Tag Archives: annotated syllabus

Learning from the Semester: 2.0

Steven Volk (April 25, 2016)

[The following is an edited and updated version of a post from 2013.]

From Guy Newell Boothby, "Doctor Nikola" (London: Ward, Lock, & Co,  1986), p. 335. British Library.

From Guy Newell Boothby, “Doctor Nikola” (London: Ward, Lock, & Co, 1986), p. 335. British Library.

As the semester moves to it close (insert fist pump), it’s a good time to reflect on what you learned from the semester as well as considering what you think your students are taking away from your classes. To begin, here are three ways to track your teaching, from the quick and simple to the more time consuming.

End of Semester Snapshop

While you can, and probably should, reflect on your teaching at many points during the semester (see nos. 2 and 3 below), two moments can be particularly productive: Some 2-3 weeks before the semester ends (when you already have a very good sense about how the semester has gone), and about 2-3 weeks after the semester ends (or once you have had a chance to read student evaluations). You are all unbelievably busy right now, but try to set aside 30 minutes to begin to answer these questions – and then return to them when you can. It is useful to engage in this process before you read the students’ evaluations, as you want to be able to consider from your own perspective why the semester turned out as it did.

(1) What do you feel was the strongest part of your teaching (and student learning) this semester?

What did you accomplish? Try to answer this question concretely. Was it the assignment you designed to help you evaluate whether students were reading the text closely and which worked exactly as planned? The discussions, which were a lot livelier than other times you taught the class? The students’ ability to recall basic materials, as demonstrated by better exam results than in previous years? The fact that you were able to establish a dynamic in class that allowed students to talk about extremely difficult topics? In short: What worked well in the class?

(2) Why do you think that happened? Can you link these outcomes to your teaching methods.

What did you do differently? Was it a matter of the composition of the class or of your methods? If outcomes were different than in previous years, reflect on why that was the case.

"Lilliput Lyrics," Edited by R. Brimley Johnson; Illustrated by Chas. Robinson (London: J. Lane, 1899), p. 253. British Library

“Lilliput Lyrics,” Edited by R. Brimley Johnson; Illustrated by Chas. Robinson (London: J. Lane, 1899), p. 253. British Library

(3) Did you achieve your learning goals for the course?

This, of course, should lead you back a consideration of your learning objectives, help you think about them again, and consider whether you can actually answer this question.

Did you use assessment methods – papers, tests, projects, etc. – that can help you answer this question reasonably? If you find that you have learning goals that aren’t being assessed, you should make a note to change that next semester.

(4) What were you dissatisfied with in terms of how the course is turning out?

What didn’t work as you would have liked it in your classes? What do you feel least pleased, or most uneasy, about?  What left you thinking, “Next time, I probably shouldn’t do that”?

You can think about this in a variety of ways. For example:

(a) The pedagogy you employed. The mix of discussion and lecture, more active learning techniques, preparation for discussions, group work, student presentations, etc.

(b) Structural factors: Maybe you have found that teaching after lunch is not the best time; that the classroom you were assigned did not help your teaching and should be changed, that the class size did not lend itself to the particular pedagogy you employed.

(c) Classroom management issues. Did you allow one student to assert too much sway over the other students? Did you not step in where you should have? Did you not address management issues early enough? Should laptops be banned in your class as students are not using them appropriately? Should you have a “bathroom” policy to prevent a continual in-and-out of students from the class? How have you responded to challenges to your authority? How have you dealt with tensions that have come up in the class?

(d) Course Materials: Were students doing the readings? If not, why? Was the reading too basic? Too theoretical? Did mechanical issues (not being able to upload files, etc.) get in the way of their being able to complete assigned readings? Were the readings improperly paced (too much right during midterms) or unengaging (even for you!).

(e) Assignments: Too many? Too few to give students proper feedback? Should you be assigning multiple drafts of papers? Would smaller quizzes work better than one or two high-stakes exams? Did you assign collaborative work without preparing for it?

    "Lilliput Lyrics," Edited by R. Brimley Johnson; Illustrated by Chas. Robinson (London: J. Lane, 1899), p. 328. British Library.

“Lilliput Lyrics,” Edited by R. Brimley Johnson; Illustrated by Chas. Robinson (London: J. Lane, 1899), p. 328. British Library.

(5) As with your successes, think about why things didn’t work and what you can do the next time to change those aspects that you can change.

If time doesn’t permit you to plan out a concrete strategy for doing things differently next semester, jot down a note to remind you about the things that you should consider addressing.

(6) Who can help?

If you are not sure what to do to change those aspects of your course that you agree should be changed, jot down the name of the person/people you can talk to or the resource you can use.  Who are the colleagues and mentors, on campus or elsewhere, who you should be emailing to set up a coffee date? Where can you find materials that address the topics of your concern?

