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University of Wisconsin-Milwaukee (UWM)
ENG 101 Fall 2020 (1 semester); instructor of record for two sections.
In this course, I teach students how to approach critical reading, writing, and revision, with an emphasis on reflective inquiry and academic writing conventions. In this class we practice the conventions of summarizing academic writing, a purposful application of the rhetorical abstractions of ethos, pathos, and logos, and how those abstractions manifest in everyday and critical writing. Along with important academic writing conventions, we also discuss what it means to have an academic mindset and what skills are necessary for approaching a writing task that seems unfamiliar or new. The end of this course culminates in a student-produced portfolio of revised essays.
ENG 215 Spring 2021 (1 semester); instructor of record for two sections.
This is a writing-intensive introduction to litrary studies for both English majors and non-majors alike. My version of UWM’S Introduction to Literary Studies focuses on how marginalized voices use popular genres to determine and define survival. In my class, read novels, plays, poems, short works, essays, and songs that date from the eighteenth- to twenty-first century, each written by a voice that at the time—or now—would be considered marginalized due to their race, gender, or national identity. In situating texts in their historical and cultural contexts, we map out the overlapping and universal themes that unite these texts. Through the power of imagination and empathy, literature helps us learn about the lives and experiences of others, as well as appreciate our place within the stories that we read. With this in mind, one central theme that we encounter is the survival narrative. Through our reading of various forms and genres of survival narratives, this class seeks answers to three key questions: What is “survival”? Or what does it mean to survive? How does a text indicate that an environment requires “surviving”?” How does a person’s race and gender shape their definition of and experience surviving an environmental crisis?
ENG 102 Fall 2019-Spring 2020 and Spring 2021 (3 semesters); instructor of record for two sections.
The outcome for this course is simple: to help students understand, and put into practice, the idea that research is a thoroughly rhetorical endeavor. This is a research and methods class where we focus on strategies that benefit them as they progress in, not just college, but in a life of composition both in the written, oral, and gestural word. The research students do in this class ask them to engage with the materials of the world—physical, digital, social, institutional, etc.—and question how they have been designed. Their final projects ask them to create public-facing documents, which gives them opportunity to participate in both sustaining and/or disrupting the designs of these materials in their local and national communities.
University of Minnesota Duluth (UMD)
WRIT 1120: Fall 2017-Spring 2019 (4 semesters); instructor of record for 1 section.
My WRIT 1120 course focused on how to write for particular audiences and the rhetorical differences between various contexts for composition. The curriculum put an emphasis on how different genres of writing have different affordances and constraints. I sought to teach my students a sense of how all objects and texts function as rhetoric comprised of choices that produce various effects across intended and unintended audiences. From Zora Neale Hurston’s essay “How It Feels to Be Colored Me” to Fishing Guidelines published by the MN-DNR, we talked about strategies for interpreting difficult and substantive texts, how to identify conventions across genres, and how these conventions vary according to audience, purpose, and rhetorical situation.
ENG 1535 King Arthur in HIstory, Literature, and Art: Spring 2019 (1 semester); TA for Dr. Krista Twu.
TAing for Dr. Twu gave me experience teaching a literature, art, and history course. I did regular TA things: met with students, helped grade tests and short assignments, hosted review sessions before tests (with snacks), and participated in the class readings and discussions. I also gave a lecture and hosted discussion on (what little we can know of) Marie de France and the influences of the Virgin Mary on 12th-century Arthurian literature, art and culture. But beyond this great teaching experience, working alongside a professor whose character and pedagogy I deeply admire helped me develop a stronger sense of my philosophy and goals as a teacher. Dr. Twu taught me ways to engage my interest in material culture through archives and book culture. It is from her pedagogy that I developed my “Reading (old) Books” activity. Among the many things I learned in this TAship, I developed a new ways of seeing how literature can help us think critically about our material world.
Fall 2017-Present, Writers’ Workshop University at UMD and the Writing Center at UWM
In a writing center, no two sessions were the same. Writers come from all parts of the university with anything from personal to academic projects. Each session begins with a bit of a conversation, sometimes more formal than others—depending on how well you and the writer already know each other. After we discuss what the writer would like to work on, and from there, we might read or talk about the writer’s ideas.
My work at UWM’s Writing Center gives me the chance to work with WCOnline’s online interface. With WCOnline, I meet with writers synchronously with audio, visual, and text chat. Although this work requires some basic tech knowledge for the program itself, my approach as a tutor does not change. My goal is still to create an inviting atmosphere for writers to share their ideas so that they can get the most out of our workshop session. No matter our meeting style, my goal is to help each writer manage their own hurdles in their process while also affirming their ability to produce content for their particular project. To do this, I try to make each writer feel welcome and safe to express their thoughts (and thought processes). Therefore, while a lot of my work deals with composed writing, it also relies on my ability to listen to writers, ask them questions about their work, and try to process their ideas with them as opposed to for them.