An Interview with Bryant Fellowship Recipient, Becky Greene

URI PhD candidate, Becky Greene has recently been awarded a Fellowship from Bryant’s Center for Learning and Teaching which emphasizes creativity and creative thinking in the classroom. I recently had the opportunity to chat with Becky about her involvement in the program and how it is helping her shape her own pedagogy.

Q: How did you become involved with Bryant and this Fellowship?

A: I’ve been working as an adjunct instructor in Bryant’s Gateway Program since the 2013-2014 school year. The Gateway Program requires all entering freshmen to take four classes emphasizing critical thinking and writing skills. The students get to highlight their various achievements in the courses at the end of each semester in a portfolio. As part of a continuing (and increasing) commitment to the humanities, two of the four classes are “Introduction to the Writing Workshop” (the equivalent to URI’s WRT 104) and “Introduction to Literature and Cultural Studies” (the equivalent to ENG 110). I’ve been lucky enough to teach both classes. One of the things that’s been especially delightful is getting smart, sophisticated students — primarily business majors — to think more about literature, world events, and rhetorical analysis.

The Creativity Fellows are in their second phase now. I saw a notice sent out to all faculty late last year asking for new members. The idea of interdisciplinary collaboration and the program’s emphasis on imagination and pedagogy seemed pretty cool. I asked if adjuncts could apply, was told yes, and sent in my application as a lark. It was great to find out I’ve been selected.

Q: Can you explain the goals of the program?

A: Essentially, the Creativity Fellows are a group of both full-time (tenured) and part-time (adjunct) faculty who are interested in trying innovation in the classroom while looking at ways to borrow approaches from other disciplines. We get together monthly to discuss readings on pedagogical theory, but also splice in work from psychology, computer science, and literary critical theory with more to come. We also do a lot of different hands-on activities as a group to see what might work in a classroom setting. (Some of our exercises have included clay modelling, book repurposing, podcasting, and blogging.) While we are all weaving these techniques into our classrooms, several of us are working together now on essays about pedagogy. Due to typical disciplinary segregation, we might never have conceived some of these projects without the group! We’re basically just a friendly group of people trying to figure out ways to connect with our students, all while trying to remember what it’s like to learn something for the first time.

Q: I understand that the fellowship program revolves around engaging students in the classroom by using a theory of play and creativity. Can you elaborate on the ways in which you use play and creativity in her own pedagogy?

A: Knowing from past experiences teaching that students can sometimes be resistant to learning in a teamwork setting, I try to use some of the creative play techniques that the Fellows program has been using to get students more comfortable with the idea of peer review, for instance. Having them partner up for a peer review “scavenger hunt” exercise where they hunt for mechanical problems in a piece of writing and solutions to those problems has been a fun way to work on issues such as paragraph formation, thesis development, semicolon usage, and so on. The “scavenger hunt” idea has also been useful in Intro to Lit, where they use both the Oxford English Dictionary and their texts to try to answer questions about character motivations when we’re reading mysteries.

This semester, I’m looking forward to receiving playlists–and justifications for why the songs are included–for a Sherlock Holmes unit in lieu of a traditional quiz. Students also have the option to produce an original illustration for a novel that we’re reading together (The Prisoner of Zenda) in lieu of another quiz. I’m also adding another idea–given that the theme of the class is adventure, they will be able to produce a Choose Your Own Adventure style simple computer game featuring the cast of one of our texts for extra credit. These students are remarkably creative folks and I’m excited about the projects that they’ll be coming up with.

The best thing, for me, about all of these different multimodal approaches is that it gives a student who might have anxiety about writing or speaking a chance to indicate that they “get the text” in a different way. Plus, they get to have some fun and the chance to talk to each other! Again, the chance to work on creativity and play helps them figure out how to take risks, how to imagine, and how to creatively think. It’s been a pretty rewarding experiment so far and one that’s helped us to keep going, even with so many snow cancellations. We’re still doing the typical work of writing properly formatted research papers, of course. The benefits to this idea of creative play in the classroom is that the students are more engaged, willing to pick a paper idea that they are much more invested in after their creative project is done, and they’re willing to try harder. I feel like the percentage of “lazy” students is down.

While I was doing some of these activities before, I feel like the Creativity Fellows program has helped improve my techniques, has made me more willing to take risks myself, and has given me more ideas for my teaching toolbox.

