EvidenceofTeachingEffectiveness Fall2017 Harris

Evidence
of
Teaching
Effectiveness
Mary Beth Harris PhD
Mary Beth Harris

PURDUE UNIVERSITY
Mary Beth Harris--Evidence of Teaching Effectiveness 2
Table of Contents
Summary Introduction ________________________________________________________3
Teaching Philosophy __________________________________________________________4
Courses Taught ______________________________________________________________6
Sample Syllabi _______________________________________________________________8
English Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Introduction to Fiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Gender and Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
American Language & Culture for International Students I. . . . . . . . . . . . 16
American Language & Culture for International Students II . . . . . . . . . . . 18
Instructor Evaluation Summaries ______________________________________________20

Summary Statement
In this portfolio is evidence of the wide and varied nature of my teaching experience. As
an instructor, I have had the opportunity to teach across an array of disciplinesliterature,
gender studies, writing, and second language and culture. This transdisciplinary experience has
allowed me to see how core humanities skillscritical thinking, clear writing, and close
readingtransfer across courses and disciplines, but it has also shown me the value of adapting
these principles to meet the needs of unique student populations. I have worked with traditional
and non-traditional students, international and domestic, and while each group has their own
unique needs and concerns, my classroom instruction emphasizes tools that allow students to
engage, gain confidence, and ultimately take ownership of their learning. Working with a variety
of programs has also enabled me to negotiate the specific concerns of individual classrooms and
larger concerns of programs, committees, departments, and colleges. Therefore, I feel confident
about my ability to adapt my pedagogy to fit and support distinct student groups and unique
programs and departments.
Statement of Teaching Philosophy

As a teacher, the core pedagogical mission of my classroom is facilitating students move from
judges to assessors; that is, I structure the semester in a way that helps them grow from emotional reactors
to texts into skilled interpreters, critical thinkers, and writers. Student-centered modes of instruction have
infused energy into the classroom, but I find that many students need time and models to cultivate the
skills needed to negotiate the culture of this kind of classroom. They dont know how to transfer their
emotional reactions into analysis, to move from Mr. Rochester creeps me out to Mr. Rochesters
attempts to control Jane through gifts represent the ways women are made financially vulnerable by
patriarchal structures. So, I begin my semester with a conscious eye to demonstrating skills, which I
vocalize to my students as such; I lecture more, ask more guided questions, and lead the charge on close
readings. Through writing assignments and group discussions, I gradually shift the discussion into the
students hands, transitioning from central authority to a guide who reminds students of larger themes,
presents historical and cultural context, and clarifies questions. Whether I am working on language and
cultural skills with international students, equipping veterans with tools for navigating the university,
teaching freshman writing, or exposing students the dynamic literary history of the eighteenth-century,
this approach translates across a wide swath of humanities classroom spaces.
One of the major goals in my literature, writing, and cultural classrooms is to demystify texts and
writing for students, who often feel intimidated and unqualified to tackle reading and written assignments
with confidence. Therefore, discussion is the center of my classroom, and I think my ability to sympathize
with students and my sense of humor help them to feel comfortable and supported in class. In an
evaluation, one student wrote, I was more involved in the class than I am normally. I was challenged to
speak up and be more engaged, without ever feeling like I was criticized or belittled. I like how the
instructor handled discussions of various texts but still brought out similar themes pertinent to the class. I
encourage my students to use their emotional responses to the text as a starting point, but I push them to
examine why they are reacting that way. For example, when teaching Charlotte Lennoxs 1751 The
Female Quixote, a novel about the dangers of reading for young women, my students react to the quixotic
heroine, Arabella, as either ridiculous, delusional, and full of herselfor, in the words of one student,
Fierce and powerful, like Beyonc. From bimodal positions, I encourage students to ground their
readings in the text: Who wants us to read Arabella as frivolous and silly?; Why is her reading
problematic, and for whom? How does this speak to gender and its relationship to fiction? I find these
discussions allow students to move from a place of judgment to one of assessment.
Creating a space for students first reactions also helps overcome their hesitations about working
with texts that feel either cultural or historically distant from their experiences. This approach also
requires me to adapt to the different concerns and positions students have in the classroom. Sometimes
the bridge I need to build is historical. For example, historical texts anachronistic language and
unfamiliar syntax can make students feel unqualified or assume that the content is unrelated to
contemporary cultural concerns. In these situations, I take a gently historicist approach, providing
historical context and short supplemental readings. For example, I pair The Female Quixote with excerpts
from eighteenth-century periodicals like The Spectator or The Rambler, which criticize romance reading
and highlight the concerns surrounding fiction and its relationship to gender. However, to bridge the
cultural gap for students, I also ask them to consider the connotations of more contemporary markers like
chick-lit, or how we distinguish genre readinglike romance, fantasy/sci-fi, and mysteryfrom more
serious kinds of fiction in how we organize bookstores, Amazon recommendations, what we consider
fun reading and important reading. Sometimes the bridge is cultural: when I taught The Hunger
Games in an American Language and Culture class for international students, students had very different
initial reactions to Katniss reserved nature. Some students found her reserve admirable, because this
aligned with their cultural values, while others found her reserve unfeminine and off-putting. Here, I took
a more multicultural approach: I connected Katniss character with readings on American cultural values
we had done throughout the semester, but I also asked students to discuss heroes from their favorite
stories and media back home, to see how she aligned with those values. This created a classroom dialogue
about how cultural perspective informs our values and how any behavior can spark wildly different
responses in readers. In both situations, students become able to connect issues of genre and gender with
their initial reactions and consider how their responses are grounded in larger ideologies.
Most of the courses I teach are writing intensive. My goal is to show students that they can
translate the ease and intelligence of the comments they make in class onto the page if they learn to see
writing as a tangible process rather than an ephemeral gift that some people are blessed with and others
not. To do this I devote a significant amount of class time to workshops, which allow students to take
ownership of their writing. Across all of my classes, students have noted how beneficial they found these
activities. One student wrote, I thoroughly enjoyed the days where we did style and technique workshops
as I felt those specific lessons had the greatest impact on my writing. For example, to help students learn
to construct argumentative statements and develop close reading skills, I build a chart on the board with
four columns: Evidence, Action Verbs, Themes from Class, and So What? I provide a few examples of
action verbs, and then students volunteer more examples. Then, as a class we select a passage from a class
text, and practice building sentences using this structure: X piece of textual Evidence demonstrates Y
theme from class; this is important because of Z. In each class I present the acronym of P.E.A.S. (Point,
Evidence, Analysis, So What?) to help students structure their paragraphs and categorize the distinct
content that makes up an effective, analytical paragraph. Systems like this are not perfect guides to
writing, but I have found that it gives students across disciplines, experience levels, and language barriers
a place to start that makes them feel confident and capable of communicating their ideas. Whether we are
discussing a novel, an article on literacy, a film, a novel, or students own experiences, this process helps
students bridge the gap from their often intelligent observations about texts and interactions to clear,
critical writing. The most consistent request in my evaluations is for more workshops, because students
see and feel the impact on their writing, and by extension their thinking, so clearly.
My pedagogy has not only shaped and been shaped by my classroom but also by my awareness
that the classroom is situated within the larger structure of a program or a department. I have worked in a
wide variety of educational contextstraditional writing and literature classrooms, second language and
culture classes, courses for veterans, tutoring spaces, oral and social language skills of international
graduate studentsand I have approached each of these programs with a MacGyver attitude: what can I
bring to this; what tools do I already possess; how can I adapt them; and how can I learn and cultivate
new skills from this unique context? My adaptive approach has allowed me to translate my pedagogy to
benefit diverse programs and initiatives. I was hired by PLaCE specifically to develop curriculum that
blends traditional literature and composition skills with second language instruction. Through this I have
helped build departmental relations between PLaCE and literature faculty, and I have been a part of a
committee seeking to build learning communities and curriculum connections between domestic and
international students at Purdue. However, at PLaCE I have also taken advantage of opportunities to
understand assessment, cross-cultural models of communication, and building curriculum for a student
community with distinct academic, social, and cultural needs. I have brought this awareness to English
curriculum planning for the wider department, seeking to identify and develop classes that attract diverse
students and create spaces that speak to these students dynamic skill sets, experiences, and concerns.
What I most enjoy doing as a teacher is bringing together the practical applications of humanities
skillswriting, analytical thinking, clear communicationwith the larger cultural and theoretical
implications of an individual text. I want students to see that the ways we communicate value are deeply
contextual and dependent on what and how we read and write. As a scholar of historical texts, I feel a
humanistic commitment to showing my students how content choiceswhat authors we value, what
stories we tell, the formats we use to tell them, when we tell themmatters, because their own
experience, their real life, is also deeply contextual. I hope this will help students connect what they
identify as writing and reading skills to future study within the humanities, with other disciplines, and to
their real lives. One student wrote that in my class, We are assigned interesting stories to read, which
helps us relate what we are learning to real life writings. When students make this connection they see
how the humanities allow for work that blends the relationship between the abstract and the concrete, and
they see writing and critical thinking as workwork they can do and do well.
Courses Taught
Instructor of Record
English 110 (formerly General Studies 100) American Language and Culture for International
Students (6 sections)
The first in a two course sequence that combines language skill education (speaking,
reading, writing, and collaboration) with a social science based exploration of the
American university as a unique cultural space in order to help international students take
full advantage of their experience at Purdue. The fall course focuses more specifically on
oral and reading fluency skills.
English 111 (Formerly General Studies 101) (2 sections taught, 3 upcoming)