After the SETs Come In

Try to go through the same exercise after you have read and digested the student evaluations of teaching (SETs) for your courses. (For advice on how and when to read your students’ evaluations, see the “Article of the Week” from Feb. 7, 2010: Reading Student Evaluation of Teaching).  Get a sense of whether your self-evaluation finds any resonance in the students’ comments, or whether you come to different conclusions – and you need to think about why that’s the case. Reflect on – or talk to a colleague about – any disparities. Just because the students liked your class (i.e., gave you favorable ratings), it doesn’t mean that you met your learning objectives. Just because some students didn’t like certain aspects of the course, it doesn’t mean that those aspects should be jettisoned.

Longer-term Reflection: Annotated Syllabus

    "Lilliput Lyrics," Edited by R. Brimley Johnson; Illustrated by Chas. Robinson (London: J. Lane, 1899), p. 241. British Library.

“Lilliput Lyrics,” Edited by R. Brimley Johnson; Illustrated by Chas. Robinson (London: J. Lane, 1899), p. 241. British Library.

While it is useful to reflect back on your class at the end of the semester, you can gain more insight by reflecting on your classes in real time. This is particularly useful for people like me whose memory, to quote Billy Collins, has “decided to retire to the southern hemisphere of the brain, to a little fishing village where there are no phones.” Create a “dummy” syllabus for your class. If your regular syllabus doesn’t include information on what you are planning to do on a class-by-class basis, make sure that this dummy syllabus does. So, for example:

Wednesday, November 27: Make goal of class: Help students classify polysaccharides based on function in plants and animals and describe how monomers join to form them.

Each day, after that class has finished, enter some notes on the syllabus as to how the class went, paying particular attention to whether you think that the class helped the students reach the objectives you have set out (in this case classifying polysaccharides). Also think about what evidence you have to answer this question (do you ask for “muddy points” responses at the end of class? Do you use clickers or other audience response systems that let you know whether the students are “getting” it?).

Jot down notes of in your opinion worked and what didn’t: was it the way you broke them up into discussion groups? The amount or nature of the reading assigned? The presence or absence of contextualizing material? The day you chose to examine the topic (The day before Thanksgiving? What was I thinking!).

Finally, enter some notes as to what you would do differently the next time around: Less/more reading; start with a quiz to see where they are at; have them work in groups; make the goals of the class more transparent; work to create an atmosphere where students can talk more easily about controversial issues; etc.

Don’t be hard on yourself if you miss annotating classes now and again. The last thing you need is to be hard on yourself. Maybe your best bet is to try to open a syllabus template that you can get to whenever you can. If you set impossible goals, you won’t accomplish them, and the purpose is not to find another reason to feel guilty (and we all have many of those) but to begin a practice that can be empowering.

In For a Penny, In for a Pound: The Teaching Portfolio

    "Lilliput Lyrics," Edited by R. Brimley Johnson; Illustrated by Chas. Robinson (London: J. Lane, 1899), p. 226. British Library.

‘Lilliput Lyrics … Edited by R. Brimley Johnson. Illustrated by Chas. Robinson’ 226

To contemplate creating a teaching portfolio is to accept that you’re willing to spend some quality time reflecting on your teaching. At some level, the teaching portfolio is an ongoing conversation between #2 (the daily syllabus annotations) and #1 (the end of semester reflections). The syllabus annotation is at the heart of a teaching portfolio, but the portfolio allows you greater space for reflection on your teaching philosophy, pedagogical approaches, readings on – and thoughts about – learning theory, longer blog posts (either public or private), articles that have influenced your thinking, etc.

You can set up a portfolio quite easily using Google sites or any one of a number of (free) commercial products (WordPress, IMCreator, etc.). The main issue is not to get hung up on the technology. Perhaps all you want is a set of folders (either on your computer or actual folders) into which you can place these materials: standard syllabus, annotated syllabus, reflections on particular classes or on the course in general, emerging “philosophy” of teaching, notes on pedagogy, classroom management style, essays on finding your own teaching style, articles that have proven particularly important in your teaching, comments from people who have observed your teaching, student reflections, student work in response to particular prompts, comments from mentors and colleagues, etc., etc.

The main goal of the teaching portfolio, as far as I’m concerned, is to complete the feedback loop that ties together action, reflection, and reformulation. For example: Tried a very directed set of primary source readings in philosophy class to get students to understand John Stuart Mill’s concept of liberalism and the individual. Don’t think it worked given that their answers to a short reflection piece at the end of the class; papers on topic turned in two weeks later were imprecise and often factually incorrect. Thought about goals for that class, talked about it with a colleague in the department, and read more about what other philosophy teachers do when teaching Mill. Here’s a plan for the next time…

For more on teaching portfolios, consult the excellent handbook written by Hannelore B Rodriguez-Farrar (The Teaching Portfolio: A Handbook for Faculty, Teaching Assistants, and Teaching Fellows) at Brown University, the materials prepared by the Center for Teaching at Vanderbilt University, or the paper (“The Teaching Portfolio”) by Matthew Kaplan at the University of Michigan’s Center for Research on Teaching and Learning.