The Unexpectedness of Beauty

In this fascinating and wonderfully candid audio discussion, URI Professors Mary Cappello and Peter Covino discuss the complex, philosophical notion of “beauty” from a variety of intermingled perspectives: the artistic, the pedagogical and the personal. Cappello, a well-known writer of literary nonfiction, and Covino, an accomplished poet, describe ways in which “unexpected beauty” surfaces in and informs their own creative projects. Sometimes in life this “unexpectedness” presents as a form of, what Peter Covino calls, “dark energy”: things like trauma, abuse, violence. Yet this “dark energy” can provide the opportunity for a cathartic form of beauty to surface. Professor Covino goes on to describe writing poetry as a challenge toward self-recognition and “self-soothing” — what he describes in a one of his poems as the “soothe-less tangle” of language. He views language as offering a medium of solace: “you’re not sure how terrible your pain is, you’re not sure how difficult your challenges are, until you start to write them down, until you start to share your stories.” This translation of struggle, the articulation and expression of it, can be beautiful.

Mary Cappello describes her aesthetic at one point as a form of “disruptive beauty.” She is interested in “jaggedness” and “interruptive beauty”: an idea she defines as emerging “out of confrontation, over and against a determination to aestheticize experience.” Further, Professor Cappello offers a very interesting way of thinking about “ugliness” less binaristically with respect to beauty; she invites us to think of it as a differential, the space between the lyrical and the jagged: “I was thinking of a beauty not opposed to ugliness…can we talk about anti-beauty, unbeauty, or create a new term altogether?” She encourages the artist to be alive to the “availability of beauty,” and to be on the lookout for “beauty in unexpected places.”

Throughout this rich and in-depth conversation on beauty, both Cappello and Covino share interesting details of their lives, their creative process, as well as read from each other’s (and their students’) work. The full audio conversation can be found here. Some shorter snippets of their conversation are also available from the links below.

Student Spotlight: Mike Becker

Today, we’re introducing a new segment on the URI English blog entitled “Student Spotlights”. These spotlights highlight the exciting and important things our graduate students are doing on and off the campus. The first spotlight is focused on PhD candidate Mike Becker, who is slated to graduate this May. We asked Mike to give us a little background about his scholarly interests and activities, as well as a sneak peek at his fascinating dissertation project involving “tastes” within British Modernism .

mikeHi, I’m Mike Becker and I’m currently completing my  final year as Ph.D. candidate at the University of Rhode Island in the English Department. My primary field is British Modernism and my dissertation project explores both literal (gustatory) and figurative (social and aesthetic) tastes in British Modernist novels. In my first chapter I focus on the character Leonard Bast, a hungry modern autodidact attempting to balance comestible and cultural consumption, in E. M. Forster’s Howards End (1910), arguing that Bast engages in a type of snobbery through his judgments in taste and his efforts to gain cultural capital. In my second chapter on Not So Quiet… (1930), written by Evadne Price (under the pseudonym Helen Zenna Smith), I explore the importance of location in literary depictions of WWI food consumption, analyzing characters that rely on supplemental food products sent to the front trenches in care packages and, later, return to dine in the grand hotel restaurants in London as WWI continues to rage. Focusing primarily on the famous Boeuf en Daube scene of Virginia Woolf’s To the Lighthouse (1927) and drawing upon both culinary science and the kinetic molecular theory of matter, my third chapter identifies and highlights Woolf’s “liquid aesthetic” as a central concern in the novel, an aesthetic experiment that allows Woolf to draw disparate individualized characters into community without collapsing their separate identities. My final chapter on Jean Rhys’s Good Morning, Midnight (1939) explores the three parallel figures of the passport, the international exhibition, and the interwar Parisian restaurant to explore how Rhys’s novel theorizes national identity in a complex, interwar, cosmopolitan context.

While conducting my research on British Modernism and issues of taste, I am teaching with the Department of English — ENG 201 (Principles of Literary Study) this Spring 2015 semester. I am also co-chair, along with Miryam Yusufov (Ph.D. candidate at URI in Clinical Psychology), of the 2015 URI Graduate Student Conference. In addition to my research, teaching, and service at URI, I work on multiple other projects. Together with my fellow English Ph.D. candidate Derick Ariyam, I am a co-founder of the website —launched in 2011 — which organizes academic calls for papers from around the globe by geography as well as topic and date. In the fall of 2014, Derick and I launched a small business that provides software solutions to large regional humanities conferences, streamlining their membership databases and conference planning.

Alumna Megan Sullivan Promotes Interdisciplinary Studies at Boston University

CGS Prof. Megan SullivanI had the pleasure of speaking with Megan Sullivan, a 1996 alumna of the URI doctoral program in English.  Megan is certainly a URI success story.  In addition to being an Associate Professor of Rhetoric, Megan is now the Associate Dean for Faculty Research and Development at Boston University, as well the school’s Director for the Center of Interdisciplinary Teaching and Learning.  She works out of the university’s College of General Studies (CGS), which offers students their first two years of core curriculum courses before they matriculate into their majors.  CGS faculty work as a team, meeting every week to talk about what and how they are teaching.  Courses are team-taught using an interdisciplinary approach.  It is out of this approach, which has a focus on “doing undergraduate education well,” that the online journal IMPACT was born.  Now as editor of that publication, Megan explained to me how it all started, and how she and her fellow editorial board members work to promote it.

