Recently I was asked by a parent group to explain the use of seminar discussions towards understanding literature and developing critical thinking skills. Welcome thoughts…

Critical Conversations: Whole group discussions as instrumental in developing critical thinking in response to literature

By Toby Brothers, Director London and Paris Literary Salons, Mentor Teacher, MA Modern Literature University College London
08.12

In our struggle to be innovative in education, new energy is sought in a rejection of traditional methods in the attempt to revolutionize pedagogical approach. This upheaval may have its role: in some cases the rejection illuminates the importance and significance of the technique being rejected.
The use of informed discussion around a shared reading experience dates back to the earliest traditions of literary study. In this case, what is traditional is also revealed to be highly effective as a teaching technique particularly for developing readers. Innovation in this area may be in structuring and assessment, developing participant accountability strategies and techniques for harnessing the energy released in the discussion for individual use. The development of pedagogical theories around the importance of discussion-based learning results in inspirational models; the Harkness Method and Collaborative Reasoning are two examples. From my work with primary school students to highly educated adult readers, I have found literary discussions to be instrumental learning moments for the following reasons:

1. Ideas offered in the discussion help each participant clarify their own response
2. The discussion environment melds social atmosphere to academic; for young learners moving from social education to more formal education, this platform develops that transition. Social relationships are directed towards academic understanding using conversations to increase focus and clarity. In authentic discussions, we take risks: discussing fears, considering alternative points of view, admitting confusion, sharing imaginative responses—the critical conversation around a challenging work of literature offers these opportunities.
3. Participants are challenged to move from a narrow, limited response (“I didn’t like the book”) to a more complex, multi-layered response…the critical conversation moves beyond the first response as the attention of the discussion is focused on understanding and development of themes, character, motifs, narrative perspective, irony, figurative language: an understanding of how these tools are used and how meaning is created becomes much more satisfying then the initial response.
4. Participants who are invested or intrigued by the book’s contents will speak up more readily in the beginning; their enthusiasm ignites the curiosity of the more reluctant reader acting as positive peer pressure towards learning. One student’s excitement becomes another student’s inspiration.
5. As a healthy discussion atmosphere is developed, students become more comfortable asking questions and admitting to areas that are poorly or incompletely understood. Students learn to use the group collective intelligence to augment their own understanding; this can be facilitated with structured partnered work in preparation for discussions.
6. A good discussion replicates the broadening potential of a strong work of literature: the narrowness of our own perspective is exposed in light of the ideas and experiences of others. Hearing a different response to a particular character or dilemma, the student reflects back on their own response, considers in light of a different opinion, modifies or develops or strengthens their position as a result. Any of these actions engage the mechanics of critical thinking: reflection, self-questioning, analysis, increased structure in theoretical formulation…
7. Critical conversations may require structures to make spoken and spontaneous thoughts tangible and developmental. Participant pre-writing and post-writing, with teacher guidance is one method to help students articulate their ideas and record the development of their responses as a result of the discussion.

Focused whole group discussion in response to the reading of a shared, challenging work of literature is the core methodology of higher education. Younger students can equally benefit from the challenge and intellectual support provided by the discussion experience. The young student who reads and discusses literature that challenges them creates a life-long reader who embraces difficult writing and complex ideas as worth the discipline of comprehension.

There are two Salons coming this month- Measure for Measure starting next weekend, and Hamlet a few weeks later–that ask participants for the patience and diligence necessary to enjoy Shakespeare’s works.
This writer captures some of the reasons why the work is worthwhile…so come join us as we make our way through these provocative plays…

Why everyone should read Shakespeare
By TOM GELSTHORPE

I sincerely hope that someone younger than me reads this column and that, as summer wanes, some of you are returning to hallowed halls of learning with joyful expectations. Despite my painful, mixed feelings about being droned at by the professoriate, I’ll admit it’s one way to learn useful stuff. Self-taught or other-taught are better than remaining ignorant. Bliss is more likely in the presence of wisdom. I favor whatever might lift you above the nether regions of fads, claptrap and superstition.

Education is not immune to fads, of course, but certain durable principles persist. Good writing, for example. Without words to contain thoughts and conventions for arranging those words, we can’t communicate, preserve and transmit culture. Without culture, we might as well live alone in the forest like weasels or tigers, where only small numbers of the strongest and most merciless survive; and those only briefly. In civilized societies, nerds can survive, even thrive. In the modern techno-world, it can be persuasively argued that the geeks have inherited the earth.

Consequently, I harbor pro-nerd bias. We can’t all conquer foes with broadswords, amass fortunes, win the hearts of every pretty woman and the admiration of every mighty man. We can’t all ascend to the top of the pyramid. We can all understand great drama, however, and thus understand the grandeur and infinite sorrow of the human condition. In that regard, everyone fluent in English should read Shakespeare. The Bard’s 17th-century idioms and archaic stage conventions aren’t easy reading, I’ll admit. But everyone should wade through a few of his plays, for the following reasons.

1. It’s essential to know that it’s possible to write that well because somebody actually did it.

2. The rest of us can scribble and mumble but the Bard’s shining example can help us to polish our own deliveries. Woo a lover with poetry and she’ll respect the effort even if you have spinach stuck in your teeth. Berate a swindler in iambic pentameter and he’ll think twice about swindling you again.

3. Modern stagecraft has better lighting and modern cinema displays more thrilling special effects, but Shakespeare understood and expressed universal emotions better than anyone else ever has.

4. Exquisite language, vivid imagery and elegant cadences will never become obsolete. Understand the master and you understand profound, eternal truths.

Examples:

Shakespeare said, “Cry ‘Havoc!’ And let slip the dogs of war!” A modern warrior might say, “Let’s bomb those bums back into the Stone Age.”

Shakespeare said, “O, what a rogue and peasant slave am I.” A contemporary might whine, ” What a wicked, wicked dink I am. What a loser.”

Shakespeare: “My salad days, when I was green in judgement.” Ordinary schmo: “I had lotsa fun when I was a kid, even though I was sorta dumb.”

Shakespearean villain facing a tragic end: “Life’s but a walking shadow, a poor player that struts and frets his hour upon the stage, and then is heard no more. It’s a tale told by an idiot, full of sound and fury, signifying nothing.” Modern sourpuss: “Life sucks.”

Shakespeare: “Yond Cassius has a lean and hungry look.” Modern private eye: “That guy looks like a sleaze bag.”

Shakespeare’s amorous young man: “But soft! What light at yonder window breaks? It is the east, and Juliet is the sun!” Modern teenager: “Gee, yer cute. Can’t stop thinkin’ ’bout cha.”

Shakespeare’s King Lear wishing ill upon an ungrateful daughter: “Create her child of spleen, that it may live to be a thwart disnatured torment to her. Let it stamp wrinkles in her brow of youth, with cadent tears fret channels in all her cheeks, turn all her mother’s pains and benefits to laughter and contempt, that she may feel how sharper than a serpent’s tooth it is to have a thankless child.” Today’s disillusioned father would say: “I’ve slaved and sacrificed for you, sent you to the best schools and you’re nothing but a spoiled brat. If you don’t stop hanging around with those loafers and get your grades up, I’ll take back your T-Bird.”

Good luck in school!

Tom Gelsthorpe, a sailor

and former farmer