The second in a two course sequence that combines l language skill education (speaking,
reading, writing, and collaboration) this time with a humanities based exploration of the
American university as a unique cultural space in order to help international students take
full advantage of their experience at Purdue. The spring course emphasizes critical
reading and writing skills.
English 360Gender and Literature (1 section)

An introduction to feminist approaches to the study of literature, including poetry, drama,
fiction, and/or autobiography. Examines how gender intersects with race, ethnicity,
sexual orientation, and class in shaping authorship, reading, and representation.
English 238Introduction to Fiction (1 section)

Reading and discussion of short stories and novels to promote awareness, understanding,
and appreciation of the range, values, techniques, and meanings of modern fiction.
English 106English Composition (8 sections)

An introductory course structured to support students transition to the university and
prepare them for a wide variety of writing concepts; it includes weekly conferences with
students, multimedia engagement in a computer lab, and a more traditional writing
classroom. Instructors, working with syllabus approaches, can adapt their sections. My
approach was called Writing About Writing, and my sections ranged from
Remixing/Remediation to Literacy Studies.
Teaching Assistant
English 232 (Cross Listed with Comparative Literature and Medieval and Renaissance
Studies)Pirates!
From the Ancient Greeks and the Vikings to the so-called Golden Age of the
seventeenth century and beyond, pirates have been a global seafaring force to be
reckoned withand fodder for popular legends. This course will consider some of the
historical documents and literary texts that inform our understanding of piracy. While
reveling in pirate myth-making, we will nonetheless look thoughtfully at the economic
and colonial revelations made possible by serious pirate study. Where does the iconic
pirate figure come from, and how does he move through history, print, and performance?
What should we do with him now?
*Short Course
Social Language Use (2 sections)
* PLaCE Short Courses provide additional options for support in English language
development and are open to all students. Short courses are six-week-long courses
(shorter than a full semester). This course will give non-native speakers of English a
chance to expand their conversational skills and cultural perspectives. The class will
choose social topics and explore them through readings, video, media, discussions and
other activities. This course will also help you navigate the complexities of social
interaction in America through various interactions including apologies, complaints,
compliments, requests and refusals. A theme of the class is the respectful exchange of
ideas among a diverse group of people.
*Course Tutor
English 620Classroom Communication for International Graduate Students
The Oral English Proficiency Program offers a valuable opportunity for students to
improve their English language skills. Enrolling in English 620 helps ensure success as a
teaching assistant and enhances future career opportunities. Each section of 620 is
assigned an instructor and a tutor. The tutor developes individualized curriculum and
assessments for international graduate students taking ENGL 620
Sample Composition Syllabus

