Category Archives: Resources

RESOURCE: The Modernist Podcast

Our new favorite thing: The Modernist Podcast (@Podernism on Twitter).  Hosted by Séan Richardson, a first-year PhD student focusing on queer theory, cosmopolitanism, and modernist studies at Nottingham Trent University, the podcast provides a platform for emerging scholars of modernism to share their work and engage with new trends and directions in the field.


We were especially excited to check out the inaugural episode:  modernism, women, and feminism.  (We were especially especially excited to get a bit of a shout-out at the end.)  Featuring Katie Dyson, Fran Bigman, Sophie Oliver, Jade French , and Rio Matchett, the episode looks at women and aging, abortion, fashion v. style, little magazines, and narrative ethics.  The lively and wide-ranging conversation is worth a listen!


Feminism, Pedagogy, and the New Modernist Studies

We’re pleased to share some details in advance of our roundtable on teaching modernist women’s writing at MLA next week.

EDITED TO ADD:  Did you miss our roundtable at MLA?  Check out the notes here!

Thursday, 5 January
56. Feminism, Pedagogy, and the New Modernist Studies
 1:45–3:00 p.m., 106B, Pennsylvania Convention Center
Presiding: Julie Elaine Goodspeed-Chadwick, Indiana Univ.–Purdue Univ., Columbus
Speakers: Steven Ambrose, Michigan State Univ.; Melissa Dinsman, Univ. of Notre Dame; J. Ashley Foster, Haverford Coll.; Amanda Golden, New York Inst. of Tech., Old Westbury; Kristina Quynn, Colorado State Univ., Fort Collins; Tamara L. Slankard, Baker Univ.; Vicki Tromanhauser, State Univ. of New York, New Paltz

This session considers women’s writing and modernist studies from a pedagogical perspective. Speakers, talented teacher-scholars in modernist studies and twentieth-century women’s writing, cross boundaries between disciplinary concerns and teaching practice, theorizing teaching modernist women’s writing and sharing opportunities, challenges, strategies, and praxis.
Prompts to consider:
+ how have the shifts in modernist studies affected the ways in which you teach in the discipline?
+ how, as a teacher, do you conceptualize the role of women’s writing in the teaching of modernism?
+ how do you see the work of those invested in feminist modernist studies informing your teaching?
+ is there a role for feminist pedagogy in the modernist studies classroom and what might it be?
+ what practical strategies have you developed for the teaching of modernist women’s writing?
+ what challenges and opportunities does the teaching of modernist women’s writing present?
+ how do you engage students in your work as a scholar of modernist studies, and what directions in that work do you envision as being important in the coming years?
Potential session outcomes:  The outcomes of this discussion may include collaborating on a deeper conceptualization of the intersections among pedagogy, feminism, and modernism, as well as a sharing of specific teaching strategies.  Audience members who may find this roundtable of interest might include emergent as well as seasoned teachers of modernist and 20th-century studies especially those looking to expand their repertoire; those interested in the relationships among gender and sexuality and the teaching of literature; and those interested in the theory and practice of feminist pedagogy.

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Heading to MSA or MLA? Come Find Us!

We interrupt our summer hiatus to share some great news:  #teachingmodwomen (hopeful) contributors will be speaking at MSA and at MLA in the coming months.

These roundtables will consider women’s writing and modernist studies, treating the topic specifically from a pedagogical perspective. Speakers, talented teacher-scholars in modernist studies and 20th-century women’s writing, will cross boundaries between disciplinary concerns and teaching practice. They will conceptualize teaching modernist women’s writing from a theoretical perspective, interrogate the place of women’s writing and feminist pedagogy in modernist studies/modernist cultures, and share opportunities, challenges, strategies, and praxis.

Here’s the lineup:

  • MSA 18, November 2016, Pasadena, CA

“Teaching Women’s Writing and the Modernist Studies Culture Industry”

Lois Cucullu

Geneviève Brassard

Steven Ambrose

Jennifer P. Nesbitt

Kristina Quynn

Sarah Cornish

  • MLA 2017, January 2017, Philadelphia, PA

“Feminism, Pedagogy, and the New Modernist Studies”

** updated to add:  We’ll be featured as one the Presidential Theme sessions! **

Julie Goodspeed-Chadwick, Presider

Amanda Golden

Melissa Dinsman

J. Ashley Foster

Vicki Tromanhauser

Steven Ambrose

Kristina Quynn

Tamara Slankard

Resource: Digital Marianne Moore

The Marianne Moore Digital Archive is a major work in progress, digitizing the notebooks of a significant modernist poet and making available a wide range of resources devoted to the study of her texts.  The project is directed by Cristanne Miller, with Associate Directors Elizabeth Gregory, Robin Schulze, and Heather Cass White (all highly distinguished Moore scholars) and in collaboration with the Rosenbach Museum and Library in Philadelphia.

