Showing posts with label teaching. Show all posts
Showing posts with label teaching. Show all posts

Monday, July 12, 2010

Pilgrim's Progress

"Some of those who had known Christian in his great days as a teacher were sorry, after the war, to see him becoming involved in the administrative side of the University. I remember his saying to me one day, in the early stages of this, 'I've just sent off a lot of letters, and I said to myself as I mailed them, "There are seventeen letters to people who don't interest me in the least."' But the job of the dean's office did interest him — though it seemed to us that it did not take a Gauss to rule on remiss or refractory students. He had never liked repeating routine, and I suppose that his department was coming to bore him. He made, by all accounts, a remarkable dean — for his card-catalogue memory kept all names and faces on file, even for decades after the students had left; and the sensitive feeling for character that had been hidden behind his classroom mask must have equipped him with a special tact in dealing with difficult cases. His genius for moral values had also a new field now in which it could exercise itself in an immediate and practical way, and the responsibilities of his office — especially in the years just after the war, when students were committing suicide and getting into all sorts of messes — sometimes put upon him an obvious strain. Looking back, since his death, it has seemed to me that the Gauss who was dean of Princeton must have differed almost as much from the Gauss with whom I read French and Italian, as this austere teacher had from the young correspondent in Paris who had paid for Oscar Wilde's drinks. The Gauss I had known in my student days, with his pale cheeks and shuttered gaze, his old raincoat and soft flat hat, and a shabby, mongrel dog named Baudelaire which had been left with him by the Jesse Lynch Williamses and which sometimes accompanied him into class — the Gauss who would pass you on the campus without speaking, unless you attracted his attention, in an abstraction like that of Dante in Hell, and who seemed to meet the academic world with a slightly constrained self-consciousness at not having much in common with it — this figure warmed up and filled out, became recognizably Princetonian in his neckties and shirts and a touch of that tone which combines a country club self-assurance with a boyish country-town homeliness. He now met the college world, unscreened, with his humorous and lucid green eyes. He wore golf stockings and even played golf. He interested himself in the football team and made speeches at alumni banquets. Though I know that his influence as a dean was exerted in favor of scholarships, higher admission requirements, and the salvaging of the Humanities — I cannot do justice here to this whole important phase of his career — the only moments of our long friendship when I was ever at all out of sympathy with him occurred during these years of officialdom, for I felt that he had picked up, a little, the conventional local prejudices when I found him protesting against the advent in Princeton of the Institute for Advanced Study or, on one occasion, censoring Lit for publishing a 'blasphemous' story. One was always impressed, however, by the comprehensive and lucid way in which he seemed to have absorbed the business of the University."

— Edmund Wilson, "Christian Gauss" in Masters: Portraits of Great Teachers, 20-21

Sunday, May 16, 2010

Fishing

"What Pound passed on … seems less a teaching of technique than a technique of teaching. The point may be clarified by looking at his favorite anecdote, Agassiz and the fish, which begins the ABC of Reading (1934). The great zoologist hands a postgraduate student a small fish and tells him to describe it. The student returns with some textbook definitions. Again Agassiz tells him to describe the fish. The student produces a four-page essay, and is told once more to look at the fish. 'At the end of three weeks the fish was in an advanced state of decomposition, but the student knew something about it' (p. 18). That, for Pound, exemplifies the method of modern science and ought to be the basis of all teaching. But what exactly has been taught? Nothing, apparently, except the necessity of looking. The last section of the ABC, its 'Treatise on Meter,' preaches a similar moral: 'The answer is: LISTEN to the sound it makes' (p. 201). One should not underestimate the value of this technique, in the hands of a respected master who convinces disciples that they too will be ruthlessly looked at and listened to. Yet the method is also very coercive, laying claims to objectivity while actually forcing the student to guess what sort of answer will satisfy the teacher. For teachers do want a specific something (not how the fish smells, for instance), and students find what they go looking for. To pass the course, Pound's disciples had to discover modern poetics. They learned how to do this less by grasping principles than by imitating Pound."

— Lawrence Lipking, "Poet-Critics," in
The Cambridge History of Literary Criticism Vol. 7, 455

Wednesday, December 10, 2008

Today

Today I woke up feeling sick and exhausted, body crumbling to dust, the ants are back in my apt. and it was raining.  Drove to campus cause i missed the bus and paid for all-day parking in the garage, prepped for my last class of the semester, gorged on cough drops.  Then, somehow, class went fine.  It was brief, but we talked about Edith Wharton and Gossip Girls' debt to Wharton, and about how American corporatism disrupts the bildungsroman/everything.  As one student remarked:  the everyday excoriations of the stock market seem more brutal and intrinsically gothic than anything else we've read (in a semester that included Dorian Gray).  Then I got to see an esteemed colleague become Dr. Esteemed Colleague, with a brilliant final dissertation oral exam.  Then I went to the public library to get my parking validated, and found a used copy of Proletarian Literature in the United States (1935) for a couple of bucks in the library book sale.

Here's Langston Hughes's poem "Park Bench," from this anthology:

I live on a park bench.
You, Park Avenue.
Hell of a distance
Between us two.

I beg a dime for dinner --
You got a butler and maid.
But I'm wakin' up!
Say, ain't you afraid

That I might, just maybe,
In a year or two,
Move on over
To Park Avenue?