English 10600-876-67839
First-Year Composition (12:30-1:20)
Writing about Writing
M.B. Harris
Email: harri239@purdue.edu
Office Hours:
(or by appointment)
Monday Tuesday Wednesday Thursday Friday
Conference Classroom Conference Computer Lab Classroom
HEAV 223 HEAV 109 HEAV 223 BRNG B282 HEAV 108
ENGL 10600-851 ENGL 10600-876 ENGL 10600-606 ENGL 10600-876 ENGL 10600-876
CRN 64016 CRN 67839 CRN 45103 CRN 67839 CRN 67839
Course Description
English 106 (General)
English 106 is the standard 4-credit hour composition course for students at Purdue. The course provides
students with the opportunity to interpret and compose in both digital and print media across a variety of
forms. Students engage in active learning, which includes class discussion, learning in small groups,
problem solving, peer review, and digital interaction. English 106 is grounded in the idea that writing
provides an outlet for sharing and developing ideas; facilitates understanding across different
conventions, genres, groups, societies, and cultures; and allows for expression in multiple academic,
civic, and non-academic situations. In short, writing is a way of learning that spans all fields and
disciplines.
By the end of the course, students will:
Demonstrate rhetorical awareness of diverse audiences, situations, and contexts

Compose a variety of texts in a range of forms, equaling at least 7,500-11,500 words of polished
writing (or 15,000-22,000 words, including drafts)
Think critically about writing and rhetoric through reading, analysis, and reflection
Provide constructive feedback to others and incorporate feedback into their own writing
Perform research and evaluate sources to support claims
Engage multiple digital technologies to compose for different purposes
Writing About Writing: Approach

The title of this section, Writing about Writing, is pretty self-explanatory; the focus of this course will
be to think about how writing, in a variety of different contexts, shapes individuals and communities in
the contexts of education and society more broadly. What distinguishes Writing about Writing is that its
subject matter derives from writing and literacy theory. Students engage with writing as their topic; they
execute it in their work; and then they use writing as a tool for their reflection to examine their own work,
their peers, and the goals of the class as a whole. This approach takes as its premise the concept that texts
are constructed and that students can best gain useful and transferable writing skills by understanding this
concept. Writing about Writing incorporates contemporary research on writing practices. Another
motivating force of Writing about Writings approach is empowering students to recognize their own
multifaceted literacies, both academic and non-academic. By linking their own personal experience with
these scholarly conversations about writing, Writing about Writing hopes to empower students, many of
whom come into the classroom lacking confidence in their writing abilities, to take ownership of their
writing and to see writing as a multifaceted contextual process with a set of skills they can transfer
beyond the classroom, rather than a system of absolute rights and wrongs.
Required Texts
---Writing Today **ISBN 9780133884401
---Other readings available on Blackboard
Course Requirements
Unit 1: Personal Literacy
Major Project-Literacy Narrative: September 18, 2015
Key Texts: Deborah Brandt Sponsors of Literacy; Sherman Alexie The Joy of Reading:
Superman and Me; Malcolm X Learning to Read; Norton Field Guide Writing a Literacy
Narrative; Writing Today Writing and Genres, Memoirs; Alice Walker Everyday Use
Unit 2: Academic Literacy

Micro Project-Close Reading: September 23, 2015
Major ProjectAnnotated Bibliography and Literature Review: October 20, 2015
Key Texts: Ann M. Penrose & Cheryl Geisler Reading and Writing with Academic Authority;
John Swales Create a Research Space: CARS Model of Research Introductions; They Say/ I Say
Entering the Conversation; Writing Today a variety of chapters on evaluating secondary
sources, citation, drafting, quoting, and paragraph structure, and annotated bibliographies
Unit 3: Community Literacy

Micro-Mini-Ethnography: November 3, 2015
Micro-Rhetorical Analysis: November 15, 2015
Micro-P.E. Outline: November 19, 2015
Major Project 3.1 Discourse Community Research Paper: November 24, 2015
Major Project 3.2 Research Remediation (Paper-Website) December 11, 2015
Key Texts: John Swales The Concept of Discourse Community; Tony Mirabelli Learning to
Serve: The Language and Literacy of Food Service Workers; Horace Miner Body Ritual among
the Nacirema; Rachel Grady and Heidi Ewing Jesus Camp (2006); Morgan Spurlock 30 Days
Life on an Indian Reservation (2008); Writing Today a variety of chapters on research papers,
finding and evaluating primary sources, and rhetorical analysis.
Sample Literature Syllabus