The archive includes a catalog of the 122 notebooks held by the Rosenbach; these notebooks document Moore’s reading, drawings, her conversations, and her composition process.  The site also offers a timeline of life and work, back issues of the Marianne Moore Newsletter, and a substantial scholarly bibliography.  Some notebook images are available, and one element that has the potential to be a major asset to Moore scholars is a notebook reader, still in prototype.  The Moore Digital Archive is a significant resource for scholars of modernist women’s writing and its archives.

Marianne Moore’s notebooks contain a vital record of a mind at work—drafts of poems and prose, playful drawings, copious notes from the events and performances she attended and her daily reading and research, impossibly catholic materials that range from quotations of high-toned commentary to advertisements for Johnnie Walker Scotch. Moore also recorded conversations—snippets of monologue and dialogue spoken by or about most of the most famous modernists and by family members and people she overheard on a train or at the zoo. Her notebooks constitute one of the great critical and cultural resources for modernist studies.

—from “The Notebooks,” Moore Archive


Screenshot of the homepage

Screenshot of the homepage


Screenshot of the reader prototype

Screenshot of the reader prototype


Screenshot of "The Notebooks"

Screenshot of “The Notebooks”


Resource: Digital Mina Loy

Mina Loy: Navigating the Avant-Garde is a beautiful digital resource designed and maintained by Suzanne Churchill and Andrew Rikard of Davidson College, and Susan Rosenbaum of the University of Georgia.  The site has a number of valuable features that might facilitate the teaching not only of Loy, but of the avant-garde more broadly.

The site offers a “Narrative” section, with five chapters:  “Enter the Avant-Garde,” “Futurist Plays,” “Dada Prose,” “Surreal Scene,” and “No Man’s Land.”  These well-researched and engaging multimedia chapters situate Loy’s work within a larger cultural and aesthetic context.  Here readers will find discussion of plays like The Pamperers alongside other artifacts of Futurism, and consideration of Loy’s fiction in conversation with the art of Marcel Duchamp.

Churchill, Rikard, and Rosenbaum also provide bios with a gallery of images; an interactive timeline of Loy’s life and work; and an archive of Loy manuscripts built using Omeka.  A manifesto positions this work within digital humanities and the kinds of close reading it can facilitate.  Modeled on Blast, the manifesto calls for doing “close reading better:  more informed, less closed.”  I recommend scholars and teachers of modernism spend some quality time immersed in this rich and well-designed site.




Must-See Picasso Exhibit in Philly—and the Benefits of a Field Trip

If you live and/or work anywhere near Philadelphia, I strongly recommend visiting The Barnes Foundation for their current exhibitionPicasso:  The Great War, Experimentation, and Change.  The exhibit explores the tensions in Picasso’s work around Cubism and realism, and situates that dynamic as a response to the conflagration of 1914-1918.  One highlight:  extensive consideration of the 1916 ballet Parade, along with details of Picasso’s collaboration with Satie, Cocteau, and the Ballets Russes.

While modernists with a variety of specific interests might be keen to check out Picasso, they might also be asking why I’m sharing my recommendation in this space.  I’m very lucky to teach at an institution only 15 minutes outside of Philadelphia, and to live in the city itself; I and my colleagues do the best we can to take advantage of the cultural resources available to supplement our teaching, engage our students, and enrich their experience.  This semester, inspired by one of the #teachingmodwomen contributors, I decided to theme my Methods of Literary Study course (a gateway-to-the-English-major type requirement) around literature of the Great War.  Our main texts were Rebecca West’s The Return of the Soldier, Robert Graves’s Goodbye to All That, and Vera Brittain’s Testament of Youth, along with poetry.  Part of my planning from the beginning, too, included taking advantage of the opportunity to visit the Barnes for the Picasso exhibit, announced last year.  I’ve taken students to the Barnes before as part of our study of modernist literature and culture, but this special chance could not be passed up.