IMPACT is an online, peer-reviewed journal, which “foregrounds interdisciplinary teaching and learning.”  It has been published semi-annually since 2012.  Each issue features at least one or two articles on interdisciplinary approaches to teaching, in addition to articles that demonstrate interdisciplinary scholarship, and reviews of interdisciplinary books.  The focus of all published pieces is on thinking in an interdisciplinary manner.  The editorial board of IMPACT is currently working to get it included in the MLA International Bibliography.  Megan encourages all URI faculty and students who are conducting interdisciplinary scholarship to submit to the journal.  In fact, IMPACT hosts an essay contest each year, with submissions due by the first Monday of December.  I assured her that there were many of us thinking and working across disciplines at URI, and that she would be sure to hear from us in the near future!

Megan’s interest in interdisciplinary scholarship was already in evidence during her years at URI.  Her dissertation topic focused on women writers, filmmakers, and dramatists in Northern Ireland.  Although URI did not have an Irish Studies department, she said her faculty committee, headed by Mary Cappello, was very supportive.  In fact Megan calls Mary, “a wonderful mentor and friend,” who recognized and nurtured Megan’s talent during her years at URI.  She found it no problem to pull together a committee that met her needs.

Directly after defending her dissertation, Megan had her choice of two faculty positions at Boston University: one in Humanities and one in Rhetoric.  Though she specialized in literature during her graduate studies, Megan chose the position in Rhetoric because it offered smaller class sizes and more stability for her  at the time.  When asked how her experience at URI had prepared her for that position, Megan said she had studied Rhetoric with Nedra Reynolds, and learned to teach Composition during her graduate program.  Still, she always thought she would teach literature for her career.  She does, however, incorporate Irish writers into her courses, and every other summer teaches a graduate or undergraduate course in Irish Studies, just to “keep her toes” in that field.  Megan stressed that taking a position teaching writing has allowed her to explore a different path than she ever expected.  Her advice to current URI graduate English students is to keep an open mind about the positions we seek upon graduation.  You never know where they will lead.

I encourage you to check out the interesting work being published in IMPACT, and perhaps think about submitting a piece of interdisciplinary scholarship yourself.

Big Names Visit A Small State

June 19-21 marked the 8th annual Ocean State Summer Writing Conference. Annually, the University of Rhode Island’s Department of English brings together writers from across the spectrum of place and profession for three electric days of learning, networking and practice. From Harvard to UPenn, from RIC to Brown, from California to Florida, from Providence to Bristol, writers of all walks of life enjoy workshops, craft sessions and readings.

Besides the tremendously popular keynotes at this year’s gathering, from Alison Bechdel, Charles Bernstein and Percival Everett, certain events stood out as participant favorites.

Pulitzer Prize winner Ayad Akhtar returned to the conference (after being a keynote speaker at the 2013 conference) and was met with great enthusiasm. One of his events was a conversation with Guggenheim Fellow and Professor Mary Cappello, where they addressed the “turning points” of their careers, their drive and their practice–to a standing room-only group of attendees. Of his former professor from his time as an undergraduate at SUNY/Buffalo, Akhtar has said that Cappello played a key role in shaping him as a writer.

Elaine Sexton and Kristin Prevallet also made a tremendous impact on their attendees. A conversation between the two during the penultimate time slot of the conference addressed a subject on the mind of anyone who has attended a conference before: “What now?” Sexton and Prevallet conversed on subjects like community building, networking, getting published, being employed–important questions, especially to poets. Their insight impacted the group as they both have worked extensively in a variety of fields.

National Book Award nominee and Professor of Gender and Women’s Studies, Jody Lisberger had one of the most well-attended events. Her craft session, “Writing or Wanting to Write a Novel or Book-Length Memoir–Strategies for Success” was held in the Agnes G. Doody Auditorium to a group of more than 70.

There were many talented and accomplished writers at the conference in June, and whether they were familiar with the conference from previous years or new to the University of Rhode Island, they contributed to a terrific experience for many of Rhode Island’s writers.


The Accomplishment and Benefit of Professor Jones’ Pedagogy

Jennifer Jones

Thirst.  If I were only able to prescribe a single word to reflect upon her being, “thirst”

would extend beyond all others.  Professor Jennifer Jones perspires a thirst to engage the minds of all who stand before her.  With such a profound desire to excite imagination and intellect, it comes as no surprise that Professor Jones was recently honored with the 2014 URI Foundation Teaching Excellence Award.