Introduction to Fiction (English 23800-002-19540):
Dangerous Words and Women:
Female Reading, Writing, and Revision (Oh My!)
Course Description
This course will introduce students to the genre of fiction, one of the Instructor: Mary Beth Harris
oldest and still most popular genres of literature. This section of the Office: HEAV 325A
course will focus in particular on the theme of gender. To understand Email: harri239@purdue.edu
this connection thematically, this course will explore the ways that Office Hours: Friday, 2:20-4:20pm
women as characters, readers, and writers have occupied a central role
in the cultural navigation of fiction as a literary form, particularly in the and by appointment
formation of the novel. As the novel emerged as a genre in the
eighteenth century, it was seen (usually by men) as a softer, feminine
Course Meetings:
form, suitable and yet dangerous for the impressionable minds of MWF 4:30-5:20pm HEAV 128
women. Now, men clearly read and were influenced by novels in and
out of the eighteenth century, but this feminine label will provide a
jumping off point for our class. This course will present the ways women have taken hold of fiction (and its early
negative connotations) for their own political, cultural, racial, and gendered explorationsand, ultimately, how
female authors craft alternative histories of fiction based on these interests. The units and course structure will center
on sets of novels by women, supplemented by companion short stories and prose readings by both men and women.
This course will present female authors in conversation with each other, sometimes accepting, sometimes rejecting or
revising to create space for a multiplicity of feminine voices and fictional forms. More broadly, by tracing
connections between the dangers of fiction to the social restraints of women, this course hopes to explore how gender
(for both men and women) is the work of fiction and, reciprocally, how fiction is the work of gender.
Course Objectives
By the end of this course students should be able to:
engage with texts through analysis rather than judgment
closely read complex material and connect it to the larger themes of the course
use evidence to support abstract, analytical thinking
voice their own ideas in class discussion and engage with the ideas of others
gain an understanding of the development of fiction as a genre from the eighteenth century to the present
think about how literature and gender intertwine and influence each other
consider about how texts and language shape culture, reality, and identity
Required Texts
You are expected to have the correct, printed versions of the books and to print out any blackboard readings. You
may order books online, but they must be these editions, and you must have them in time to do the readings.
*Available at Vons (765-743-1915319 West State Street)

--. The Female Quixote (1752) by Charlotte LennoxOxford World Classics (978-0199540242)
--. Northanger Abbey (1817) by Jane AustenOxford World Classics (978-0199535545)
--. Jane Eyre (1847) by Charlotte BronteNorton Critical Edition (9780393975420)
--. Wide Sargasso Sea (1966) by Jean RhysW.W. Norton & Co (9780393308808)
--. Their Eyes Were Watching God (1933) Zora Neal HurstonHarper Collins Publisher (9780060931414)
* All other readings will be available on Blackboard
Course Requirements
Exercise: Short Close Reading
Paper 1: Literary Analysis
Paper 2: 2-Text Literary Analysis
Midterm Exam
Final Exam
Class Participation and Quizzes
To be successful in this course, you should do the following:

Take ownership of your learning: Successful problem solvers have to practice and learn material on
their own.
Commit to engaging with the reading: The reading load will be approximately 50-80 pages per
session. According to University standards, a three-credit class entails six hours per week of homework time
for class reading, plus extra time for writing papers and studying for exams. Write in your books, consider
why you react the way you do to the reading, and ask questions of the material. You may not like what we
read, but that does not mean it is not worth reading.
Be an active participant in the classroom: This is a discussion-based course, so your preparation and
participation are vital to its success. The more engaged you are, the more you will learn and the more fun
you will have. Be prepared!
Ask for help: I am here to help however I can; please do drop by my office hours. There are also services
on campus to help with your writing, such as the Writing Lab. Reading and writing about literature can be
challenging, and I want to help you succeed.
Although literature is not empirical, you can be wrong: Thinking about literature is about making
interpretations and building arguments. You must pay careful attention to our texts, make reasonable
claims, and provide evidence from the text to convince our class to agree with your view. This means
anything goes wont fly in our classroom. Convince us!
Commit to working on your writing: Writing is hard. Make sure you spend time planning, drafting,
revising, and getting feedback, from me, peers, or the Writing Lab. The excellent essay is a rare thing; it
must excel in both content and form.
ENGL 238: Sample Calendar

Unit 1: Dangerous Reading: Novels and the Female Imagination
Week 1: August 25-29
8/25- Syllabus DayIn-Class: The Spectator No 4
8/27- Setting the Scene: The Rambler No 4 (blackboard), Don Quixote Excerpts (blackboard),
Romance Excerpts (blackboard)
8/29- Female Quixote: Bk. 1 (pg 5-55),
Week 2: September 1-5

9/1 NO CLASS Labor Day
9/3 FQ: 2 (56-107)
9/5 FQ: 3 (108-138)

9/8 FQ: 4 (139-178)
9/10 FQ 5 (179-208)
9/12 FQ 6 (209-254)

9/15 FQ 7 (255-307)
9/17 FQ 8 (308-331)
9/19 FQ 9 (332-384)

9/22 FQ Wrap-Up Day
9/24 Writing Workshop: PEAS paragraph structure
9/26 Close Reading Exercise Due! Transition to Northanger Abbey, Introducing the Gothic: Excerpts
from The Monk, The Mysteries of Udolpho (blackboard)
Week 6: September 29-October 3

9/29 Northanger Abbey (4-65)

Unit 2: Dangerous Women: Madwomen of Page and Pen

Week 7: October 6-10
10/6 Jane Eyre (1-70)
10/8 Jane Eyre (70-130)
10/10 MIDTERM EXAM

NO CLASS FALL BREAK
10/15 Jane Eyre (130-187)
10/17 Jane Eyre (187-253)

10/20 Jane Eyre 4 (253-321)
10/22 Jane Eyre 5 (321-385)
10/24 Excerpt from Gilbert and Gubar (Blackboard); Jane Eyre Wrap-Up Day

10/27 Writing Workshop: Effective Thesis Statements and Essay Planning
10/29 William Faulkner A Rose for Emily (Blackboard)
10/31 Wide Sargasso Sea Part 1
Week 11: November 3-7

11/3 Wide Sargasso Sea 2 Part 2
11/5 Wide Sargasso Sea 3 Part 3
11/7 Essay 1 Due! Charlotte Perkins Gilman The Yellow Wallpaper (Blackboard)
Unit 3: Dangerous Revisions: Diversifying the Canon

11/10 Virginia Woolf A Room of Ones Own (first half)
11/12 A Room of Ones Own (second half)
11/14 Zora Neal Hurston How It Feels to Be Colored Me & Their Eyes Were Watching God (1-20)

