Herbert. I should deal with Bunyan over Herbert if I am teaching a literature course and need to actually finish a period within X amount of time. Then again, they are more likely to hear about Milton than Bunyan. So I would eliminate Herbert in order to include Bunyan, but eliminate Bunyan to include Milton.

Check your learning outcomes.

If you said the students should have written a compare/contrast paper, then you need to have them write one.

If you said they will have covered all the major authors, you should know who the major authors are and cover them.

If you said they are going to read in all four genres, then you should make sure that the students read works in all four genres.

Follow your learning outcomes or change them to better fit your view of the course.

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Tip 20: How to choose what to cover

by Dr Davis on October 21, 2008

What has to be done

Many of our colleges have expectations of what we will cover. Obviously those must be included in our course.

Examples from Freshman Composition at my three colleges

CC2 requires that the students get a strong introduction to computer usage. They have included this as a requirement because most students at CC2 are from just above the poverty level or lower and often have no exposure to the internet.

CC1 requires that we have four papers and a research paper. (It turns out that not everyone actually requires this, but the school itself does.) Not doing the research paper is a way to get yourself banned from teaching there.

SLAC requires three outside class papers and three inside class papers. The in-class papers must be graded more heavily than the out-of-class papers.

The things you think are most important

In my Early British Lit class, I include Beowulf. Many people don’t because Senior English can include Beowulf in the high schools. But I find that a) most people haven’t read it and b) even those who have can use the review. If they haven’t read it, it is an interesting way to start the course. If they have read it, it is an easy way to start the course.

I also include “women’s studies” type readings because I am a woman and too often the positive aspects of Old English/Middle English literature and women are ignored.

In addition, I include “old faithfuls” like Shakespeare and Chaucer, but with a twist. We watch a Shakespearean comedy, instead of reading another of his tragedies. We read “The Miller’s Tale,” a bawdy story unsuitable for teens (though they would probably appreciate it the most).

The things you think are most fascinating

Whatever you love, you should teach. Perhaps that should not be all you teach, but you should teach it. Your enthusiasm will show.

I teach the Exeter Riddles. Most people haven’t even heard of them. I know I didn’t until I got to graduate school. But there are some great ones in there. And it is an interesting way to introduce the culture of the era for British literature or to talk about descriptive writing in freshman composition.

One paper I have had a lot of success with in my freshman composition courses is a riddle paper in which the students write a riddle about an object that is important to them. I tell them that it has to be clear by the end of the riddle what it is, but that I shouldn’t be able to guess at the beginning. This particular paper is an expressive bridge into collegiate writing. It lets the students write about something they know and love, while following my guidelines and writing a college-level paper.

Stuff you know something about

I don’t recommend teaching something you don’t know. If you are supposed to, make sure you learn enough about it that you know more than anyone else in the class is likely to.

Obviously you can’t teach everything you know, so go back to the points above.

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A dean goes way beyond his job description.

by Dr Davis on October 17, 2008

I expect that most of us appreciate it when the dean takes a personal interest in our ability to continue working. (Or maybe not. Perhaps we think we should be able to work without administration’s interference.) In this particular case, though, the situation was unique. Even though the dean may have been trying to protect his university, he didn’t. I probably never would have heard that Rochester University in New York had a teacher who kept child p*rnography on his university computer, if the dean hadn’t tipped the man off.

Would you want a teacher working with or for you who indulged in such an interest? I would not. I know most of our students would be too old to hold such a one’s interest, but what about when a student brings their child on campus? Or when a young brilliant student is admitted to the college to study early?

I don’t like the idea. The dean shouldn’t either.

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Why teach the narrative?

by Dr Davis on October 17, 2008

Culture Cat has an excellent presentation of reasons for assigning a personal narrative as a first essay in a composition course.

I have definitely assigned the narrative essay first in the classroom with some of these in mind, especially the ideas of assigning students what they personally know and as a means of assessing their abilities.

