Best online essay writers
Many of my students are conservative, their attitudes at times best online essay writers representing years of intolerance. My students of color, along with my white students, also have very definite perceptions of who I am.
This best online essay writers creates a degree of tension, as they expect me to fulfill their vision of the monolithic black person. These students in - 159 - SUPPORTING PRACTICES particular want me to be like them, but just as their own ethnic, social class, and regional backgrounds shape their readings of me and of the texts, so too do these factors influence my perfor- mance. In addition, many of my white students resent being con- fronted (often for the first time) by a person of color with a degree of authority. As a northea sterner, my diction apparently signals a particular kind of background — one they associate with terms such as elitist, liberal, and authoritarian (which is problematic because of my gender and race). When students try to infer from my accent who I am and how I will interact with them, many become alienated. Thus, how students construct me greatly influences their feelings about the class and, in turn, my classroom practice. Interrogating Practice In addition to responding to how my students construct me, and because I am concerned with critical literacy, access, and race, I make these issues a central part of my pedagogical focus. The local envi- ronment in which I attempt to construct my pedagogy, then, is one that supports helping students to negotiate academic and public discourses so that they can critique and resist both and understand different rhetorical contexts. As a result, I face the question of how, without overwhelming students, to develop criti- cal readers, thinkers, and writers coming to voice as they negoti- ate new and often unfamiliar discourse communities.
Given my institutional context, I have had to revise my ap- proach and, to some extent, my philosophy of teaching. Reflect- ing on my teaching experience, I realized, for example, that some students were frustrated by the decidedly liberal slant of some of 188 - 160 - Conflicting Voices in the Classroom the selected texts. I believe this aggression stems from my philosophy that the class- room is a space in which students should be required to step outside their immediate comfort zone to tackle issues that de- mand that they engage with other contexts. The best essay writer service composition class- room is uniquely situated for this because it is through our study of language that we explore these various contexts. I help me write essay do encourage them to be socially and politically aware and to position themselves as criti- cal readers and writers, but I encourage critique from a variety of perspectives — especially their own. I am careful to convey to stu- dents that they should not have to reject their home values or who they are when they enter the classroom. This is a perspec- tive I have arrived at after spending a good deal of time interro- gating my own practices, and one that has led me to revise several best online essay writers aspects of my course, including the activities described in the next section. Because I value the composition classroom as a space in which stu- dents read, critique, and construct political texts, I attempt to pro- vide an environment in which students actually talk and write about the themes they encounter in various texts.
Course activities in- clude (1) informal written responses to short fiction and critical essays that students prepare in groups and use to lead class dis- cussions and (2) a formal film analysis. To facilitate the informal responses, I select texts that I believe will promote dialogues that - 161 - 189 SUPPORTING PRACTICES help students read, think, and write critically about a variety of topics. Students are most apt to share their true perspectives in their response papers, so it is here that I discover their varied stances. I have found that this can be a double-edged sword when I am the only audience for these response papers. Whereas this makes some students more accountable for what they write, others see it as an opportunity to vent. To combat this problem, I have stu- dents share their response papers in groups, critique the points raised by their peers, and respond to one another in a whole class discussion.
Students are free to highlight those issues they find compelling, interesting, and important.
Of course, they must also delineate the arguments being made. A more formal activity that has also worked well is the rhe- torical analysis of a film.
This activity is situated within a theme that focuses on literacy and texts by encouraging students to criti- cally read texts of the world and then examine their positions in relation to these texts.
Film analysis also provides an opportu- nity for students to critique elements of popular culture.
Students seldom analyze film in a way that encourages them to empathize or identify with the characters and their experiences or to grapple with the issues presented. I stress to my students that their indi- vidual readings constitute the films they view, that their interpre- tive critiques of the films give the films meaning — the director O ERIC - 162 - 190 Conflicting Voices in the Classroom has merely provided a framework within which interpretation takes place.
When I introduce the film activity, my students are generally interested because they get to watch movies, texts they consider accessible. To complete the activity, students view a couple of films (which I usually select). In the past, for example, I have chosen essay writers for pay Dead Man Walking and Higher Learning. I try to select films that engage issues of race, gender, class, alienation, and loss. Stu- dents select a character whom they will rhetorically analyze, look- ing at how he or she promotes, advances, or undercuts the argument of the movie. Students have a lot of latitude in writing their observations of these characters, but because more than one person examines the same character, the class is able to share their differing perspectives. In addition to emphasizing various rhetorical principles, this assignment encourages students to con- sider what it means to be authentic, how film as text writes and responds to other experiences. Students also, obviously, learn how others, who may or may not be similarly situated, view charac- ters, and they encounter other perspectives that might contradict or challenge hegemonic prescriptions. Discussion Initially, I put students into predesignated groups to discuss their analyses with one another before sharing them with the class.
I ask them to consider the following questions when responding to the analyses: (1) Is this character believable?