This is my wish for you:

Comfort on difficult days, smiles when sadness intrudes, rainbows to follow the clouds, laughter to kiss your lips, sunsets to warm your heart, hugs when spirits sag, beauty for your eyes to see, friendships to brighten your being, faith so that you can believe, confidence for when you doubt, courage to know yourself, patience to accept the truth, love to complete your life.

(Author Unknown)



Literature adds to reality, it does not simply describe it. It enriches the necessary competencies that daily life requires and provides; and in this respect, it irrigates the deserts that our lives have already become.

(Author: Clive Staples Lewis)


Thursday, February 24, 2011

Useful Information to Study Literature (Part V)



Authors's tone:

Across the top of the chart, you will find ten words that can be used to identify an author’s tone.  Below each of the ten words are other words associated with that tone that  might better pinpoint or describe a tone.



reverence
love
joy
happiness
calm

awe
veneration

affection
cherish
fondness
admiration
tenderness
sentiment
romantic
Platonic
adoration
narcissism
passion
lust
rapture
ecstasy
infatuated
enamor
compassion


exaltation
zeal
fervor
ardor
elation
jubilant
buoyancy


glad
pleased
merry
glee
delight
cheerful
gay
sanguine
mirth
enjoy
relish
bliss

serene
tranquil
placid
content


hope
sadness
anger
hate
fear

expect
anticipate
trust

somber
solemn
melancholy
sorrow
lament
despair
despondent
regret
dismal
funereal
saturnine
dark
gloomy
dejection
grave
grief
morose
sullen
woe
bleak
remorse
forlorn
distress
agony
anguish
depression
misery
barren
empty
pity


vehement
enraged
rage
outrage
antipathy
irritation
indignant
vexation
incensed
petulant
irascible
riled
bitter
acrimony
irate
fury
wrath
rancor
hostility
miffed
choleric
frustration
futility
aggravate
umbrage
gall
bristle

vengeance
detest
abhorrence
animosity
enmity
malice
pique
rancor
aversion
loathing
despise
scorn
contempt
disdain
jealousy
repugnance
repulsion
resentment
spite
disgust

timidity
apprehension
anxiety
terror
horror
dismay
agitation
sinister
alarm
startle
uneasy
qualms
angst
trepidation
intimidation
spooky
dread
phobia
appalled

Useful Information to Study Literature (Part IV)


Qualities of a Character:

Directions: Circle the words below that describe a character in a story you have just read.
Use the most appropriate ones in your character analysis. Look up words you don't know.

Mental Qualities Moral Qualities
intelligent
educated
smart
wise
gifted
clever
ingenious
brilliant
learned
scholarly
astute
competent
sensible
talented
intellectual
precocious
rational
perceptive
unintelligent
unschooled
dumb
ignorant
simple
puerile
obtuse
vacuous
narrow-minded
shallow
dull
incompetent
unreasonable
incapable
bigoted
witless
irrational
cunning
moral
kind
considerate
idealistic
innocent
righteous
upstanding
truthful
honest
honorable
loyal
helpful
virtuous
pure
puritanical
austere
polite
respectable
immoral
cruel
inconsiderate
unprincipled
corrupt
vile
deceitful
lying
unscrupulous
dishonorable
untrustworthy
self-centered
dissolute
vulgar
degenerate
sensual
insulting
base
Physical Qualities Social Qualities
strong
healthy
handsome
beautiful
pretty
cute
robust
hardy
dainty
delicate
charming
ravishing
adroit
skillful
lively
robust
weak
sickly
hideous
ugly
graceless
emaciated
clumsy
awkward
grotesque
odious
coarse
repulsive
ungainly
unkempt
decrepit
frail
 cooperative
hospitable
congenial
cheerful
supportive
urbane
worldly
debonair
suave
elegant
courteous
tactful
cordial
convivial
encouraging
merry
contentious
inhospitable
impolite
sullen
antagonistic
boorish
provincial
brusque
obsequious
unpolished
petulant
crude
crabby
critical
caustic
grumpy


(Source: http://homepage.mac.com/)

Useful Information to Study Literature (Part III)



How to summarize:


1. A summary - or précis - is a shorter version of a longer piece of writing. The summary captures all the most important parts of the original, but expresses them in a (much) shorter space.
2. Summarizing exercises are usually set to test your understanding of the original, and your ability to re-state its main purpose.
3. Summarizing is also a useful skill when gathering information or doing research.
4. The summary should be expressed - as far as possible - in your own words. It's not enough to merely copy out parts of the original.
5. The question will usually set a maximum number of words. If not, aim for something like one tenth of the original. (A summary which was half the length of the original would not be a summary).
6. Read the original quickly, and try to understand its main subject or purpose.
7. Then you will need to read it again to understand it in more detail.
8. Underline or make a marginal note of the main issues. Use a highlighter if this helps.
9. Look up any words or concepts you don't know, so that you understand the author's sentences and how they relate to each other.
10. Work through the text to identify its main sections or arguments. These might be expressed as paragraphs or web pages.
11. Remember that the purpose (and definition) of a paragraph is that it deals with one issue or topic.
12. Draw up a list of the topics - or make a diagram. (A simple picture of boxes or a spider diagram can often be helpful.)
13. Write a one or two-sentence account of each section you identify. Focus your attention on the main point. Leave out any illustrative examples.
14. Write a sentence which states the central idea of the original text.
15. Use this as the starting point for writing a paragraph which combines all the points you have made.
16. The final summary should concisely and accurately capture the central meaning of the original.
17. Remember that it must be in your own words. By writing in this way, you help to re-create the meaning of the original in a way which makes sense for you. 