However, I also look at the narrative essay as a bridge for college English.  I don’t know where Dr. Ratliffe’s students are coming from, but many of my students have either never written anything in high school or have only written expressive papers.  By offering as a first assignment the narrative I affirm their intimate knowledge of their subject matter, themselves, and allow them their best chance at a successful writing experience because it is the most like their previous experiences.

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Emily Dickinson was not as reclusive as she’s been portrayed.

by Dr Davis on October 11, 2008

Emily Dickinson was engaged at college. She had a lover later on, perhaps a judge? But no one wants to talk about it, argues Christopher Benfey, because we like our story better.

We tend to reserve special roles for our favorite writers—sepulchral Poe; sardonic Mark Twain; sexy, world-embracing Walt Whitman—and resist evidence that contradicts our cherished images. Emily Dickinson in this constellation is forever the lovelorn spinster, pining away in her father’s mansion on Main Street in Amherst, Mass. We assume that the grand passion behind her poems (“Wild nights—Wild nights! Were I with thee”) must have had a commensurate inspiration, whether imaginary, superhuman, or divine. Evidence that Dickinson’s love life was fairly ordinary, with ordinary temptations and disappointments, doesn’t quite fit the bill. Her exile on Main Street has seemed a necessary part of the Dickinson myth, so necessary, indeed, that contrary information—which happens to have been piling up lately—has often been discounted or ignored.

If there’s a surprise in all this, it’s an ordinary one. It turns out that Emily Dickinson had the kind of early romantic entanglement and disappointment that so many young people have. They find someone congenial; they exchange gifts and promises; their parents intervene for various acknowledged and unacknowledged reasons. If such ordinariness seems somehow beneath the dignity of one of our supreme poets, that’s probably why even this latest challenge to the image of isolated Emily has gotten so little attention. Alas, there’s nothing mysterious or mystical here except what Emily Dickinson made, in her extraordinary poems, of her all-too-human disappointment.

Read all the scintillating details at Slate.

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Call for Papers: Feminisms and Rhetorics

by Dr Davis on October 11, 2008

The conference will be hosted by the Rhetoric and Writing Program at Michigan State University, October 7-9, 2009. Beginning December 15, 2009 [sic], the 2009 Feminisms and Rhetorics committee will be accepting proposals that explore the connections between the conference theme, “Enabling Complexities: Communities/Writing/Rhetoric,” and our scholarly communities and practices.

Proposals accepted from Dec. 15, 2008 to Feb. 1, 2009. See more.

Found at Culture Cat where she says they are looking for proposals that

• *reflect* the complexity and diversity of who “we” are as a scholarly community;
• *make manifest* the deep structure of the connections, intersections, and overlaps that actually make us a community;
• *help articulate* who “we” are as a deliberate community of scholars, and what that means about our responsibilities and relationships to one another across scholarly areas and institutional positions;
• *highlight* scholarly and teacherly activities that deliberately create space for more complex notions of scholarship and teaching within the discipline of Rhet/Comp;
• *include* and significantly engage communities outside of the academy;
• *focus on* antiracist pedagogies and scholarship; present interdisciplinary scholarship in Afrafeminist Rhetorics; American Indian Rhetorics, Chicana Rhetorics, Asian American Rhetorics, post/neo-colonial rhetorics;
• *highlight* the intellectual traditions of women’s communities, especially communities constellated around specific identity markers such as race, ethnicity, class, sexual orientation issues, geographic origins;
• *explore* the relationships between written, oral, and material discursive production;
• and other topics that *address* the connections in the conference theme.

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Auditory, visual, and kinesthetic learners

by Dr Davis on October 9, 2008

I was looking up information on learning styles because it was relevant to the class I am taking. I found this fascinating information.

Auditory Learners:
Learn through hearing
Talk to themselves while working
Move their lips and pronounce the words as they read
Enjoy reading aloud and listening
Can repeat back and mimic tone pitch and timbre
Find writing difficult, but are better at telling
Speak in rhythmic patterns
Prefer lecture or seminar to reading a book
Like talking more than writing
Repeat information over and over to memorize it
Make up little rhymes to remember thing
Are talkative, love discussion and go into great lengthy discussions

Verbal Cues:
“Spell it out for me.”
“I don’t hear what you are saying.”
“Listen to me.”