Final Reflections: What Have Your Students Carried Away?

    "Lilliput Lyrics," Edited by R. Brimley Johnson; Illustrated by Chas. Robinson (London: J. Lane, 1899), p. 227. British Library.

“Lilliput Lyrics,” Edited by R. Brimley Johnson; Illustrated by Chas. Robinson (London: J. Lane, 1899), p. 227. British Library.

The end of the semester is a time, all too often, of exhaustion and, at some level and speaking for myself, disappointment. In light of this, reflecting on what we think our students have actually absorbed from our classes is a useful exercise.

One of the most complicated issues we face in teaching is understanding in a comprehensive fashion what our students have taken away from the course. I think of this as somewhat different from what they have “learned.” We can get a good sense of that through our students’ written work or quizzes and examinations. What I’m talking about is more speculative: what do we think they will carry with them into the future, what will shape the way they think about the subject of our classes or more broadly? What will they remember 10 or 20 years in the future?

This is, of course, one of the devilishly hard questions of assessment. In the humanities, in particular, we know that more often than not, many students will “get it” only after the course is over. Synapses will be closed that remained wide-open during the class; light bulbs will finally turn on. And, more often than not, when this happens, it won’t be tied back to a particular class or even a particular course.

Of course, there is no way to know what the group of students just completing your class will take away from it. But thinking into the future is actually the starting point of “backward planning” and, as such, the first step for planning your next course syllabus. So, what do we think they will put in their backpacks and carry away with them?

I’ll use my own teaching this semester as an example. One of my classes is on museum studies (“Museum Narratives”). I am quite sure that only a few – OK, no one – will remember anything about exhibition morphology, how depth, ring factor, and entropy work in exhibition design. But I think that most, when they walk into a museum in the future, will think about how exhibition layout relates to content and audience, will search for the museum’s narrative rather than only focusing on its artifacts, and will continue to consider what Stephen Greenblatt meant when he divided museum exhibitions between those that worked through resonance versus those that work by wonderment.

And maybe that’s good enough.

Learning from the Semester

As the semester races (or crawls) to a close, it’s a good time to think about capturing what you (as opposed to your students) learned from the semester. I’ve posted some material on this in earlier “Article of the Week” columns (see, for example December 5, 2011: “End of Semester Self-Evaluation,” and November 28, 2011: “Assessing your own Teaching”). Here are three different ways to track your teaching, each slightly more intensive. For the Shostakovich fans out there, I’ve labeled each so you can plan your time accordingly.

Shostakovich, Gadfly Suite (Amazon.com)

(1) End of Semester Reflections: Short, think of it as the Gadfly Suite, Op. 97a

While you can reflect on your teaching at any point of the semester (see nos. 2 and 3 below), there are two times that I have found to be particularly productive: Some 2-3 weeks before the semester ends (when you already have a very good sense about how the semester has gone), and about 2-3 weeks after the semester ends (once you have had a chance to read the student evaluations). Granted that everyone is unbelievably busy right now, try to set aside 30 minutes to begin to answer these questions (and return to them when you can). It is useful to engage in this process before you get student evaluations of your teaching. You want to think from your own perspective as to why the semester worked out as it did.

  • What do you feel was the strongest part of your teaching (and student learning) this semester?

What did you accomplish (think of it concretely: the assignment I designed which was intended to help me evaluate whether students were reading the text closely worked really well; the discussions worked much better than previously; their recall of basic material as shown in their exams was better than I had expected; I was able to establish a dynamic in class where student could begin to talk about extremely difficult topics; etc.).

  • Why do you think that happened? Link outcomes to your teaching methods.

What did you do differently? Was it a matter of the composition of the class or of your methods? If outcomes were different than in previous years, try to think why that was the case.

  • Do you think you achieved your learning goals for the course? This, of course, should lead you back to your learning objectives, help you think about them again, and consider whether you can actually answer this question.

What methods of assessment – papers, tests, projects, etc. – do you use that can help you answer this question concretely?

  • What do you think basically didn’t work in the course? What do you feel least pleased, or most uneasy, about?  What left you thinking: next time, I just won’t do that?

Think about this in terms of your teaching approach (pedagogy); circumstances (make sure I’m never teaching in that classroom again; avoid 2:30 PM classes; this is a class that works for 20 students but is a disaster for 8; I let one student assert too much control over the other students, etc.); materials and assignments (too much, improperly paced, directions unclear, etc.)

  • As above: Why did you (or didn’t you) reach your learning objectives? Link outcomes to your teaching approach.
  • Getting concrete: what do you want to at least think about doing differently next time?