 Example of an Original text
'At a typical football match we are likely to see players committing deliberate fouls, often behind the referee's back. They might try to take a throw-in or a free kick from an incorrect, but more advantageous positions in defiance of the clearly stated rules of the game. They sometimes challenge the rulings of the referee or linesmen in an offensive way which often deserves exemplary punishment or even sending off. No wonder spectators fight amongst themselves, damage stadiums, or take the law into their own hands by invading the pitch in the hope of affecting the outcome of the match.' [100 words]
Summary- Unsportsmanlike behaviour by footballers may cause hooliganism among spectators. [9 words]


 Some extra tips:

Even though notes are only for your own use, they will be more effective if they are recorded clearly and neatly. Good layout will help you to recall and assess material more readily. If in doubt use the following general guidelines.
Ø Before you even start, make a note of your source(s). If this is a book, an article, or a journal, write the following information at the head of your notes: Author, title, publisher, publication date, and edition of book.
Ø   Use loose-leaf A4 paper. This is now the international standard for almost all educational printed matter. Don't use small notepads. You will find it easier to keep track of your notes if they fit easily alongside your other study materials.
Ø  Write clearly and leave a space between each note. Don't try to cram as much as possible onto one page. Keeping the items separate will make them easier to recall. The act of laying out information in this way will cause you to assess the importance of each detail.
Ø  Use a new page for each set of notes. This will help you to store and identify them later. Keep topics separate, and have them clearly titled and labelled to facilitate easy recall.
Ø Write on one side of the page only. Number these pages. Leave the blank sides free for possible future additions, and for any details which may be needed later.

Useful Information to Study Literature (Part II)


Essay Planning:


1. Strategy » You can approach the composition of an essay using a number of different writing strategies. Some people like to start writing and wait to see what develops. Others work up scraps of ideas until they perceive a shape emerging. However, if you are in any doubt at all, it's a good idea to plan your work. The task of writing is usually much easier if you create a set of notes which outline the points you are going to make. Using this approach, you will create a basic structure on which your ideas can be built.
2. Plans » This is a part of the essay-writing process which is best carried out using plenty of scrap paper. Get used to the idea of shaping and re-shaping your ideas before you start writing, editing and rearranging your arguments as you give them more thought. Planning on-screen using a word-processor is possible, but it's a fairly advanced technique.
3. Analyse the question » Make sure you understand what the question is asking for. What is it giving you the chance to write about? What is its central issue? Analyse any of its key terms and any instructions. If you are in any doubt, ask your tutor to explain what is required.
4. Generate ideas » You need to assemble ideas for the essay. On a first sheet of paper, make a note of anything which might be relevant to your answer. These might be topics, ideas, observations, or instances from your study materials. Put down anything you think of at this stage.
5. Choosing topics » On a second sheet of paper, extract from your brainstorm listings those topics and points of argument which are of greatest relevance to the question and its central issue. Throw out anything which cannot be directly related to the essay question.
6. Put topics in order » On a third sheet of paper, put these chosen topics in some logical sequence. At this stage you should be formulating a basic response to the question, even if it is provisional and may later be changed. Try to arrange the points so that they form a persuasive and coherent argument.
7. Arrange your evidence » All the major points in your argument need to be supported by some sort of evidence. On any further sheets of paper, compile a list of brief quotations from other sources (together with page references) which will be offered as your evidence.
8. Make necessary changes » Whilst you have been engaged in the first stages of planning, new ideas may have come to mind. Alternate evidence may have occurred to you, or the line of your argument may have shifted somewhat. Be prepared at this stage to rearrange your plan so that it incorporates any of these new materials or ideas. Try out different arrangements of your essay topics until you are sure they form the most convincing and logical sequence.
9. Finalise essay plan »The structure of most essay plans can be summarised as Introduction - Arguments - Conclusion. State your case as briefly and rapidly as possible, present the evidence for this case in the body of your essay, then sum up and try to 'lift' the argument to a higher level in your conclusion. Your final plan should be something like a list of half a dozen to ten major points of argument. Each one of these points will be expanded to a paragraph of something around 100-200 words minimum in length.
10. Relevance » At all stages of essay planning, and even when writing the essay, you should keep the question in mind. Keep asking yourself 'Is this evidence directly relevant to the topic I have been asked to discuss?' If in doubt, be prepared to scrap plans and formulate new ones - which is much easier than scrapping finished essays. At all times aim for clarity and logic in your argument.
11.Example » What follows is an example of an outline plan drawn up in note form. It is in response to the question 'Do you think that depictions of sex and violence in the media should or should not be more heavily censored?'. [It is worth studying the plan in its entirety. Take note of its internal structure.]
'Do you think that depictions of sex and violence in the media should or should not be more heavily censored?'
Introduction » Sex, violence, and censorship all emotive subjects

Case against censorship

1. Aesthetic: inhibits artistic talent, distorts art and truth.
2. Individual judgement: individuals have the right to decide for themselves what they watch or read. Similarly, nobody has the right to make up someone else's mind.
3. Violence and sex as catharsis (release from tension): portrayal of these subjects can release tension through this kind of experience at 'second hand'.
4. Violence can deter: certain films can show violence which reinforces opposition to it, e.g. - A Clockwork Orange, All Quiet on the Western Front.
5. Censorship makes sex dirty: we are too repressed about this subject, and censorship sustains the harmful mystery which has surrounded us for so long.
6. Politically dangerous: Censorship in one area can lead to it being extended to others - e.g., political ideas.
7. Impractical: Who decides? How is it to be done? Is it not impossible to be 'correct'? Any decision has to be arbitrary

Case for censorship

1. Sex is private and precious: it should not be demeaned by representations of it in public.
2. Sex can be offensive: some people may find it so and should not have to risk being exposed to what they would find pornographic.
3. Corruption can be progressive: can begin with sex and continue until all 'decent values' are eventually destroyed.
4. Participants might be corrupted: especially true of young children.
5. Violence can encourage imitation: by displaying violence - even while condemning it -it can be legitimised and can also encourage imitation amongst a dangerous minority.
6. Violence is often glorified: encourages callous attitudes. 

Conclusion  » Case against censorship much stronger. No necessary connection between the two topics.