Visual Learners:
Learn through seeing
Are neat and orderly
Are good spellers and can actually see words in their mind
Memorize by visual association
Make up little rhymes to remember things
Prefer a map to listening to directions
Underline and annotate reading material
Concerned with form and format
Love the use of the overhead and PowerPoint

Verbal Cues:
“Let’s take a look at it.”
“I don’t see what you are saying.”

Kinesthetic Learners:
Learn through touching
Prefer a map to listening to directions
Underline and annotation reading material
Concerned with form and format
Use finger as a pointer when reading
Gesture a lot
Can’t sit for long periods of time

Love the use of the overhead and PowerPoint
Enjoy role-playing
Look for physical rewards
Memorize by associating events with ideas

Verbal Cues:
“Let’s move on.”
“I don’t get it.”

Other points
Auditory: Distracted by noise, like music more than art, move lips while reading.

Visual: Not distracted by noise, fast reader.

Kinesthetic: Pointing, expressive facial appearance and posture, move about.

Auditory: Like music more than art, prefer talking instead of reading.

Visual: Prefer books to lectures, like to doodle while talking on phone.

Kinesthetic: Prefer groups to lectures, like to take a walk to sort out ideas.

On writing, if a student is Auditory:

  • likes group interaction to generate ideas
  • appreciates verbal responses (conversation) to their work-in-progress
  • likes “talking through”
  • a paper idea/plan (explaining it) before writing
  • tends to include quotations and dialog in writing
  • verbally rehearse their writing (interior monolog), may even mumble to themselves when writing

On writing, if the student is visual:

  • Likes to view models of papers assigned
  • Appreciates written responses to their work-in-progress
  • Prefers creating a graphic picture of the writing—a paper plan or outline—and graphically oriented invention strategies—flow chart, clustering, balance sheet, schematics, pro-con, etc.
  • Cares about handwriting
  • Tends to write carefully, correctly, much proofing during invention and drafting stages, but this penchant for appearance results in meager production

On writing, if a student is kinesthetic:

  • prefers and profits from active reading (underlining, annotating a text) instead of reading straight through
  • prefers writing in short bursts
  • prefers active invention strategies that both reduce the writing task into discrete steps and manipulate material
  • tends to write quickly, spontaneously, and abundantly, but without much regard for correctness or appearance (however, an extremely productive behavior)
  • handwriting often unintelligible to a reader

from a LENS Workshop

But when I was reviewing my blog/using my outboard brain, I found that I read and referenced a cognitive scientist’s discussion of learning modalities. He says that learning styles don’t make that much difference in learning.

I believe that in one way (and it makes teaching easier) and in another way I think it must have some impact.

I think perhaps the information in this post says how it has impact.

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Four corner debating, a possible game for controversial issue

by Dr Davis on October 9, 2008

Description found here. It’s where you all talk about the issue, and move around the room based on how you feel after each person talks. Of course, that assumes that you don’t have a strong commitment to the topic which stays the same regardless… I guess “big” issues like abortion wouldn’t work with this.

And this wouldn’t be good for work where the students have done previous research. But it looks like it might be fun. And there are some questions that would work for a college freshman class provided in the paper.

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Re-thinking my Brit Lit I course

by Dr Davis on October 9, 2008

Something I just realized/discovered this week, from doing the readings for Component C and the exam printout we brought in to class.

I have been testing a lot in my Brit Lit course on low-level knowledge questions. Do students recognize where quotes are from? Do they know basic symbolism in various works?

After looking over my learning objectives and outcomes in that course, I can see that what I wanted to make sure they did (the readings and notes) do not line up with what the department says they should be doing (a lot more evaluation and analysis).

So what I am doing about it?

I am going through my two exams for that course and the syllabus itself pulling out the less important works and the lower level test questions and trying to do more evaluation, analysis, valuing questions.