I encouraged the students to self-direct throughout the exhibit, asking only that they text me their thoughts as they viewed the works.  I would catch up with them occasionally to share reflections, or text them if I saw something they would like based on the comments texted to me.  Afterwards over lunch, we had a conversation about how we might place Picasso’s work in the context of our understanding of the Great War up to this point.  Getting students out on an excursion like this can be logistically complicated, especially when their schedules are as packed as ours, but it’s more than worth it.

We would love to hear from readers about how they use similar kinds of excursions in their teaching:  benefits, challenges, suggestions, and good stories!

Navigating Modernism’s Visual History 

This is a guest post by Teaching Modernist Women’s Writing in English hopeful contributor Amanda Golden.  Amanda Golden is an Assistant Professor of English at the New York Institute of Technology. She previously held the Post-Doctoral Fellowship in Poetics at Emory University’s Fox Center for Humanistic Inquiry and a Marion L. Brittain Postdoctoral Fellowship at the Georgia Institute of Technology. She is the author of Annotating Modernism: Marginalia and Pedagogy from Virginia Woolf to the Confessional Poets (Routledge, forthcoming) and editor of This Business of Words: Reassessing Anne Sexton (UP of Florida, 2016). She has published in Modernism/modernityWoolf Studies Annual, and The Ted Hughes Society Journal and her essays on digital pedagogy can be found in TECHStyle and Postcolonial Digital Humanities.

My “Writing New York” course this term at the New York Institute of Technology invites students to develop greater facility with visual and digital tools as they construct arguments analyzing the role of New York in poetry, prose, and fiction from predominately the first half of the twentieth century.

The students began navigating modernism’s visual history early in the term. While reading Elizabeth Losh, et al.’s Understanding Rhetoric: A Graphic Guide to Writing, the students practiced constructing visual arguments while exploring the relationship between the design of a little magazine published in New York and its contents in our “Visual Literacy and the Modernist Journals Project” assignment.  (The digital tasks described here took place during the second half of an eighty-minute class period.)  When we read Edith Wharton’s “New Year’s Day” from Old New York (1924), the students interpreted the role of the city in the characters’ interactions in an assigned section of the reading, investigating the significance of their locations using Google Maps. In “Locating Old New York,” the students had unexpected observations, including the number of fires that the novella’s Fifth Avenue Hotel experienced in the late nineteenth and early twentieth centuries. This assignment also enabled the students to gain greater familiarity with “New Year’s Day” in preparation for their essays analyzing the role of humanity amidst the machinery of the city in E. B. White’s “Here is New York” (1949), Wharton’s story, or in both texts.

As we turned to the Harlem Renaissance, our class assignments began to include more written, oral, visual, electronic, and nonverbal components.*  We held a thesis contest in which students presented arguments addressing Langston Hughes’s poetry and prose. Students then combined text, images, and videos in their interpretations of the role of New York in at least one poem during our “Snapchat with Claude McKay.” When we read a chapter of Nella Larsen’s Passing, the students used Google Tour Builder to depict its events, including the contents of the conversations and their significance. The task of mapping Passing presented an opportunity for students to explore the text and the software in preparation for their group map assignments. In this project, the students have the option to use Google Maps, Google Tour Builder, or a combination of elements in a Prezi, Power Point, or Word Document, to create a visual argument analyzing at least one text by one of the writers we have read. Each group will also compose a rationale addressing the arguments that their map makes.

The linear format of Google Tour Builder provides a legible structure in which students can insert annotations interpreting passages from the text. After I learned of this program from Gabriel Hankins, I asked students in my Global Digital Modernisms course this term to construct tours of Paris in Jean Rhys’s Good Morning, Midnight (1938). Google Maps, which my previous classes have used in projects, such as creating annotated maps of Virginia Woolf’s Jacob’s Room, allows for a visual interpretation in which the lines on the map need not address one route, but could indicate various connections with different colors.

Figure 1

Figure 1

When I last taught my Global Digital Modernisms course, the students used Prezi when mapping Good Morning, Midnight to combine annotations and current Google Street views with backgrounds, such as historical maps (Figure 1). Prezi also allows for more complicated maps of texts, such as one group’s depiction of the protagonist’s memories (Figure 2). A current issue with Prezi is that their free educational subscription no longer allows students to keep materials private. I prefer that students keep their work offline, sharing it with their professor. If students choose to do so, they can make their work public when it is finished.