11/17 Their Eyes Were Watching God Part 1 (21-87)

11/24 Their Eyes Were Watching God Part 4 Wrap-Up
NO CLASS: THANKSGIVING
Week 15: December 1-5

12/1 Sui Sin Far Mrs. Spring Fragrance (Blackboard)
12/3 Toni Morrison Recitatif (1983) (Blackboard)
12/5 Writing Workshop: Putting Texts into Dialogue
Week 16: December 8-12Dead Week

12/8 Alice Walker Everyday Use (Blackboard)
12/10 Jhumpa Lahiri The Treatment of Bibi Hadar (Blackboard)
12/12 Exam Prep
FINALS WEEK: December 15-19Final Exam and Final Essay Due (TBA)
Sample Syllabus
Gender and Literature

English 36000-001-65355
Course Description
In this course, we will explore the mutually constitutive nature Instructor: Mary Beth Harris
of literature and gender from the eighteenth century to the Office: HEAV 325A
present; we will read a variety of genres such as satires, Email: harri239@purdue.edu
romances, domestic fiction, adventure tales, and gothic horror Office Hours:
stories, poetry and songs, canonical and non-canonical novels. and by appointment
Our purpose, ultimately, is to examine historical depictions of
gender, while working with theories of feminist criticism, Course Meetings:
masculinity studies, sexuality, and race to understand gender TR 9:00-10:15 pm BRNG B261
as not only socially but narratively constructed. We will
consider how literature has played an active role in defining,
reinforcing, and exploding gender roles and cultural constraints. A major principal of this course is putting
texts in dialogue with each other to reveal the dialectical nature of literature and gender. For example,
classic adventure tales, like Treasure Island, served as imaginative frameworks for instilling proper, colonial
masculinity in nineteenth-century British boys through playing pirate, but how does the adventure tale
change when the adventurer is a teenage girl, and the political games are more nefarious, such as in The
Hunger Games? How do theories of passing (racial and gender) contrast and inform each other in works like
Nella Larsons Passing and E.M. Forsters Maurice? Finally, I would also like to resist creating a linear
trajectory; my course will present authors in conversation with each other, sometimes accepting,
sometimes rejecting or revising to create space for a multiplicity of gendered voices and fictional forms.
Course Objectives
By the end of this course students should be able to:
engage with texts through analysis rather than judgment
closely read complex material and connect it to the larger themes of the course
use evidence to support abstract, analytical thinking
voice their own ideas in class discussion and engage with the ideas of others
gain an understanding of the development of fiction as a genre from the eighteenth century to the
present
think about how literature and gender intertwine and influence each other, and how history,
sexuality, race, and identity politics create a complex matrix that impacts both.
consider how texts and language shape culture, reality, and identity
Required Texts
You are expected to have the correct, printed versions of the books and to print out any other blackboard readings.
You may order books online, but they must be these editions, and you are expected to have them in time to do the
readings.
The Female Quixote (Oxford World Classics) by Charlotte Lennox (978-0199540242)
Wuthering Heights (Dover Thrift Edition) by Emily Bronte (978-0486478036)
Treasure Island (Penguin Classics) by Robert Louis Stevenson (978-0140437683)
Maurice by E.M. Forster (978-0393310320)
Passing (Norton Critical Edition) by Nella Larsen (978-0-393-97916-9)
The Hunger Games (Book 1) by Suzanne Collins (978-0439023528)
All other readings will be available on blackboard
Course Requirements
This course will have several Written Assignments (two short exercise and two papers) and 2 exams (midterm and
final). There will also be occasional quizzes.
Detailed descriptions of each assignment will be posted on Blackboard.
Exercise 1: Short Close Reading

Exercise 2: Theory Explication
Paper 1: Literary Analysis
Paper 2: 2 Text Literary Analysis
Midterm Exam
Final Exam
Class Participation
Total:
To be successful in this course, you should do the following:

Take ownership of your learning: Successful problem solvers have to practice and learn material on
their own.
Commit to engaging with the reading: The reading load will be approximately 50-80 pages per
session. According to University standards, a three-credit class entails six hours per week of homework time
for class reading, plus extra time for writing papers and studying for exams. Write in your books, consider
why you react the way you do to the reading, and ask questions of the material. You may not like what we
read, but that does not mean it is not worth reading.
Be an active participant in the classroom: This is a discussion-based course, so your preparation and
participation are vital to its success. The more engaged you are, the more you will learn and the more fun
you will have. Be prepared!
Ask for help: I am here to help however I can; please do drop by my office hours. There are also services
on campus to help with your writing, such as the Writing Lab. Reading and writing about literature can be
challenging, and I want to help you succeed.
Although literature is not empirical, you can be wrong: Thinking about literature is about making
interpretations and building arguments. You must pay careful attention to our texts, make reasonable
claims, and provide evidence from the text to convince our class to agree with your view. This means
anything goes wont fly in our classroom. Convince us!
Commit to working on your writing: Writing is hard. Make sure you spend time planning, drafting,
revising, and getting feedback, from me, peers, or the Writing Lab. The excellent essay is a rare thing; it
must excel in both content and form.
Sample Gender and Literature: Calendar

This reading schedule is subject to change
Week 1: January 11-15
1/12- Syllabus DayIn-Class: Two Eleanor Rigbys
1/14- Female Quixote: Bk. 1 (pg 5-55) & Don Quixote Excerpt (blackboard)

1/19- FQ: Bk 2 (56-107), Romance Excerpts (blackboard)
1/21- FQ: Bk 3 (108-138), The Rambler No. 4, The Spectator No. 4 (blackboard)

1/26- FQ: Bk 4 & 5 (139-208)
1/28- FQ: Bk 6 (209-254)
Week 4: February 1-5

2/2- FQ: Bk 7 & 8 (255-331)
2/4- FQ: Bk 9 (332-384)