Whether you’ve had the opportunity to study with her or not, my hope is that through reading the following, readers may collectively engage with and be inspired by Professor Jennifer Jones’ thirst.


Q:  What do you believe is foundational to produce and maintain seminars that are beneficial to both student and professor?

JJ: The English graduate seminar is an occasion for the dynamic interplay between research and pedagogy.  This cooperation between professor and students is best supported by a course design that reflects two mutually reinforcing, but nevertheless different, concerns.  As a first priority, I take it as my responsibility to introduce a topic, an archive, and a set of concerns, and then lead students through this course of study.  The second priority is to give students the inspiration and tools to analyze how and why a given course has been put together in a particular way, and to what purpose(s).  By the conclusion of a seminar, students should not only gain a sense of mastery over a particular set of texts and ideas, but also a meta-critical sense of their value within a field, multiple fields, the discipline of English Studies, and other disciplines…To my mind, a seminar reaches an ideal state when a professor can serve as an intellectual guide whose skills as both speaker and listener are equally deft.  It is in this context that professor and students ultimately use a core set of texts and concerns not only to master canonical knowledge, but also to create new knowledge…

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OSSWC in Three Words: Eclectic, Professional, and Friendly

A capstone event for the Department of English this summer was the 2014 Ocean State Summer Writing Conference, hosted from June 19-21. Regional and national writers, both novice and seasoned, gathered at URI to study writing and to share their own works with fellow scholars.

On the morning of the first day, attendees found themselves in two-hour-long, rigorous workshop sessions. From beginning fiction to advanced poetry, memoir writing to screen writing, OSSWC offered workshops in various genres, giving participants the chance to work closely with experienced workshop leaders and fellow writers. In the afternoon, conference-goers attended a welcome reception in Green Hall. After remarks by URI creative writing faculty Professor Peter Covino and URI English alumnus, Thomas Barkman, participants enjoyed readings by brilliant writers. Continue reading “OSSWC in Three Words: Eclectic, Professional, and Friendly”

Congratulations to Anna Brecke and the Mary Elizabeth Braddon Association!

I  had a chance to catch up with Anna Brecke, a Ph.D. candidate focusing on Victorian Studies. Anna has recently co-founded the Mary Elizabeth Braddon Association and I wanted to hear more about how this organization came into being. Here’s the result of our interview.


Q: Congratulations on co-founding the Mary Elizabeth Braddon Association! How many members do you currently have and where are they from?

AB: When Dr. Janine Hatter and I launched the organization last year, it was what you would call a soft launch. We started with just a concept, an email address, and a twitter feed. So right now, I think we have around 20-25 interested parties, mostly from the US, UK and Australia, who’ve joined a mailing list and are getting involved with the organization. This July we held an inaugural meeting at the Victorian Popular Fiction Association conference.

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Rachel May’s Students Learn from Writers They Admire

In Rachel May’s courses, students don’t just learn about writers’ work, they meet writers.

Over the past few years as a graduate student instructor in URI’s Department of English, May has arranged to have her literature and creative writing students speak with Jody Lisberger about her short stories; with Kristin Prevallet, David McGlynn, and Nancy Caronia about their nonfiction; and with M. NourbeSe Philip about her poetry.

This pedagogical practice brings her students in touch with writers, a choice that is important to her because, she says, students “don’t always see writers as real people and then when they speak with the writer they have a new perception of the work and what it means to be a writer. This is a regular person who wrote that book and that could be them.”

Students Skyping
Students Skyping

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Grad Students Have No Waste Baskets: A Celebration of Accomplishment


In her first semester at URI, Kara Watts enrolled in a modernism course with Professor Jean Walton, and it was here that an idea began to hatch when she read an excerpt of Dorothy Richardson’s Pilgrimage. When we talked, Kara recalled that she hadn’t encountered Richardson before, but was immediately intrigued. Professor Walton recommended some useful resources to get started, and while Richardson’s work continued to interest her, Kara eventually decided to cut her work on Pilgrimage for the course’s culminating paper.

[br] Remember, though, that this is a story about good work developing over time. It is also a story of how great work sometimes emerges from the waste basket. With her seminar paper submitted, Kara returned to the ideas that had originally so interested her in Richardson’s work. In particular, she continued to think about modernist conceptions of accumulation, everyday life, everyday habits, and the impulse she saw for modernists to accumulate “stuff.” While this accumulation doesn’t necessarily lead to connections, it did lead to collections, and this is especially prominent in Richardson’s work. Reading Pilgrimage evoked questions, such as: Is Richardson’s text faulty for these mundane masses of objects, risking alienating readers, like Mansfield, with assaults of “stuff”? Or, does this textual excess exhibit something else – a model of readership, an economic model of consciousness – that pushes these accumulations to the fore?

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