Useful Information to Study Literature (Part I)


Taking Notes:

1. In preparation for writing an essay or any other piece of work, your notes might come from a number of different sources: course materials, set texts, secondary reading, interviews, or tutorials and lectures. You might gather information from radio or television broadcasts, or from experiments and research projects. The notes could also include your own ideas, generated as part of the essay planning process.
2. The notes you gather in preparation for writing the essay will normally provide the detailed evidence to back up your arguments. They might also include such things as the quotations and page references you plan to use in your essay. Your ultimate objective in planning will be to produce a one or two page outline of the topics you intend to cover.
3. Be prepared for the fact that you might take many more notes than you will ever use. This is perfectly normal. At the note-taking stage you might not be sure exactly what evidence you will need. In addition, the information-gathering stage should also be one of digesting and refining your ideas.
4. Don't feel disappointed if you only use a quarter or even a tenth of your materials. The proportion you finally use might vary from one subject to another, as well as depending on your own particular writing strategy. Just because some material is not used, don't imagine that your efforts have been wasted.
5. When taking notes from any source, keep in mind that you are attempting to make a compressed and accurate record of information, other people's opinions, and possibly your own observations on the subject in question.
6. Your objective whilst taking the notes is to distinguish the more important from the less important points being made. Record the main issues, not the details. You might write down a few words of the original if you think they may be used in a quotation. Keep these extracts as short as possible unless you will be discussing a longer passage in some detail.
7. Don't try to write down every word of a lecture - or copy out long extracts from books. One of the important features of note-taking is that you are making a digest of the originals, and translating the information into your own words.
8. Some students take so many notes that they don't know which to use when it's time to write the essay. They feel that they are drowning in a sea of information.
9. This problem is usually caused by two common weaknesses in note-taking technique:
- transcribing too much of the original
- being unselective in the choice of topics
10. There are two possible solution to this problem:
- Select only those few words of the source material which will be of use. Avoid being descriptive. Think more, and write less. Be rigorously selective.
- Keep the essay question or topic more clearly in mind. Take notes only on those issues which are directly relevant to the subject in question.
11. Even though the notes you take are only for your own use, they will be more effective if they are recorded clearly and neatly. Good layout of the notes will help you to recall and assess the material more readily. If in doubt use the following general guidelines.
- Before you even start, make a note of your source(s). If this is a book, an article, or a journal, write the following information at the head of your notes: Author, title, publisher, publication date, and edition of book.
- Use loose-leaf A4 paper. This is now the international standard for almost all educational printed matter. Don't use small notepads. You will find it easier to keep track of your notes if they fit easily alongside your other study materials.
- Write clearly and leave a space between each note. Don't try to cram as much as possible onto one page. Keeping the items separate will make them easier to recall. The act of laying out information in this way will cause you to assess the importance of each detail.
- Use some system of tabulation (as I am doing in these notes). This will help to keep the items separate from each other. Even if the progression of numbers doesn't mean a great deal, it will help you to keep the items distinct.
- Don't attempt to write continuous prose. Notes should be abbreviated and compressed. Full grammatical sentences are not necessary. Use abbreviations, initials, and shortened forms of commonly used terms.
- Don't string the points together continuously, one after the other on the page. You will find it very difficult to untangle these items from each other after some time has passed.
- Devise a logical and a memorable layout. Use lettering, numbering, and indentation for sections and for sub-sections. Use headings and sub-headings. Good layout will help you to absorb and recall information. Some people use coloured inks and highlighters to assist this process of identification.
- Use a new page for each set of notes. This will help you to store and identify them later. Keep topics separate, and have them clearly titled and labelled to facilitate easy recall.
- Write on one side of the page only. Number these pages. Leave the blank sides free for possible future additions, and for any details which may be needed later.
12. What follows is an example of notes taken whilst listening to an Open University radio broadcast - a half hour lecture by the philosopher and cultural historian, Isaiah Berlin. It was entitled 'Tolstoy's Views on Art and Morality', which was part of the third level course in literary studies A 312 - The Nineteenth Century Novel and its Legacy. 

Isaiah Berlin - 'Tolstoy on Art and Morality' 3 Sep 89

1. T's views on A extreme - but he asks important questns which disturb society 

2. 1840s Univ of Kazan debate on purpose of A 
T believes there should be simple answers to probs of life 

3. Met simple & spontaneous people & soldiers in Caucasus Crimean Sketches admired by
Turgenev & Muscovites but T didn't fit in milieu 

4. Westernizers Vs Slavophiles - T agreed with Ws, but rejects science (Ss romantic
conservatives) 

5. 2 views of A in mid 19C - A for art's sake/ A for society's sake 

6. Pierre (W&P) and Levin (AK) as egs of 'searchers for truth' 

7. Natural life (even drunken violence) better than intellectual 

8. T's contradiction - to be artist or moralist 

9. T's 4 criteria for work of art
- know what you want to say - lucidly and clearly
- subject matter must be of essential interest
- artist must live or imagine concretely his material
- and must know the moral centre of situation 

10. T crit of other writers
Shkspre and Goethe - too complex
St Julien (Flaubert) inauthentic
Turgenev and Chekhov guilty of triviality 

11. What is Art? Emotion recollected and transmitted to others (William Wordsworth) Not self-expression - Only good should be transmitted 

12. But his own tastes were for high art Chopin, Beethoven, and Mozart
T Argues he himself corrupted 

13. Tried to distinguish between his own art and moral tracts 

14. 'Artist cannot help burning like a flame' 

15. Couldn't reconcile contradictions in his own beliefs died still raging against self and society.

Wednesday, February 16, 2011

Aspects of Nonverbal Communication

By Steve Darn

       Nonverbal communication has received much attention in the areas of business presentation, sales and marketing, and the development of social skills. Little attention, however, has been given to its importance in general communication despite major differences in cultural use and interpretation of body language, expression, personal space and other nonverbal tools. It is estimated that less than ten percent of interpersonal communication involves words, the remainder being made up of voice tone, sounds and a variety of devices such as kinetics (movement), haptics (touch), oculesics (eye-contact), proxemics (space) and chronomics (time) as well as posture, sound symbols and silence, which either replace or accompany words. Different studies have identified a wide variety of types of nonverbal communication. The following is a relatively simple classification:

Kinesics body motions (blushes, shrugs, eye movement, foot-tapping, drumming fingers)
Proxemics spatial separation (in relation both the social and physical environment)
Haptics touch
Oculesics eye contact
Chronemics use of time, waiting, pausing
Olfactics smell
Vocalics tone of voice, timbre, volume, speed
Sound Symbols grunting, mmm, er, ah, uh-huh, mumbling,
Silence absence of sound (muteness, stillness, secrecy)
Adornment clothing, jewellery, hairstyle
Posture position of the body (characteristic or assumed)
Locomotion walking, running, staggering, limping
Expression frowns, grimaces, smirks, smiles, pouting

It is often assumed that nonverbal communication is a transferable skill. However, there are two major problematic factors: firstly that, like speech, it has both form and function, and, secondly, that it is not always directly translatable. It is the first of these factors which makes nonverbal communication difficult to teach, and the second which leads to breakdowns and misunderstandings in intercultural communication.

Gestures, expressions and all other forms of nonverbal communication have functions, which, as with language, need to be taught along with their forms. In the same way as language items, some paralinguistic expressions have several functions, while nonverbal communication in general performs the three basic functions of managing identity, defining relationships, and conveying attitudes and feelings (but not ideas):

Form
Main Function (in some cultures)
Nod  (Yes) Repeating
Shrug (I don’t know) Substituting
Scratch head, quizzical look Complementing
Tone of voice, pointing Accenting
Hand raised Regulating, turn taking
Head shake Contradicting
Eye movements Deceiving
Staring/Looking down or away Dominating/Submitting
Raised fist Aggression
Hand-shake Socialising
Touching, kissing Arousal
Over-adornment Boasting

       Misunderstandings occur because the functions of paralinguistic forms vary from culture to culture, although there are some universal nonverbals such as smiles, laughter and sour expressions. There are also differences according to gender and age. Nonverbal communication tends to be relatively ambiguous and open to interpretation while its influence often depends on the nature of the ‘listener’, particularly when it is unclear whether the messages conveyed are deliberate or unconscious. Nonverbal indicators are most common in polychronic cultures, in which an individual often performs several tasks simultaneously. The following are examples of common gestures which have different functions and meanings in different cultures:

        Nonverbal and verbal communication are normally inseparable, which, for example, is why it may seem so difficult to use the telephone in a foreign language. It needs to be taught and practised situationally, in the right contexts, and with plenty of cultural input and awareness. Given its importance, there is a singular lack of material for the teacher which focuses on this aspect of communication, but here are a few techniques:
  • Learners discuss the meaning of gestures and expressions (either demonstrated by the teacher, from pictures, or from existing published materials. This is particularly effective with multilingual classes.
  • Learners watch a video clip without sound, then discuss and write the dialogue.
  • Learners act out a dialogue using gesture and expression only:
    • A: Excuse me. Can you take a picture of me?
    • B: Yeah, sure.
    • A: Just press that button.
    • B: Er, which one?
    • A: The one on the top.
    • B: OK, right. Er.... can you move back a bit.
    • A: Is this OK?
    • B: Fine, now smile. That's it. Very nice.
    • A: Thanks.
    • B: Not at all. You've got a lovely smile. Er... fancy a drink?
    • A: OK, but I've got no money on me.
    • B: That's OK. I'll pay.
  • Learners, in pairs, take turns in listening to each other for 30 seconds, using only nonverbal responses.

       Nonverbal communication has implications for the teacher as well as the learner. It is often said that one can always recognise a language teacher by their use of gesture in normal conversation, while it is certainly true that a system of gestures has evolved which allows a teacher to perform aspects of classroom management quickly, quietly and efficiently. Gestures for 'work in pairs', 'open your books', 'listen' and 'write' are universal, while individual teachers have developed nonverbal repertoires involving the use of fingers to represent words, expressions to denote approval/disapproval and gestures to indicate time, tense and other linguistic features, and hence systems for instruction, correction and management which well-trained learners respond to immediately. The effective use of nonverbal cues assists in a wide range of classroom practices by adding an extra dimension to the language:
  • reducing unnecessary teacher talking time
  • increasing learner participation  
  • confidence building
  • reducing fear of silence
  • clear instructions
  • efficient classroom management
  • classroom atmosphere
  • improving listening skills
  • improving performance in pair and group activities
  • self and peer correction
  • avoiding misunderstandings
  • improving intercultural competence
       Teachers, however, should always remember that the meanings of gestures and other nonverbal cues need to be taught in the same way as the meaning of essential classroom language, also that a number of nonverbal techniques already exist in their repertoire, such as the use of cuisenaire rods, colours and charts, adapted from the Silent Way. Make sure that the learners understand your codes, and teach them to use them themselves.

Bibliography

  • Barnett, Marya A. (1983). Replacing teacher talk with gestures: Nonverbal communication in the foreign language classroom. Foreign Language Annals, 16, pp: 173-176.
  • Aaron Wolfgang. (1984) Nonverbal Behavior: Perspectives, Application, Intercultural Insights. C. J. Hofrege, Inc. Lewinston, NY.
  • Pennycook, Alastair (1985). Actions speak louder than words: Paralanguage, Communication, and Education. TESOL Quarterly, 19, pp: 259-282.
  • Louise Damen. (1987). Culture Learning: The Fifth Dimension in the Language Classroom. Addison- Wesley: USA.
  • Pierre Philippot, Robert S. Feldman, Erik J. Coats. (1999).The Social Context of Nonverbal Behavior. Maison des Sciences de I# Homme and Cambridge University Press : Cambridge.
  • Peter Hartley. (1993). Interpersonal Communication. Author: New York.
  • Robert S. Feldman. (1992). Applications of Nonverbal Behavioral Theories and Research. Lawrence Erlbaum Associates, Inc.: New Jersey.
  • Robert Koch.(1971).The teacher and Nonverbal Communication. Theory Into Practice  pp: 231-242.
  • Miluse Soudek and Lev I. Soudek. Non-verbal Channels in Language Teaching. ELT Journal, Volume 39/2 April 1985. 109-114.