2/9- Theory Day 1: Michel Foucault The History of Sexuality (blackboard) & Goblin Market (blackboard)
2/11- Wuthering Heights (1-66)

2/16- Wuthering Heights (67-179) Theory Explication Due (Group 1)
2/17- Wuthering Heights (180-248)

2/23- Carmilla (whole text) (blackboard)
2/25- Carmilla Close Reading Due!
Week 8: February 29-March 4

3/1- Treasure Island: Part 1-3
3/3- Treasure Island: Part 4-5
Week 9: March 7-11

3/8- Treasure Island: Part 6 & Catch-Up Day
3/10- MIDTERM EXAM
SPRING BREAK: March 7-11
Week 10: March 21-25

3/22- Theory Day: Judith Butler Bodies that Matter (blackboard); Excerpts from Oscar
Wildes Trial The Love that Dare Not Speak its Name
3/24- Maurice (Part 1, 1-66)
Week 11: March 28-April 1

3/29- Maurice (Part 2 and most of 3) Theory Explication Due (Group 2)
3/31- Guest Lecture on Gloria Anzaldua Paper 1: Literary Analysis Due!
Week 12: April 4-April 8

4/5- Maurice (Finish Part 3, Part 4, Terminal Note)
4/7- Passing, Part 1 (1-35) Aint I a Woman (blackboard) How it Feels to be the Colored Me (blackboard)
Week 13: April 11-15

4/12- Passing 2 & 3 (35-82)
4/14- Toni Morrison Recitatif (blackboard)

4/19 The Hunger Games Part I: The Tributes
4/21 The Hunger Games Part II: The Games

4/26 The Hunger Games Part III: The Victor
4/28 Exam Prep
FINALS WEEK: MAY 2-6FINAL EXAM & ESSAY 2 Due

Sample Syllabus
ENGL 110: American Language & Culture 1
20172018
Time: 9:00-10:15 am Classroom: REC 117

Instructor Name: Dr. M.B. Harris Email: harri239@purdue.edu
Office: HEAV B1A Office hours: M 12:30-3:00 pm; TR 12:00-1:20
pm & 3:00-5:00 pm
ENGL 110 is a foundational course for international students who learned English as a second language.
This class is part of the Purdue Language and Cultural Exchange (PLaCE for short), which is an
instructional and assessment program that helps students like you develop the academic, linguistic, and
cultural competencies needed to participate in university life and to compete for internships, graduate
school, and employment opportunities. This syllabus provide important information about course policies
and procedures. You should read it carefully at the beginning of the semester and review it several times
during the semester.
Course Objectives
By the end of the semester, students will be able to . . .
Speak English more fluently
Read English more fluently
Communicate in English with increased clarity
Develop and apply a process for cross-cultural comparison and reflection
General Expectations for Students

This class can help you in many ways, but only if you are fully present and purposefully engaged. This
includes the following expectations: attend class on time and bring course materials with you; be ready
for discussions and activities; complete assignments on time; and use English in class. If you do these
things, you can expect to become more confident and competent in your English proficiencies.
Course Textbook and Materials

There are two required textbooks:
American Ways: A Cultural Guide to the United States of America (3rd ed.) by Gary Althen &
Janet Bennett. Intercultural Press: 2011
ENGL 110 Course Reader (3rd ed.) by Matthew Allen and Sarah Fehrman. Van Griner: 2017.
You also need to purchase:

A composition notebook (see Journal Guidelines for more information)
A daily planner to manage your schedule (see Self-Regulated Learning Guide for more
information)
Headphones with a microphone and USB connection (more details provided by instructor)
For regular class meetings and assignments, make sure to have:

Access to your Blackboard Learn course page and other online materials (accessed via laptop,
tablet, etc.)
A binder with paper and/or a notebook
Pen or pencil
Grading Overview
Your grade in the course is based on a several types of assignments and projects (see table below). In
grading, ENGL 110 instructors evaluate the extent to which you meet the requirements of each
assignment, and ultimately, the extent to which you reach the learning objectives stated in this syllabus.
Your instructor will not compare the quality of your performance to that of other students in the class
(i.e., grades are not determined by spreading student performances on a curve).
Type of Assignment Percent of Grade
Classwork, Homework, Quizzes, and Participation throughout the semester,

including:
Conferencing with instructor
Self-Introduction video
SMART Goals
Personal skill profile
Quiz on Citation & Plagiarism 32%
Reading and vocabulary activities and quizzes
Writing exercises
Group and partner activities
Personality test
Language assessments
Surveys
Reading Assistant Units 15%
Journal Entries 12%
Unit 1 Final Project (written reflection) 5%
Unit 2 Final Project (recorded presentation and written reflection) 16%

Unit 3 Final Project (in-class and recorded presentations and written
20%
reflection)
Percentage Letter Grade Percentage

A 93-100% D+ 67-69%
A- 90-92% D 63-66%
B+ 87-89% D- 60-62%
B 83-86% F 0-59%
B- 80-82%
C+ 77-79%
C 73-76%
C- 70-72%
Note: Your instructor has the discretion to round up final grades slightly if there is strong evidence to do
so (i.e, sustained effort, not pestering or begging for better grades at the last minute). If you are especially
concerned about your grades, stay in touch with your instructor throughout the semester about your
performance about what you can do to increase your learning and improve your scores.
Sample Syllabus
GS 101: American Language and Culture for International Students II
Syllabus Spring 2017
Time: 12:00 am-1:15 am j Classroom: REC 117 j

