CURSO PRESENCIAL: CREATIVE-CRITICAL APPROACHES TO LITERATURE: TEXTUAL INTERVENTION, TRANSMEDIALITY AND CREATIVE PRODUCTION
This course is aimed at teachers of Advanced English in bilingual secondary schools in Comunidad Autónoma de Madrid. With interactive and practice-led activities, participants will learn how to integrate creativity, intertextuality and transmediality to deliver their English curriculum and work towards the learning outcomes established by ORDER 2876/2018 for ESO and Bachillerato. Participants will be asked to propose and share their own activity plans, and to engage in peer-to-peer and self-evaluation of their pedagogical approaches.
Ficha de actividad
- Inspectores de Educación
- Catedráticos de Ens. Secundaria
- Profesores de Ens. Secundaria
- Profesores de Secundaria de Ens. Concertada
- Maestros de Ens. Concertada
- Habilitación lingüística
- Acreditación para impartir Curriculum de inglés avanzado
- Modalidad formativa
- Dirección Área Territorial
- Todas las DAT
- Líneas prioritarias
- Actualización e innovación metodológica
- Liderazgo educativo
- Actualización e innovación metodológica
- Centro organizador
- Subdirección General de Bilingüismo
- Departamento/Asesoría organizador
- Asesoría de la S. G. de Bilingüismo
- Duración del curso
- Horas totales
- Horas presenciales
- Horario sesiones / Hitos
De 10:00 a 13:00 horas
- Nº plazas
- Lugar de desarrollo del curso
Escuela de Escritores (C/ Covarrubias 1, 28010 Madrid)
- Asesor responsable
- María Eugenia Poza Fernández (email@example.com)
Elena Traina is a qualified tutor of Creative Writing and a PhD candidate in Creative Writing Studies at Falmouth University, UK. She teaches Creative Writing in English as a Second Language for Scuola Holden (Italy), Escuela de Escritores (Spain) and Fondazione Universitaria San Pellegrino (Italy). As a researcher, she is interested in creative writing pedagogies in Spanish and Portuguese, and in teaching Creative Writing to non-native speakers. As a qualified TEFL tutor, she has taught English at all levels and IELTS preparation courses privately and for public authorities in Italy and England. She serves on the board of NAWE (the National Association of Writers in Education) and is a member of EACWP (European Association of Creative Writing Programmes) and of the CWO (Creative Writing Organization).
The main objective for this training programme is for participants to acquire or enhance their pedagogical skills in accordance with ORDER 2876/2018 for ESO and Bachillerato. During this programme, they will:
a. Familiarize themselves with innovative approaches to teaching literature and language, including Kenneth Goldsmith’s “Uncreative Writing”, Ben Knight’s critical-creative approach to teaching literature, and Rob Pope’s “textual interventions”.
b. Be exposed to a wide range of texts of contemporary literature. This will include literature from postcolonial countries – e.g. Philippines, Singapore, Hong Kong, Korea –, and marginalized genres like speculative fiction, graphic novels, spoken-word poetry and creative non-fiction.
c. Learn how to integrate transmediality in their lessons, by looking at existing adaptations of literature (e.g. graphic novels into Netflix series) but also by looking at how literature features and is tributed by artists across a variety of art forms and media (poetry quoted in films, visual/sculptural/virtual reality artworks inspired by fiction and poetry, etc.).
d. Engage students and provoke their creative, intertextual and transmedial responses to English-language forms of poetry and fiction.
e. Generate discussions about the challenges and opportunities of second language acquisition, focusing in particular on the formation of identity in L2 learners and the role of creativity in this process.
f. Create activities working towards multiple learning outcomes within the framework proposed by ORDER 2876/2018 for ESO and Bachillerato. Integrate production skills in comprehension activities and vice versa, and enhance simulation activities by stimulating learners’ creativity and participation.
g. Engage with the widest variety of text types and discourses to expose students to different registers, styles and communicative purposes (teaching, informing, describing, entertaining, persuading, etc.). Teach students how to read and analyse written and oral discourse critically, and enable them to take their own productive skills (speaking and writing) to the highest level.
1. Engaged and critical pedagogy
2. Textual intervention
3. The dramatic power of poetry
4. Situational metaphor and irony in contemporary literature
5. Creative non-fiction and academic writing
6. From TikTok to spoken-word poetry
7. Storytelling in songs
8. Transmediality and humour
9. Fiction and the representation of culture 1: Language and identity
10. Fiction and the representation of culture 2: Food
The overall approach to this training is practice-based. The tutor will lead on a number of activities in which participants will be involved as “students”. Then, at home, participants will be asked to reflect on their practice and come up with proposals for similar activities to share with their peers.
Each 3-hour session, except for the first one, will be structured as follows:
• Sharing: participants’ share their ideas for activities based on the previous sessions’ topics and themes (depending on the number of participants, this activity could be done in groups or collectively as a class);
• Learning: the tutor introduces the day’s theme or pedagogical tool;
• Doing: the participants test the activity proposed by the tutor;
• Reflecting (at home): the participants think about the activity and how they can adapt it for their own purposes;
• Putting in practice (at home): the participants come up with a similar activity using their own original content and teaching methods.
During the first session, the “sharing” stage will be replaced by a general introduction to the
training and to fundamentals of pedagogy.
This training course is based on self-assessment and on tutors producing short pieces of reflective writing to process the activities they experiment with in class and to think about their own pedagogical approaches and preferred tools.