Six ways to improve your nonverbal communications


By Vicki Rittis



It is not only what you say in the classroom that is important, but it's how you say it that can make the difference to students. Nonverbal messages are an essential component of communication in the teaching process.
Teachers should be aware of nonverbal behavior in the classroom for three major reasons:
  • An awareness of nonverbal behavior will allow you to become better receivers of students' messages.
  • You will become a better sender of signals that reinforce learning.
  • This mode of communication increases the degree of the perceived psychological closeness between teacher and student.
Some major areas of nonverbal behaviors to explore are:
  • Eye contact
  • Facial expressions
  • Gestures
  • Posture and body orientation
  • Proximity
  • Paralinguistics
  • Humor
Eye contact:
 
Eye contact, an important channel of interpersonal communication, helps regulate the flow of communication. And it signals interest in others. Furthermore, eye contact with audiences increases the speaker's credibility. Teachers who make eye contact open the flow of communication and convey interest, concern, warmth and credibility. 

Facial expressions:
 
Smiling is a powerful cue that transmits:
  • Happiness
  • Friendliness
  • Warmth
  • Liking
  • Affiliation
Thus, if you smile frequently you will be perceived as more likable, friendly, warm and approachable. Smiling is often contagious and students will react favorably and learn more. 

Gestures:
 
If you fail to gesture while speaking, you may be perceived as boring, stiff and unanimated. A lively and animated teaching style captures students' attention, makes the material more interesting, facilitates learning and provides a bit of entertainment. Head nods, a form of gestures, communicate positive reinforcement to students and indicate that you are listening. 

Posture and body orientation:
 
You communicate numerous messages by the way you walk, talk, stand and sit. Standing erect, but not rigid, and leaning slightly forward communicates to students that you are approachable, receptive and friendly. Furthermore, interpersonal closeness results when you and your students face each other. Speaking with your back turned or looking at the floor or ceiling should be avoided; it communicates disinterest to your class. 

Proximity:
 
Cultural norms dictate a comfortable distance for interaction with students. You should look for signals of discomfort caused by invading students' space. Some of these are:
  • Rocking
  • Leg swinging
  • Tapping
  • Gaze aversion
Typically, in large college classes space invasion is not a problem. In fact, there is usually too much distance. To counteract this, move around the classroom to increase interaction with your students. Increasing proximity enables you to make better eye contact and increases the opportunities for students to speak. 

Paralinguistics:
 
This facet of nonverbal communication includes such vocal elements as:
  • Tone
  • Pitch
  • Rhythm
  • Timbre
  • Loudness
  • Inflection
For maximum teaching effectiveness, learn to vary these six elements of your voice. One of the major criticisms is of instructors who speak in a monotone. Listeners perceive these instructors as boring and dull. Students report that they learn less and lose interest more quickly when listening to teachers who have not learned to modulate their voices. 

Humor:
 
Humor is often overlooked as a teaching tool, and it is too often not encouraged in college classrooms. Laughter releases stress and tension for both instructor and student. You should develop the ability to laugh at yourself and encourage students to do the same. It fosters a friendly classroom environment that facilitates learning. (Lou Holtz wrote that when his players felt successful he always observed the presence of good humor in the locker room.)
Obviously, adequate knowledge of the subject matter is crucial to your success; however, it's not the only crucial element. Creating a climate that facilitates learning and retention demands good nonverbal and verbal skills. To improve your nonverbal skills, record your speaking on video tape. Then ask a colleague in communications to suggest refinements.

Diversity and Complexity in the Classroom



Considerations in Race, Ethnicity, and Gender


By Barbara Gross Davis


        Since the 1960s and the rise of the civil rights movement, American colleges and universities have been engaged in an ongoing debate about how best to enroll, educate, and graduate students from groups historically underrepresented in higher education: women, African Americans, Chicanos and Latinos, Native Americans, American-born students of Asian ancestry, and immigrants. As enrollment statistics show, changes in both the demographics of the applicant pool and college admissions policies are bringing about a measure of greater diversity in entering classes (Levine and Associates, 1990). Once they are on campus, though, many of these students feel that they are treated as unwelcome outsiders, and they describe having encountered subtle forms of bias (Cones, Noonan, and Janha, 1983; Fleming, 1988; Green, 1989; Hall and Sandler, 1982; Pemberton, 1988; Sadker and Sadker, 1992; Simpson, 1987; Woolbright, 1989). Some students of color have labeled this bias "the problem of ignorance" or the "look through me" syndrome (Institute for the Study of Social Change, 1991) . As reported by the Institute for the Study of Social Change, students talk about subtle discrimination in certain facial expressions, in not being acknowledged, in how white students "take over a class" and speak past students of color, or in small everyday slights in which they perceive that their value and perspective are not appreciated or respected. Though often unwitting or inadvertent, such behaviors reinforce the students' sense of alienation and hinder their personal, academic, and professional development.
There are no universal solutions or specific rules for responding to ethnic, gender, and cultural diversity in the classroom, and research on best practices is limited (Solomon, 1991). Indeed, the topic is complicated, confusing, and dynamic, and for some faculty it is fraught with uneasiness, difficulty, and discomfort. Perhaps the overriding principle is to be thoughtful and sensitive and do what you think is best. The material in this section is intended to help you increase your awareness of matters that some faculty and students have indicated are particularly sensitive for women and students of color. Some of these problems affect all students, but they may be exacerbated by ethnic and gender differences between faculty members and their students.
The following ideas, based on the teaching practices of faculty across the country and on current sociological and educational research, are intended to help you work effectively with the broad range of students enrolled in your classes.