Instructor Name: Dr. Mary Beth Harris j Email: harri239@purdue.edu j
Office: HEAV B1A j Office hours: TR 10:30-11:20 & 1:30-5:00
pm; W: 1:00-2:50 pm
j
Students come to Purdue from around the United States and the world, enriching the campus
with many languages and cultural perspectives. GS 101 is a foundational course for international
students who learned English as a second language. This class is part of the Purdue Language
and Cultural Exchange (PLaCE for short), which is an instructional and assessment program
that helps students like you develop the academic, linguistic, and cultural competencies needed
to participate in university life and to compete for internships, graduate school, and employment
opportunities.
You have probably been an English language learner for a long time, so our goal now is to
enable you to develop to become a fully proficient language user. We follow a developmental
perspectivelots of practice over this year will make a huge difference for your long-term
success. Your instructor in GS 101 will guide you as you practice advanced reading, writing,
listening, and speaking skills and explore the dynamic nature of U.S. culture.
We believe that, in a few years, you should be ready to work in an English-speaking company,
research group, or international organization (or wherever your professional life takes you). This
means you need to know how to use English to participate in meetings, write proposals, send
emails, do presentations, lead negotiations, network with clients, make deals, build relationships,
and much more. Developing the advanced language and communication skills you need starts
today!
Course Objectives
By the end of the semester, students will be able to . . .
1. Speak English more fluently
2. Read English more fluently and with increased comprehension
3. Present academic topics to an audience with increased clarity and within time constraints
4. Understand reasons and practices for using outside sources in an American academic context
General Expectations for students
This class can help you in many ways, but only if you are fully present and purposefully
engaged. This includes the following expectations: attend class on time and bring course
materials with you; be ready for discussions and activities; complete assignments on time; and
use English in class. If you do these things, you can expect to become more confident and
competent in your English proficiencies.
Course Textbook and Materials

Bring these items with you to all class sessions:
1. Required Textbook 1American Ways: A Cultural Guide to the United States of America
(3rd ed.) by Gary Althen & Janet Bennett. Intercultural Press: 2011 (blue cover; order from
Amazon)
2. A composition notebook
3. A daily planner to manage your schedule
4. Pen and/or pencil.
5. A folder or binder to keep course materials
6. The Hunger Games
Other required items to be used for homework and brought to class as needed:
7. Blackboard Learn course page and other online materials (accessed via laptop, tablet, etc.)
Grading
Percent of
Assignment Dates & Details
Grade
Individual Presentation,
Unit 1 Project 10%
Week 5
Pair Presentation &

Unit 2 Project Class Discussion, 20%
Weeks 812
Journal Portfolio,
Unit 3 Project 30%
Weeks 1316
Classwork,
Homework,
Weeks 116 35%
Quizzes, and
Participation
ACE-In language exam,

Final Exam 5%
end of semester
Instructor of RecordEvaluation Summaries

Mean Scores ENGL 106Fall 2015English Composition
Excellence (5= Excellent, 1= Poor)
Overall--Instructor 4.3
Overall--Course 4.5
Course requirements are clear 4.3

Relationships among course topics are clearly explained 4.5
This course if of practical benefit to me as a student 4.2
Class discussions are helpful to my learning 4.1
Comments on my papers help me improve my writing 4.5
When I have a question or comment I know it will be respected 4.6
This course effectively challenges me to think 4.4
This course improved my writing skills 4.4
I gained experience writing for specific audiences and purposes 4.4
This course helps me synthesize information from several sources 4.3
This course helps me analyze my own and other students writing 4.3
This course encourages me to think critically 4.3
My instructor makes the objective of each class session clear 4.5
My instructor seems well prepared for class 4.7
My instructor presents information effectively 4.3
My instructor uses class time effectively 4.5
My instructor uses various activities that involve me in learning 4.5
My instructor relates reading and writing assignments 4.4
My instructor is friendly and accessible 4.8
My instructor respects divers groups of people 4.7
My instructor is open to differences in perspective 4.4
Qualitative Evaluations (Full Evaluations Available on Request)

I think she does an exceptional job of getting the class involved in discussion. She doesnt allow students to
zone out, which is a great thing whether we like it or not
She made sure to include everybody. She understood that there were some people who were talkative or
wanted to share more, but she never ignored or disfavored the ones who shared less
I can tell that the professor really cares about the students, she is always available to help and genuinely
wants all of her students to succeed in her class
I really like how Ms. Harris relates the readings in class to the writing assignment. Her analysis and
discussions really help me with my writing
Ms. Harris always gives very well and thought out feedback to me on all my assignments which make my
papers better
Mean Scores ENGL 238Fall 2014Introduction to Fiction

OverallInstructor 4.3
OverallCourse 4.3

The climate of this class is conducive to learning 4.9
I feel free to ask questions in class 4.3
Class sessions were interesting and engaging 4.9
I developed a greater appreciation for this subject 4.7
There is an appropriate mix of lecture and discussion in this class 4.3
I am generally pleased with the text(s) required for this course 4.0
This course improved my writing skills 4.3
This course encourages me to think critically 4.7
My instructor displays a clear understanding of course topics 5.0
My instructor shows respect for diverse groups of people 4.7
My instructors takes my views and comments seriously 4.7
My instructor is good at facilitating group discussion 5.0
My instructor encourages questions and expression of ideas 4.9
My instructor provides sufficient tests or assignments 4.7
My instructor is friendly and accessible 5.0
My instructor is reasonably available for consultation 4.9
My instructor displays a personal interest in students and their learning 4.7
My instructor recognizes and rewards success in this course 4.0
My instructor gives appropriate/timely feedback on each students performance 4.3
My instructor provides useful feedback throughout the semester 4.7

Overall, my favorite course of the semester. It involves a lot of critical thinking and new perspectives, and the
class discussions are always something to look forward to.
I never thought that I would like small class before this , now I really suggest that school should have more
classes with less student!
For a class of this size, I was more involved in the class than I am normally. I was challenged to speak up
and be more engaged, without ever feeling like I was criticized or belittled. I like how the instructor handled
discussions of various texts but still brought out similar themes pertinent to the class. I also appreciated
having a day in class to workshop the thesis statement. With the assignments I always got thorough feedback
that was constructive and helpful, and I feel better prepared to excel in other areas of writing.
Best class ever :)!