I still want to know that my students understand the basic plot lines in stories and such, but perhaps I can reorient my quizzes to show that? Or grade their notes?

I don’t know. I could use some good ideas for how to do that. Informal assessments without grades? (Since really any literature student ought to understand those things?)

I believe, with John Dewey, that “Education is not a preparation for life…education is life itself.” Partially because of that, I want the readings and the course to enhance the students’ lives after they leave. (The other reason I want the students to read, understand, and enjoy these works is that they have brought so much joy to my life.

My changes to my Brit Lit course:

I had already been working on adding more “relevance” to the course. My project for this course is, at least right now, focused on making the play Everyman more accessible to my students by introducing the concept through modern film (thanks, Joe) with a clip from Forrest Gump and modern music, including “For Everyman” by Jackson Browne and “Every Man” by Casting Crowns.

I also want to place more of an emphasis on the theme of the work, having to meet Death unexpectedly.

In order to do all this in the course, though, I am going to have to leave some things out.

That’s going to be hard. I’ve already pared the course down as far as I can stand (“and I can’t stands no more”- Popeye), but to integrate the old literature with modern life, I am going to have to either drop out some of the old or give more at-home readings. And I have found those to be very difficult to get students to actually do… Also, as a historicist, I think that the works are “better” and more easily understood, if background information is provided before and during the reading. That doesn’t happen at home for the students.

(I wonder if this is a possibility of something to do. Create an interactive text where the asides that I would say in class are available in the text… Maybe. I’ve done my own translation of Beowulf from the Old English, though it is nowhere near as good as Seamus Heaney’s amazingly alliterative alternative, and I could use it without obtaining rights from anyone…. Something to think about.)

Objectives and outcomes for Brit Lit:

Objectives:
1 To read, discuss, enjoy, and write about early English-language literature as a means of introduction to their legacy of works, both prose and poetry.
2 To write about the literature, in essays, essay exams, and literary analysis and thus enhance the students’ repertoire of writing skills.
3 To sharpen students’ writing, thinking, listening, note-taking and research skills.
4 To continue improving students’ skills through Lab work. The lab is in SFA 215.
5 To enhance student vocabularies. The use of a dictionary may be necessary.

Learning Outcomes:
• Trace, interpret, and evaluate the cultural and literary development of English literature, both in form and content, from the Old English or Anglo-Saxon period through the Neo-Classical period.
• Interpret and evaluate a literary work through understanding of the theme, situation, tone, structure and style.
• Recognize the aesthetic, moral, and intellectual values of literature.
• Recognize some of the major themes of literature.
• Understand the distinguishing characteristics of various genres such as epic poems, sonnets, plays, odes, elegies, short stories, novels, and allegories.
• Write logical, well-organized, well-supported critical responses to a literary work.
• Appropriately document material used as the result of research.

How do you get students to enjoy and appreciate the literature? And how would you assess whether that has happened?

Example exam questions:

• How does Beowulf conform to the epic? (Use at least five of the thirteen parts of the definition of epic as covered in class.)
This is a good question because it matches up with one of the learning outcomes.
• Discuss the background of Judith. Where did the poem come from, what influences are seen in it, and in what ways are the influences seen?
This question does ask them to trace development, but basically they would have to have taken good notes on the lecture for this and write it well. I have given them a fairly specific introduction to the three influences on the poem.

“If only one work were studied for each period, which would you recommend and why?” There are four periods that we study in this course (though there is some argument as to when the periods ought to begin and end and we talk about that, so someone who liked Paradise Lost and Gulliver’s Travels could use other dates and get both those works included).

Is this question a good one for my learning outcomes? I added it to the test after the final. (I review my syllabi and exams during the semester I am using them and take notes to improve them.) What would be better questions?

I do want the students to be able to tell me what I told them. I want them to know it. (And that is in the learning outcomes.) I think it is interesting and important to understand that multiple influences impact a text. What would be another question I could ask? Perhaps I could choose another work which we have studied which has influences I did not talk about in relation to it and ask them to identify possible influences and argue for their choices? That’s hard to do.