General Strategies

Recognize any biases or stereotypes you may have absorbed. Do you interact with students in ways that manifest double standards? For example, do you discourage women students from undertaking projects that require quantitative work? Do you undervalue comments made by speakers whose English is accented differently than your own? Do you assume that most African American, Chicano/Latino, or Native American students on your campus are enrolled under special admissions programs? Do you assume that most students of color are majoring in Ethnic Studies? Treat each student as an individual, and respect each student for who he or she is. Each of us has some characteristics in common with others of our gender, race, place of origin, and sociocultural group, but these are outweighed by the many differences among members of any group. We tend to recognize this point about groups we belong to ("Don't put me in the same category as all those other New Yorkers/Californians/Texans you know") but sometimes fail to recognize it about others. However, any group label subsumes a wide variety of individuals-people of different social and economic backgrounds, historical and generational experience, and levels of consciousness. Try not to project your experiences with, feelings about, or expectations of an entire group onto any one student. Keep in mind, though, that group identity can be very important for some students. College may be their first opportunity to experience affirmation of their national, ethnic, racial, or cultural identity, and they feel both empowered and enhanced by joining monoethnic organizations or groups. (Source: Institute for the Study of Social Change, 1991)
Rectify any language patterns or case examples that exclude or demean any groups. Do you
  • Use terms of equal weight when referring to parallel groups: men and women rather than men and ladies?
  • Use both he and she during lectures, discussions, and in writing, and encourage your students to do the same?
  • Recognize that your students may come from diverse socioeconomic backgrounds?
  • Refrain from remarks that make assumptions about your students' experiences, such as, "Now, when your parents were in college . . . "?
  • Refrain from remarks that make assumptions about the nature of your students' families, such as, "Are you going to visit your parents over spring break?"
  • Avoid comments about students' social activities that tacitly assume that all students are heterosexual?
  • Try to draw case studies, examples, and anecdotes from a variety of cultural and social contexts?
Do your best to be sensitive to terminology. Terminology changes over time, as ethnic and cultural groups continue to define their identity, their history, and their relationship to the dominant culture. In the 1960s, for example, negroes gave way to blacks and Afro-Americans. In the 1990s, the term African American gained general acceptance. Most Americans of Mexican ancestry prefer Chicano or Latino or Mexican American to Hispanic, hearing in the last the echo of Spanish colonialism. Most Asian Americans are offended by the term Oriental, which connotes British imperialism; and many individuals want to be identified not by a continent but by the nationality of their ancestors-for example, Thai American or Japanese American. In California, Pacific Islander and South Asian are currently preferred by students whose forebears are from those regions. To find out what terms are used and accepted on your campus, you could raise the question with your students, consult the listing of campuswide student groups, or speak with your faculty affirmative action officer.
Get a sense of how students feel about the cultural climate in your classroom. Let students know that you want to hear from them if any aspect of the course is making them uncomfortable. During the term, invite them to write you a note (signed or unsigned) or ask on midsemester course evaluation forms one or more of the following questions (adapted from Cones, Janha, and Noonan, 1983):
  • Does the course instructor treat students equally and evenhandedly?
  • How comfortable do you feel participating in this class? What makes it easy or difficult for you?
  • In what ways, if any, does your ethnicity, race, or gender affect your interactions with the teacher in this class? With fellow students?
Introduce discussions of diversity at department meetings. Concerned faculty can ask that the agenda of department meetings include topics such as classroom climate, course content and course requirements, graduation and placement rates, extracurricular activities, orientation for new students, and liaison with the English as a second language (ESL) program.

Tactics for Overcoming Stereotypes and Biases

Become more informed about the history and culture of groups other than your own. Avoid offending out of ignorance. Strive for some measure of "cultural competence" (Institute for the Study of Social Change, 1991): know what is appropriate and inappropriate behavior and speech in cultures different from your own. Broder and Chism (1992) provide a reading list, organized by ethnic groups, on multicultural teaching in colleges and universities. Beyond professional books and articles, read fiction or nonfiction works by authors from different ethnic groups. Attend lectures, take courses, or team teach with specialists in Ethnic Studies or Women's Studies. Sponsor mono- or multicultural student organizations. Attend campuswide activities celebrating diversity or events important to various ethnic and cultural groups. If you are unfamiliar with your own culture, you may want to learn more about its history as well. Convey the same level of respect and confidence in the abilities of all your students. Research studies show that many instructors unconsciously base their expectations of student performance on such factors as gender, language proficiency, socioeconomic status, race, ethnicity, prior achievement, and appearance (Green, 1989). Research has also shown that an instructor's expectations can become self-fulfilling prophecies: students who sense that more is expected of them tend to outperform students who believe that less is expected of them - regardless of the students' actual abilities (Green, 1989; Pemberton, 1988). Tell all your students that you expect them to work hard in class, that you want them to be challenged by the material, and that you hold high standards for their academic achievement. And then practice what you have said: expect your students to work hard, be challenged, and achieve high standards. (Sources: Green, 1989; Pemberton, 1988)
Don't try to "protect" any group of students. Don't refrain from criticizing the performance of individual students in your class on account of their ethnicity or gender. If you attempt to favor or protect a given group of students by demanding less of them, you are likely to produce the opposite effect: such treatment undermines students' self-esteem and their view of their abilities and competence (Hall and Sandier, 1982). For example, one faculty member mistakenly believed she was being considerate to the students of color in her class by giving them extra time to complete assignments. She failed to realize that this action would cause hurt feelings on all sides: the students she was hoping to help felt patronized, and the rest of the class resented the preferential treatment.
Be evenhanded in how you acknowledge students' good work. Let students know that their work is meritorious and praise their accomplishments. But be sure to recognize the achievements of all students. For example, one Chicana student complained about her professor repeatedly singling out her papers as exemplary, although other students in the class were also doing well. The professor's lavish public praise, though well intended, made this student feel both uncomfortable and anxious about maintaining her high level of achievement.
Recognize the complexity of diversity. At one time the key issue at many colleges was how to recruit and retain African-American students and faculty. Today, demographics require a broader multicultural perspective and efforts to include many underrepresented groups. Although what we know about different ethnic groups is uneven, avoid generalizing from studies on African-American students (Smith, 1989).