Figure 2

Figure 2

The final project in my Writing New York course will combine research and digital media as students compose a script that they will record or film as a podcast or video. This assignment includes students’ research using primary and secondary sources and builds on the digital and visual literacy skills they acquired in previous assignments. Complementing our reading during the second half of the course, we will look to The History Chicks’s Dorothy Parker podcast and Patti Smith’s interview with Paul Holdengräber at the New York Public Library video as examples for synthesizing elements of conversation, research, and close reading.  When I assigned a similar project in my African American Literature from the Harlem Renaissance to the Digital Present course, the students found our critiques of sample interviews particularly helpful in developing their own projects.  Their assignment, “Mock Interviews with Contemporary African American Writers,” grew out of one that Anne Sexton proposed to her “Anne on Anne” students at Colgate University in 1972.

In their script and podcast or video assignments, my Writing New York students will demonstrate the ability to analyze quotations, acknowledge sources, and develop arguments. Creating podcasts or videos, using such tools as Audacity, Soundcloud, and VoiceThread, the students can use phones, tablets, and computers to record and edit their projects, working in new ways with devices with which they may already be familiar. Blending creativity and research, this assignment invites students to combine language, sound, and media to create digital interpretations of modernist texts.


*In the Writing and Communication Program at the Georgia Institute of Technology, this is called WOVEN Communication and the ways these elements overlap comprise an artifact’s “multimodal synergy.” See WOVENText. Version 2.2. Bedford/St. Martin’s Press. Accessed 21 March, 2016.

Musings on teaching (modernist) women’s literature broadly: what has worked for me

This post has been authored by one of our hopeful contributors, Julie Goodspeed-Chadwick.  Julie Goodspeed-Chadwick is Associate Professor of English and Director of the Office of Student Research at Indiana University-Purdue University Columbus (IUPUC). Her research and teaching interests include twentieth-century American literature, transatlantic modernism, women and literature, American ethnic literature, women’s studies and identity politics, and trauma studies. She is the author of Modernist Women Writers and War: Trauma and the Female Body in Djuna Barnes, H.D. and Gertrude Stein (Louisiana State UP, 2011). Since 2012, she has published five peer-reviewed articles and one peer-reviewed book chapter about teaching and teaching-related concerns in Syllabus, The Journal of Journal of Literature and Trauma Studies, College Literature, Teaching American Literature, The CEA Critic, and Teaching Hemingway and Modernism. Three additional book chapters are going through the MLA review process for the following volumes: Approaches to Teaching Gertrude Stein; Approaches to Teaching Flannery O’Connor, and Teaching Modernist Women Writers in English. She is the recipient of the 2014 Indiana University Trustees Teaching Award, which is a prestigious teaching award IU offers at the system-wide level. In 2014, she was inducted into the Indiana University Faculty Colloquium on Excellence in Teaching.  You can read a previous post by Julie here.


Teaching women writers doesn’t mean one has to teach from a feminist perspective or that one’s pedagogy must be informed by feminist theory, feminist pedagogical praxis, or women’s studies concerns. However, we are indebted to feminist scholar-teachers for uncovering or recovering significant women writers—and for proving their importance and establishing places for them in the canon (or on the periphery, as it turns out, for many women writers). We owe these feminist scholar-teachers to a great extent; for some of us, we owe them our livelihood, if we were hired as women and literature teacher-scholars. This is a debt that we can repay by teaching and writing about these same canonical/on-the-fringe-of-canonicity/newly recovered women writers to honor the legacy of the feminists in our profession who came before us. (My proposed chapter in Teaching Modernist Women Writers in English will address this scenario to some degree and will present examples of feminist pedagogical theory in practice.)

I’ve been thinking about this legacy of late and how it manifests in my own classroom and scholarship. My institutional contexts (with a nod to Paul Guillory) are as follows: I was hired as a literature professor with a specialization in gender studies; my teaching and research interests are in transatlantic modernism, women’s literature, and women’s studies specifically, and we offer a Women’s Studies minor on our campus. What may strike you as unusual is that I am the only tenured literature professor at Indiana University-Purdue University Columbus (IUPUC), and most of what I teach counts as diversity courses; my courses are taken by English majors, English minors, Women’s Studies minors, Education majors, Liberal Arts students who need a course outside of their major area, and non-Liberal Arts students. One of the big boons in my situation is that I teach two courses in women and literature and feminist theory at the 200-level and at the 300-level, in addition to the fact that all of my courses but two currently are coded as literature and women’s studies courses that count toward the Women’s Studies minor. Another big advantage is that these two women and literature courses count for general education credit, and so those classes are typically full and populated by students who would not have elected to enroll in a women and literature course if it did not count for a gen ed requirement. The majority of the students in the women and lit courses are not (yet) English majors or minors. This situation as a whole has led me to analyze what I do and why: what is it that a women and modernism/contemporary literature course should offer in the twenty-first century to students who are not majoring in literature and who are not as invested as you and I were when we were undergraduate students? And, just as importantly from my perspective (which may be unique in terms of institutional structures but is likely not unique in terms of our profession and its values) is this question: how am I teaching the material that I am invested in and passionate about to students who are neither of these things? And more to the point, how do I avoid what some, such as Audre Lorde or Elizabeth Bishop, see as the ghettoization, and subsequent stigmatization, of women’s literature in a course dedicated to women writers solely? (My proposed chapter for Teaching Modernist Women Writers in English focuses on a different course I teach in modernism.)