Readings; the way discussions are structured; adding more active lecturing techniques, dropping a particular content area, etc.

  • Very briefly: If you are not sure what to do to change the results, who are the people and what are the resources that can help?

Talk to colleagues, mentors here or elsewhere, consult with CTIE, find materials that address the topic, at CTIE, or elsewhere, develop an action plan, etc.

Try to go through the same exercise after you have read and digested the student evaluations of your teaching. (For advice on how/when to read your students’ evaluations, see the “Article of the Week” from Feb. 8, 2010: Reading Student Evaluation of Teaching).  Get a sense of whether your self-evaluation finds resonance in the students’ comments, or whether you come to different conclusions. Think about – or talk to a colleague about – any disparities: just because the students liked your class (i.e., gave you favorable ratings), it doesn’t mean that you met your learning objectives. Just because some students didn’t like certain aspects of the course, it doesn’t mean that they should be jettisoned.

Shostakovich, Jazz Suite No. 2 (Allmusic.com)

(2) Annotated Syllabus: Medium, maybe the Suite for Jazz Orchestra No. 1

Create a “dummy” syllabus for your class. If your regular syllabus doesn’t include information on what you are planning to do on a class-by-class basis, make sure that this dummy syllabus does. So, for example:

Wednesday, November 27: Classify polysaccharides based on function in plants and animals and describe how monomers join to form them.

Each day, after that class has finished, enter some notes on the syllabus as to how the class went, paying particular attention to whether you think that the class helped the students get to the objectives you have set out (in this case classifying polysaccharides…). Also think about what evidence you have to answer this question (do you ask for “muddy points” responses at the end of class? Do you use clickers or other audience response systems that let you know whether the students are “getting” it?).

Jot down notes of what, to you, worked and what didn’t: was it the way you broke them up into discussion groups? The amount or nature of the reading assigned? The presence or absence of contextualizing material? The literal day you presented the material (Duh! It was the day before Thanksgiving; what was I thinking!).

Finally, enter some notes as to what you would do differently the next time around: Less/more reading; start with a quiz to see where they are at; have them work in groups; make the goals of the class more transparent; work to create an atmosphere where students can talk more easily about controversial issues; etc.

Don’t be hard on yourself if you miss annotating classes now and again. This is a jazz suite, after all, improvise. Maybe your best bet is to try to open a syllabus template that you can get to whenever you can. If you set impossible goals, you won’t accomplish them, and the purpose is not to find another reason to feel guilty (now, where did I leave my hairshirt?) but to begin a practice that can empower you.

(Flickr, Creative Commons – exquisitur)

(3) The Teaching Portfolio: We’re talking Symphony No. 5

When you’re up to Shostakovich’s Symphony No. 5, you’re willing to spend some quality time thinking about your teaching. At some level, the teaching portfolio is an ongoing conversation between #2 (the daily syllabus annotations) and #1 (the end of semester reflections). The syllabus annotation is at the heart of a teaching portfolio, but the portfolio allows you greater space for reflection on your teaching philosophy, pedagogical approaches, readings on – and thoughts about – learning theory, longer blog posts (either public or private), articles that have influenced your thinking, etc.

You can set up a portfolio quite easily using Google sites or any one of a number of (free) commercial products (WordPress, IMCreator, etc.). The main issue is not to get hung up on the technology. Perhaps all you want is a set of folders (on your computer or actual folders) into which you can place these materials.

The main goal of the teaching portfolio, as far as I’m concerned, is to complete the feedback loop that ties together action, reflection, and reformulation. For example: I tried a very directed set of primary source readings in my philosophy class to get the students to understand John Stuart Mill’s concept of liberalism and the individual. I don’t think it worked given that their answers to a short reflection piece at the end of the class and the papers on the topic which they turned in two weeks later were imprecise and often factually incorrect. I’ve thought about what I tried to do in that class, talked about it with a colleague in the department, and read more about what other philosophy teachers do when teaching Mill. Here’s what I’ll do the next time and why I think it might work better (and so on and so forth…).

Again, you may want to simply expand the “dummy syllabus” idea presented in #2 or construct a more traditional teaching portfolio (for more on this, see “Teaching Portfolios” at CTIE’s “Resources” site). But reflection leading to redesign is the key to this approach. It takes some time, but it’s worth it.

The Rehearsal (Flickr-Creative Commons - Steve Bowbrick)

Conclusion:

The main point, and let me stress this again, is to begin a reflective process about your teaching that you feel comfortable with and, most importantly, works for you. Starting with the Symphony No. 5 will make sense for some, but not many. Maybe you work best with études. But in all cases do as Shakespeare suggested and play on.

Steve Volk

Director, Center for Teaching Innovation and Excellence (CTIE)

November 25, 2013