Course Content and Material

Whenever possible select texts and readings whose language is gender-neutral and free of stereotypes. If the readings you assign use only masculine pronouns or incorporate stereotypes, cite the date the material was written, point out these shortcomings in class, and give your students an opportunity to discuss them. Aim for an inclusive curriculum. Ideally, a college curriculum should reflect the perspectives and experiences of a pluralistic society. At a minimum, creating an inclusive curriculum involves using texts and readings that reflect new scholarship and research about previously underrepresented groups, discussing the contributions made to your field by women or by various ethnic groups, examining the obstacles these pioneering contributors had to overcome, and describing how recent scholarship about gender, race, and class is modifying your field of study. This minimum, however, tends to place women, people of color, and non-European or non-American cultures as "asides" or special topics. Instead, try to recast your course content, if possible, so that one group's experience is not held up as the norm or the standard against which everyone else is defined. (Sources: Coleman, n.d.; Flick, n.d.; Jenkins, Gappa, and Pearce, 1983)
Do not assume that all students will recognize cultural literary or historical references familiar to you. As the diversity of the student and faculty populations increases, you may find that you and your students have fewer shared cultural experiences, literary allusions, historical references, and metaphors and analogies. If a certain type of cultural literacy is prerequisite to completing your course successfully, consider administering a diagnostic pretest on the first day of class to determine what students know. Of course, you may choose to refer deliberately to individuals or events your students may not know to encourage them to do outside reading.
Consider students' needs when assigning evening or weekend work. Be prepared to make accommodations for students who feel uncomfortable working in labs or at computer stations during the evening because of safety concerns. Students who are parents, particularly those who are single parents, may also appreciate alternatives to evening lab work or weekend field trips, as will students who work part-time.
Bring in guest lecturers. As appropriate, you can broaden and enrich your course by asking faculty or off-campus professionals of different ethnic groups to make presentations to your class.

Class Discussion

Emphasize the importance of considering different approaches and viewpoints. One of the primary goals of education is to show students different points of view and encourage them to evaluate their own beliefs. Help students begin to appreciate the number of situations that can be understood only by comparing several interpretations, and help them appreciate how one's premises, observations, and interpretations are influenced by social identity and background. For example, research conducted by the Institute for the Study of Social Change (1991) shows that white students and African-American students tend to view the term racism differently. Many white students, for example, believe that being friendly is evidence of goodwill and lack of racism. Many African-American students, however, distinguish between prejudice (personal attitudes) and racism (organizational or institutional bias); for them, friendliness evidences a lack of prejudice but not necessarily a wholehearted opposition to racism. Make it clear that you value all comments. Students need to feel free to voice an opinion and empowered to defend it. Try not to allow your own difference of opinion prevent communication and debate. Step in if some students seem to be ignoring the viewpoints of others. For example, if male students tend to ignore comments made by female students, reintroduce the overlooked comments into the discussion (Hall and Sandier, 1982).
Encourage all students to participate in class discussion. During the first weeks of the term, you can prevent any one group of students from monopolizing the discussion by your active solicitation of alternate viewpoints. Encourage students to listen to and value comments made from perspectives other than their own. You may want to have students work in small groups early in the term so that all students can participate in nonthreatening circumstances. This may make it easier for students to speak up in a larger setting. See "Collaborative Learning: Group Work and Study Teams," "Leading a Discussion," and "Encouraging Student Participation in Discussion."
Monitor your own behavior in responding to students. Research studies show that teachers tend to interact differently with men and women students (Hall and Sandler, 1982; Sadker and Sadker, 1990) and with students who are - or whom the instructor perceives to be - high or low achievers (Green, 1989). More often than not, these patterns of behavior are unconscious, but they can and do demoralize students, making them feel intellectually inadequate or alienated and unwelcome at the institution.
As you teach, then, try to be evenhanded in the following matters:
  • Recognizing students who raise their hands or volunteer to participate in class (avoid calling on or hearing from only males or only members of one ethnic group)
  • Listening attentively and responding directly to students' comments and questions
  • Addressing students by name (and with the correct pronunciation)
  • Prompting students to provide a fuller answer or an explanation
  • Giving students time to answer a question before moving on
  • Interrupting students or allowing them to be interrupted by their peers
  • Crediting student comments during your summary ("As Akim said... ")
  • Giving feedback and balancing criticism and praise
  • Making eye contact
Also, refrain from making seemingly helpful offers that are based on stereotypes and are therefore patronizing. An example to avoid: an economics faculty member announced, "I know that women have trouble with numbers, so I'll be glad to give you extra help, Jane."
You might want to observe your teaching on videotape to see whether you are unintentionally sending different messages to different groups. Sadker and Sadker (1992) list questions to ask about your teaching to explore gender and ethnic differences in treatment of students. (Sources: Hall and Sandier, 1982; Sadker and Sadker, 1990; Sadker and Sadker, 1992)
Reevaluate your pedagogical methods for teaching in a diverse setting. Observers note that in discussion classes professors tend to evaluate positively students who question assumptions, challenge points of view, speak out, and participate actively (Collett, 1990; Institute for the Study of Social Change, 1991). Recognize, however, that some of your students were brought up to believe that challenging people who are in positions of authority is disrespectful or rude. Some students may be reluctant to ask questions or participate out of fear of reinforcing stereotypes about their ignorance. The challenge for teaching a diverse student body is to be able to engage both verbally assertive students and those with other styles and expressions of learning. See "Leading a Discussion," "Encouraging Student Participation in Discussion," and "Learning Styles and Preferences" for suggestions on how to actively involve all students. (Source: Institute for the Study of Social Change, 1991)
Speak up promptly If a student makes a distasteful remark even jokingly. Don't let disparaging comments pass unnoticed. Explain why a comment is offensive or insensitive. Let your students know that racist, sexist, and other types of discriminatory remarks are unacceptable in class. For example, "What you said made me feel uncomfortable. Although you didn't mean it, it could be interpreted as saying... "
Avoid singling out students as spokespersons. It is unfair to ask X student to speak for his or her entire race, culture, or nationality. To do so not only ignores the wide differences in viewpoints among members of any group but also reinforces the mistaken notion that every member of a minority group is an ad hoc authority on his or her group (Pemberton, 1988). An example to avoid: after lecturing on population genetics and theories of racial intelligence, a faculty member singled out an African-American student in the class to ask his reactions to the theories. Relatedly, do not assume all students are familiar with their ancestors' language, traditions, culture, or history. An example to avoid: asking an American-born student of Chinese descent, "What idiom do you use in Chinese?" (Sources: Flick, n.d.; Pemberton, 1988).