Of course, I do not have the answers to all of these questions for you or even for myself, regardless of institutional differences. But these are useful questions to consider for all of us, I think, who teach literature by women because we will invariably have to explain or justify why we do what we do. For my part, I take the position that it is a privilege to dedicate an entire course to women writers (a privilege because women writers are just as important as their male counterparts), but it is a necessity also (i.e., where else will the students encounter these writers?). I take my mostly first-generation college students through an ambitious reading schedule, but I have learned how to make that work through research in feminist theory and pedagogy: in other words, how I teach, I realize, is as important as what I am teaching. (Note: If anyone is interested, my syllabus for a transatlantic twentieth-century literature by women and feminist theory course, as well as an explanation of it, can be located in the journal Syllabus 1.2 [2012] online here).  

What I’ll do now is offer a few of the highlights—some of the gems—I’ve incorporated successfully in my own classroom. (For what it’s worth, I’m putting together a promotion dossier now and had to tabulate the global scores on my student course evaluations for every course I’ve taught: my average is 4.93/5.0 of all items. From this, I see that my students believe they are benefitting from my instructional practices. As for my peers, they presented the IU Trustees Teaching Award to me in 2014.) What success I’ve experienced in teaching at my institution isn’t because of what I’m teaching (I teach a considerable amount of material, especially theory, that my students consider “dry”): instead, it’s a result of how I’ve learned to approach the content of my courses. My approach is indebted to feminist thinkers and pedagogical theorists. I’ll list just a few of them and provide a cursory take of their positions here—a different set (more grounded in women’s studies and literary studies) will be presented (more artfully) in my proposed Teaching Modernist Women Writers in English chapter, which will offer examples of how one can incorporate theory into practice in teaching modernist women writers.

For the sake of space, here’s a short list of the pedagogical thinkers who, to my mind, tend to endorse feminist positions and whose scholarship has been extraordinarily useful in allowing me to figure out how I can teach modernist and contemporary women writers effectively:

*Elaine Showalter’s Teaching Literature (Malden, MA: Blackwell, 2003) reminds us that there is not one right way to teach. But she offers important pointers: the first day is critical to set the tone and expectations of a course, for instance. Lecture can be used to remarkable effects, and it can be combined with more student-centered practices: Showalter dubs this the eclectic approach. Full of helpful advice and suggestions, this book allowed me to reflect deeply on my own teaching: what was working and what wasn’t.

*Paulo Freire’s Pedagogy of the Oppressed (trans. Myra Bergman Ramos, 30th anniversary ed. New York: Continuum, 2003) and bell hooks’s Talking Back: Thinking Feminist, Thinking Black (Boston: South End P, 1989) shaped my thinking about the importance of discussion and student ownership of learning. These two espouse a feminist pedagogical ideology. Freire emphasizes the importance of education and insists on the significance of students as subjects in the classroom. He rejects what he calls the banking model of education: students should not be treated as objects or repositories for information dumps. hooks endorses a participatory model of education, one in which every student is expected to take part. Students in her classroom are expected to participate when called upon, even if it means reading a paragraph. Both Freire and hooks advocate the empowerment of students (a feminist goal!), and their work on pedagogy provides conceptual frameworks to reach this goal.

*Gerald Graff’s Beyond the Culture Wars: How Teaching the Conflicts Can Revitalize American Education (New York: Norton, 1992) explores how discussions can be used as a springboard for conversations among students and professors. Graff proposes teaching the conflicts, forwarding opposing points of view to what has been presented in the classroom. A balanced discussion can be achieved in this way. It appears to me that discussions provide a space for students to try on and examine their ideas and those of their peers, and discussions promote active learning.