And this is a sophomore level course, not a majors course. While most of my students are dedicated to getting a college education at this point, especially since I teach in miniterm, I don’t want to make the questions too hard.

“One must learn by doing the thing. For though you think you know it, you have no certainty until you try.” Sophocles

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Questions on assessment (from my class)

by Dr Davis on October 8, 2008

1. Try to recall some of your strongest memories of exams and testing from your college days. What were your most positive evaluation experiences? Describe. Conversely, what were the most negative ones? Why?

Strongest negative memory: An upper division history course taught by a professor who received two PhDs from Oxford. We were all in awe of him. I studied like crazy, took lots of notes, prepared for the final (the only test) and made a B because I did not make personal statements about the topic. (I honestly didn’t understand it well enough to be able to do that, but if the exam was supposed to be grading my learning, then it was okay there. But I still hated it.)

Other negative memory: A Texas history professor who asked such nit-picky details that we described his test questions as “things like the name of the horse that the survivor of the Alamo rode to get away.”

Strongest positive memory: This was not of tests. My strongest positive memories were of research papers. I loved the diving into a subject, studying it, and immersing myself in it. Sometimes it would take me a while to get started, but I really did well once I chose a topic. My favorites were in recent European history and Latin American history. I made B’s in the courses, but I made high A’s on the research papers and I have re-used the information I learned in those papers for decades. They were very useful.

2. Review the courses you teach (course outline, syllabus, and textbooks), as well as the exams and assignments that contribute to the final course grade. Are all major topics and the course learning outcomes thoroughly evaluated? Are the subordinate competencies (specific and discrete) adequately evaluated?

I discovered that my final was not covering what it should have been covering in Brit Lit. I am going back over it today and for the next few days to recreate it.

I also may have to go over my whole syllabus and remove some works in order to give more room to higher level learning. (We can’t read fifty things in twenty days if we are supposed to be analyzing, synthesizing, and evaluating them.)

3. Do the graded assignments and examinations reflect the domains (cognitive, psychomotor, affective) and specific taxonomy levels listed in the course outline? In other words, are high-level learning outcomes and competencies evaluated? Furthermore, are psychomotor and affective domain mastery evaluated (or just cognitive)?

See answer above. But I think that I give a lot more lower-level grading than I would like to in order to ensure that the reading is actually done.

The papers are all higher level learning.

And I have already added two affective questions to this next final. I’m asking them to identify a work for each era which they feel would be the seminal work if we could only read one for that time period and to discuss why they think that, especially in light of the learning objectives and outcomes listed for the course.

4. Are there adequate evaluation opportunities in your courses? Are a variety of evaluation processes used?

Yes. All my classes have TONS of grading because I am going overboard to do the opposite of what Dr. Spencer did… Maybe I need to stop doing quite so much grading because I am getting a little behind on that.

5. What does the phrase “teaching to the test” mean to you?

It means that you only teach what is on the test and you teach nothing else. If the test is something like the NClex, for nursing, then you must do that because the test evaluates high level learning by asking the student to choose the best answer… It means, though, that there is not a lot of leeway in what you teach.

College teachers usually create their own tests. They know what is on them and they should certainly make the information available to the students through discussions, readings, lectures, activities, and assignments.

But students often expect a review handout that covers every single question on a test, rather than types of questions or types of information. If the teacher says that is what the review handout is for, then clearly it should do that. However I often see students not studying, but memorizing the review handout. Then, when they go to a test, they are upset because the question, as presented in the review, was not on the exam. That’s ridiculous. Why should you need to come to class if the review handout is all you need to know for the exam?

In addition I have upon rare occasions had a teacher who taught only what was on the test and nothing else. Each class period consisted of covering ten or fifteen minutes’ worth of material which was boiled down to a single question on the exam. And that was all the class consisted of. I am opposed to this approach.