Instructor of RecordEvaluation Summary

Mean Scores ENGL 360Spring 2016Gender and Literature
Overall--Instructor 4.7
Overall--Course 4.3

My instructor respects divers groups of people 4.8

This is my favorite class this semester! Ms. Harris is really well prepared, and always makes deep insights
while still maintaining an atmosphere of levity, which is a really nice environment for a class discussion.
The selection of readings are very good. I also like how the class was set up. In-class discussions are easy to
follow, the class was fun with Ms. Harris' sense of humor. Love the style of the class. The comparisons of
characters between different works are very helpful. I also like how there's both exams and papers.
Professor Harris conducts a class that is simple yet engaging to each and every student present. The
classroom environment she produces is conducive to learning at a base level. She somehow manages to
engage students who are clearly disinterested from course material. The instructor should continue to foster
such a healthy environment for learning in the future in order to maximize the potential learning from this
course
Ms. Harris is always very enthusiastic and seems like she actually enjoys teaching this material. She raises
interesting questions and makes the material seem relevant to us
Miss Harris was a wonderful instructor for this course. Eloquent yet gritty in her analysis of texts, and also
witty and fun in her delivery.
I would have dropped this class if Ms. Harris was not my teacher. She makes her lectures on 18th century
romance novels interesting and fun.
I really like how much student opinions are valued and sought out. The class is not simply a lecture of what
we should think, its a discussion about what we think. This is the first time I've actually enjoyed analyzing
texts.
I like the way the class is structured. I like that my instructor comes in with topics she wants to cover, but
also lets the students drive the discussion. There was a good balance between discussions, lectures, and
handouts. I liked that we covered theories in addition to novels and that longer novels were broken up with
shorter ones. I loved the format of the exams, they were challenging and truly tested me but not impossible.
I wasn't looking forward to a few of [the texts for class], but I actually ended up liking every single piece that
we read (and that can be hard to do!). I also thought she did a great job of tying themes together across the
different texts that we read. That is something that I find hard to do, so I appreciate it.
I cannot think of a single thing I would change about this course.

Mean Scores GS 100Fall 2016American Language & Culture I

OverallCourse 4.8

The teaching methods used in this course enable me to learn 4.5
This course helps me develop confidence in myself 4.5
This course improved my oral communication skills 4.5
My instructor is actively helpful when students have problems 4.8
Conferences with my instructor have been valuable to me 4.8
My instructor suggests specific ways I can improve 4.5
As a result of your work in this class, what GAINS did you make in the SKILL of 4.0
speaking English more fluently?
reading English more fluently?
communicating in English with increased clarity?
developing and applying a process for cross-cultural comparison and reflection?
I think that she cares about the well being of the students which is good as everyone feels
comfortable during class and in all the activities we do
Excellent
Mean Scores GS 101Spring 2017American Language & Culture II

OverallCourse 4.4

The teaching methods used in this course enable me to learn 4.6
This course helps me develop confidence in myself 4.4
This course improved my oral communication skills 4.5
My instructor is actively helpful when students have problems 4.7
Conferences with my instructor have been valuable to me 4.7
My instructor suggests specific ways I can improve 4.4
speaking English more fluently?
reading English more fluently?
communicating in English with increased clarity?
developing and applying a process for cross-cultural comparison and reflection?
Very good professor!
Dr. Harris did an amazing job on boosting the communication between the teacher and
students and inter-students. Hope she can continue doing that.

EvidenceofTeachingEffectiveness Fall2017 Harris

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Evidence

Mary Beth Harris

Summary Introduction ________________________________________________________3

Teaching Philosophy __________________________________________________________4

Courses Taught ______________________________________________________________6

Sample Syllabi _______________________________________________________________8

Instructor Evaluation Summaries ______________________________________________20

Statement of Teaching Philosophy

English 111 (Formerly General Studies 101) (2 sections taught, 3 upcoming)

English 360Gender and Literature (1 section)

English 238Introduction to Fiction (1 section)

English 106English Composition (8 sections)

Sample Composition Syllabus

By the end of the course, students will:

Demonstrate rhetorical awareness of diverse audiences, situations, and contexts

Writing About Writing: Approach

Unit 2: Academic Literacy

Unit 3: Community Literacy

Sample Literature Syllabus

*Available at Vons (765-743-1915319 West State Street)

To be successful in this course, you should do the following:

ENGL 238: Sample Calendar

Week 2: September 1-5

Week 3: September 8-12

Week 4: September 15-19

Week 5: September 22-26

Week 6: September 29-October 3

10/1 Northanger Abbey (66-125)

Unit 2: Dangerous Women: Madwomen of Page and Pen

Week 8: October 13-17

Week 9: October 20-24

Week 10: October 27-31

Week 11: November 3-7

Unit 3: Dangerous Revisions: Diversifying the Canon

Week 13: November 17-21

Week 14: November 24-28

Week 15: December 1-5

Week 16: December 8-12Dead Week

Gender and Literature

Detailed descriptions of each assignment will be posted on Blackboard.

Exercise 1: Short Close Reading

To be successful in this course, you should do the following:

Sample Gender and Literature: Calendar

Week 2: January 18-22

Week 3: January 25-29

Week 4: February 1-5

Week 5: February 8-12

Week 6: February 15-19

Week 7: February 22-26

Week 8: February 29-March 4

Week 9: March 7-11

SPRING BREAK: March 7-11

Week 10: March 21-25

Week 11: March 28-April 1

Week 12: April 4-April 8

Week 13: April 11-15

Week 14: April 18-22

Week 15: April 25-29

FINALS WEEK: MAY 2-6FINAL EXAM & ESSAY 2 Due

Time: 9:00-10:15 am Classroom: REC 117

General Expectations for Students

Course Textbook and Materials

You also need to purchase: