Literary criticism of children's literature asserts a one-directional view of power with the adult writer constructing the child reader. Using "aetonormativity"-- adult perceptions of normality -- this paper explores what happens when children co-construct publishable fiction. Our analysis of drama and creative writing workshops shows…

Based on classroom readings and discussions of William Shakespeare's "The Merchant of Venice," this Voices from the Field article examines the ways that teachers might use traditional canonized texts to encourage students to both critique and react against bullying behaviors. The author's experiences detail the narratives that students…

Despite ongoing and prolific critical scholarship arguing for the widening of the secondary language arts curriculum, many practicing teachers are required or encouraged to teach a curriculum dominated by canonical texts. This is often the case at schools with highly diverse students whose varied cultural and linguistic backgrounds have…

The author does not really like "Hamlet." He loves the play, the language, and the characters, but always finds it difficult to teach. Part of this is because he prefers to assign students scenes to perform as they read a Shakespeare text, but Hamlet does not divide nicely into manageable scenes, and he usually does not have enough teenage Ken…

In terms of structure, the play "Othello" is a distortion of an initiation ritual. Arnold van Gennup, in his book "The Rites of Passage," reduces all initiation rituals into three definable phases: separation, transition, and incorporation. The general pattern of the initiation ritual in "Othello" is as follows:…

Explains a teaching technique for explicating "Macbeth" that depends on textual proof. (RB)

Comedy is the middle ground upon which the absurd and the serious meet. Concerned with illuminating pain, human imperfection, and man's failure to measure up to his own or the world's concept of perfection, comedy provides "an escape, not from truth but from despair." If tragedy says that some ideals are worth dying for, comedy asserts…

Argues that William Shakespeare's "The Tempest" is the play that is best suited for the high school English curriculum of the 1990s. Discusses historical and critical aspects the play's key themes. Shows ways of using the play in high school classes, and describes 19 works to read alongside of"The Tempest." (HB)

Sketches a model of the inductive method for teaching literature, using Eugene O'Neill's "The Hairy Ape" as an example. (RB)

The series editor of the "Cambridge School Shakespeare" describes how recent Shakespearean theatre productions, involving astonishing cultural transpositions of space and time, have influenced his views about teaching the bard in schools. To reach students, teachers in multicultural settings should replace the pedagogy of explication and…

This paper discusses the problems of interpeting "Oedipus Rex" and argues that morality was not the primary question being raised in this play, nor was Sophocles urging people to humility and piety. Instead, Sophocles was primarily interested in the insufficiency of human knowledge. The gods and their role in destiny, the character and…

Modern drama criticism is rebuked for taking the "closet drama approach" which reduces the theater to yet another type of philosophical and content-oriented literary genre. Group participation and discussion are suggested as means by which the student is encouraged to stage an imaginary performance leading to intelligibility and appreciation of…