Thankfully I am in English and for freshman composition, my most common course, the tests of all kinds are writing. Since the focus of the course is writing and the students are writing and the tests are writing, there is a clear confluence of testing and teaching coming together. (At least that is the goal.)

In my British Literature course, I primarily use out of class papers, where the students have to integrate what they learned in class and what they have found or discovered on their own. I do have two exams, though, which cover factual materials in a paragraph form. In those exams the students must write about the work addressing a certain question.

Because the course is involved and we do lots of reading, I allow the students to use their notes. They cannot use the book, but they can use anything that they created. This does two things. It encourages reading as we go along (because there is no way they can do all the reading before the exams) and it encourages them to take extensive notes on my lectures, our discussions, and the texts themselves.

Some teachers might feel that they ought to remember the issues on their own, but I feel that the way I have created the test allows me much more flexibility and gives the students a greater likelihood of doing well.

I don’t expect them to have memorized Beowulf or Paradise Lost. I don’t expect them to remember every description of the characters in Gulliver’s Travels. But I do expect them to have a general grasp of the work (both for the test and afterwards) and to be able to find the more specific information (either in their notes for the test, or on the internet throughout their life).

In addition, for the final, I ask the students to create questions based on the information we have covered in the course. I usually use at least two of those and if they come up with a question I was already planning on, I let them know that as well. …In a class with twenty questions, I will say, “Four of these will be on the test. Two of them were already on the test and two of them have been chosen from your suggestions.” I do not, though, tell them which those are.

This was an answer I gave to a related question before we had really read about or talked about assessment.

I still like my final; I’m just no longer sure that it is testing what it ought to be testing.

6. How do you feel about “high stakes” end of course tests?

Because of my experience with the history course, I do not like them.

Because of my experience with the Regents finals in New York high schools, I love them.

I think that the concept of teaching to the test is mostly, though not entirely, a function of the accountability process put into place in our K-12 system. Most people who teach to the test in this environment are doing so with the expectation of teaching their students the fundamental knowledge which is necessary for them to pass on to their next stage of learning.

Sometimes this is essential and useful. What if there were no understanding of end outcomes for a course/class/year/school? Then each one would be different and a student from one would not have learned or even studied the same things that a student from another did. We would not have anything like a basic level that could be assumed within education.

And this can be useful for a teacher as well. I went to high school in New York, where every student in a course must take the statewide final exam in their course. It did several things for the teachers.

First, it removed the onus of “it was too hard for X” because it is a statewide requirement that you know how to prove that a line has 180 degrees (or whatever).

Second, the final was useful because it gave the teachers a clear set of objectives to be aiming for. World history wasn’t just supposed to talk about the history of a single country outside of the US, but was supposed to cover art and architecture and politics throughout world cultures. European history wasn’t just modern or early, but covered everything from the Etruscans forward.

Third, it allowed teachers a bit of flexibility in grading. This was not mandated (like it presently is in Dallas or Pittsburgh), but a student not doing well in a course, but TRYING, could be given a low passing grade with the clear understanding that the student would not pass the course if they could not pass the final. That was a statewide requirement. So a teacher could reward effort of a student without doing social promotion or effort promotion for the entire course.

7. Do you feel there is a conscious effort to tie assessments to objectives?

You know, I do. Even after having reviewed my final for Brit Lit and having found it wanting, I still think so.

I wrote the Brit Lit final based on what I wanted.

I wanted the students to read and remember the works. I wanted them to take notes. I wanted them to know the different types of literature we covered.

All that is basic learning that doesn’t always happen in a classroom. So it is what I was testing for.

However, the learning outcomes from the syllabus, as given by the department, don’t ask for knowledge level information.

8. Do you have an thoughts on course and instructor assessments?

Of course.

I like them all right, even though the people who write the most are usually the ones who are the most unhappy.

9. How can informal assessments inform our teaching?

As described by the class facilitator, not through much. I did give a quiz over a lecture to see if they were listening. (I don’t know if they were. I haven’t yet taken the time to grade it.)

I would love to hear what you would answer to some or all of these questions. Which ones struck the strongest chord with you?

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