*Jay R. Howard’s Discussion in the College Classroom: Getting Your Students Engaged and Participating in Person and Online (San Francisco: Jossey-Bass, 2015) encourages us to approach discussion in the classroom as an important, even critical, learning tool for students. Discussion can allow everyone a stake in the conversation. In this impressively researched book, Howard provides insight into the mechanics and dynamics of discussion, and he offers pedagogical advice that spans disciplines. He shows us that discussion is particularly successful in engaging students and fostering their learning.

So my answer to why I do what I do, in part: I use discussion as a technique to track what my students know but also to make them active collaborators in the making of meaning and knowledge, specifically in connection with literary interpretation. I strive to establish and maintain an engaged community of learners who feel empowered and safe to contribute to each class discussion. Because literature represents worldviews, I maintain that it is necessary to equip students with the abilities and skills required to interpret and discuss texts in order to successfully navigate in the real world. Perhaps it’s even more important to read texts by (modernist) women when those are the texts that our students would be less likely to encounter or study in the classroom (or outside of it) without us prioritizing and privileging women writers and their work.

Resource: Communal Modernisms

It is with pleasure that I bring to the attention of the #teachingmodwomen audience a recent edited collection on—what else?—teaching modernist women’s writing.  Although the title of the 2013 Communal Modernisms:  Teaching Twentieth-Century Literature and Culture in the Twenty-First Century Classroom does not explicitly mention women writers, nor does it foreground the authors’ and editors’ explicitly feminist take, the introduction and essays make that stance, and its stakes, abundantly clear.  The editors Laurel Harris, Emily M. Hinnov, and Lauren Rosenblum make urgent claims for a 51AH4lH2PYL._SX317_BO1,204,203,200_feminist pedagogy put into practice via the teaching of modernist women’s writing in terms of community.  By focusing on the ways modernist women engage the idea of community in their texts, we in the classroom can ourselves create a community of teachers and learners, one that might offer the potential for constructive intervention into a higher education climate hostile to the goals of humanities education and characterized by racism, sexism, classism, and prejudice.

Geneviève Brassard, herself a #teachingmodwomen contributor, has reviewed Communal Modernisms for the journal of intermodernist studies The Space Between: Literature and Culture 1914–1945; you can read that review here.  What I’d like to highlight here about this collection are two points.  The first is the clearly discernible influence of the late Jane Marcus.  (I wrote about the 2015 MSA seminar dedicated to Marcus’s work here.)  One of the contributors, Robin Hackett, is a former student of Marcus’s, and one of the editors, Emily Hinnov, is herself a student of Hackett’s.  (Hinnov will also, happily, be contributing to #teachingmodwomen.)  Marcus contributed the afterword to Communal Modernisms, in which she lays out the implications for teachers and scholars working in feminist modernist studies.  This work is essential because it speaks truth to power, it is a form of much-needed resistance, and its politicization of the pedagogical enterprise is what is required to combat patriarchal and economic repression.  For Marcus, the emphasis on community in Hinnov’s, Harris’s, and Rosenblum’s modernisms is a turn the field needs to take in order to respond to pressing public problems.

The second point I’d like to make is:  I would love to know how students responded to the texts and teaching strategies described throughout the collection.  Each essay concludes with a sample lesson plan, including goals, sequencing of content, and suggested assignments.  It describes what the author/instructor has the students do.  What seems to be missing is the student voice.  (This is a point Brassard makes in her review as well.)  What got said during class discussion?  What got written about?  How were the students themselves part of that community of teaching and learning?  One of the suggestions made to several #teachingmodwomen contributors over the course of revising proposals for the prospectus was:  give me a window into your classroom.  I’m pleased to note that several proposals even include undergraduate co-authors.  If a feminist pedagogy involves a decentering of power in the classroom, then maybe that decentering can make more room for the presence of the student, and that can inform how we write about creating communities of teaching and learning.

Resource: Feminist inter/Modernist Association and Feminist Modernist Studies

Great news for those of us interested in teaching modernist women’s writing:  the founding of a new professional organization and journal devoted to feminist modernist studies.fima_flyer1

We announced this back in July, and in the months since there has been a lot of movement by those involved:  Anne Fernald and Cassandra Laity, who will serve as the editors of Feminist Modernist Studies, as well as Sarah Cornish and Julie Vandivere, who have been integral to the organizing of the new society. There’s a new website, a listserv, and a flyer calling for members and contributors.

Visit the FiMA site, and join the listserv to keep current on this exciting development.