Assignments and Exams

Be sensitive to students whose first language is not English. Most colleges require students who are nonnative speakers of English to achieve oral and written competency by taking ESL courses. Ask ESL specialists on your campus for advice about how to grade papers and for information about typical patterns of errors related to your students' native languages. For example, some languages do not have two-word verbs, and speakers of those languages may need extra help - and patience - as they try to master English idioms. Such students should not be penalized for misusing, say, take after, take in, take off, take on, take out, and take over. Suggest that students form study teams that meet outside of class. By arranging for times and rooms where groups can meet, you can encourage students to study together. Peer support is an important factor in student persistence in school (Pascarella, 1986), but students of color are sometimes left out of informal networks and study groups that help other students succeed (Simpson, 1987). By studying together, your students can both improve their academic performance and overcome some of the out-of-class segregation common on many campuses. See "Collaborative Learning" for suggestions on how to form study teams.
Assign group work and collaborative learning activities. Students report having had their best encounters and achieved their greatest understandings of diversity as "side effects" of naturally occurring meaningful educational or community service experiences (Institute for the Study of Social Change, 1991). Consider increasing students' opportunities for group projects in which three to five students complete a specific task, for small group work during class, or for collaborative research efforts among two or three students to develop instructional materials or carry out a piece of a research study. Collaborative learning can be as simple as randomly grouping (by counting off) two or three students in class to solve a particular problem or to answer a specific question. See "Collaborative Learning," "Leading a Discussion," and "Supplements and Alternatives to Lecturing" for ideas about incorporating group work into instruction.
Give assignments and exams that recognize students' diverse backgrounds and special interests. As appropriate to your field, you can develop paper topics or term projects that encourage students to explore the roles, status, contributions, and experiences of groups traditionally underrepresented in scholarly research studies or in academia (Jenkins, Gappa, and Pearce, 1983). For example, a faculty member teaching a course on medical and health training offered students a variety of topics for their term papers, including one on alternative healing belief systems. A faculty member in the social sciences gave students an assignment asking them to compare female-only, male-only, and male-female work groups.

Advising and Extracurricular Activities

Meet with students informally. Frequent and rewarding informal contact with faculty members is the single strongest predictor of whether or not a student will voluntarily withdraw from a college (Tinto, 1989). Ongoing contact outside the classroom also provides strong motivation for students to perform well in your class and to participate in the broad social and intellectual life of the institution. In addition to inviting groups of your students for coffee or lunch, consider becoming involved in your campus orientation and academic advising programs or volunteering to speak informally to students living in residence halls or to other student groups. See "Academic Advising and Mentoring Undergraduates." Encourage students to come to office hours. Of course, all students can benefit from the one-to-one conversation and attention that only office hours provide. In addition, students who feel alienated on campus or uncomfortable in class are more likely to discuss their concerns in private. (Source: Chism, Cano, and Pruitt, 1989)
Don't shortchange any students of advice you might give to a member of your own gender or ethnic group. Simpson ( 1987) reports the following unfortunate incident. A white male faculty member was asked by a female African-American student about whether she should drop an engineering class in which she was having difficulties. Worried that if he advised a drop, he might be perceived as lacking confidence in the intellectual abilities of African-American women, he suggested that she persevere. Had the student been a white male, the professor acknowledged, he would have placed the student's needs ahead of his own self-doubts and unhesitatingly advised a drop.
Advise students to explore perspectives outside their own experiences. For example, encourage students to take courses that will introduce them to the literature, history, and culture of other ethnic groups. (Source: Coleman, n.d.)
Involve students in your research and scholarly activities. Whenever you allow students to see or contribute to your own work, you are not only teaching them about your field's methodology and procedures but also helping them understand the dimensions of faculty life and helping them feel more a part of the college community (Blackwell, 1987). Consider sponsoring students in independent study courses, arranging internships, and providing opportunities for undergraduates to participate in research.
Help students establish departmental organizations. If your department does not have an undergraduate association, encourage students to create one. Your sponsorship can make it easier for student groups to obtain meeting rooms and become officially recognized. Student organizations can provide peer tutoring and advising as well as offer social and academic programs. In fields in which women and certain ethnic groups have traditionally been underrepresented, some students may prefer to form caucuses based on their gender or cultural affinities (for example, women in architecture). Research by the Institute for the Study of Social Change (1991) has documented the importance of associations for students of color as a basis for collective identification and individual support.
Provide opportunities for all students to get to know each other. Research shows that both African-American and white students, for example. would like greater interracial contact. African-American students tend to prefer institutional programs and commitments, while most white students prefer opportunities for individual, personal contacts. (Source: Institute for the Study of Social Change, 1991).

References

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