Introduction Helen Sword (bio) Most scholars of modernism are also teachers of modernism, and a significant proportion of our day-to-day intellectual labor involves prompting our students to engage with notoriously “difficult” cultural artifacts. An outsider to the discipline might therefore well imagine that our scholarly conferences and specialist journals are awash with discussions about this crucial and highly challenging aspect of our work. Nothing, however, could be further from the truth. Since the founding of the Modernist Studies Association eleven years ago, teaching-related events have accounted for fewer than 1% of the panels, roundtables, and seminars on offer at the MSA’s annual conference. Likewise, in the fifteen-year history of Modernism/Modernity, this journal has not published a single article devoted entirely to the teaching of modernism—until now.1 In a field of study that openly welcomes international, multicultural, and interdisciplinary approaches, why has pedagogy remained such a persistently untrendy—indeed, virtually taboo—subject? The reasons are as complex and multifarious as modernism itself. Some are economically inflected: most modernist scholars work in university environments where innovative research earns measurable rewards, whereas innovative teaching does not. Personal preference plays a role as well; many academics regard disciplinary conferences and journals as a welcome respite from the daily grind of teaching, which routinely requires [End Page 471] them to “dumb things down” for easy digestion by undergraduates. Finally and perhaps most crucially, literary scholars have in many cases never been trained to represent teaching as a scholarly activity—that is, as a complex, research-informed, theoretically-grounded intellectual practice. Influential pedagogical manifestos such Ernest Boyer’s Scholarship Reconsidered (which seeks to reconfigure teaching as a form of scholarship) and Donald Schön’s The Reflective Practitioner (which argues for the importance of a theorized, reflective pedagogy) have largely passed our discipline by.2 In an effort to encourage more high-quality discourse around teaching, the MSA Program Committee sponsors an annual Open Forum on Teaching, now in its fourth year. The inaugural Open Forum in 2006 was titled “Teaching out of the Archives” (in keeping with the Tulsa conference theme) and featured seven inventive teachers—Ben Alexander, Michael Coyle, Annette Debo, Amanda Golden, Sean Latham, Jerome McGann, and Cristanne Miller—discussing how and why they incorporated archival materials into their teaching. At the 2007 Open Forum in Long Beach, a series of brief teaching anecdotes launched an animated debate on the uses and value of innovative pedagogies. The 2008 Open Forum in Nashville, organized by John Whittier-Ferguson and Victor Luftig, sought to address some of the broader institutional and socio-cultural issues involved in the teaching of modernism. All three events drew large, appreciative audiences, suggesting that there is a place for teaching around the MSA conference table after all. This “MSA Teaching Forum cluster” seeks to capture some of the energy, engagement, and collaborative ethos of the 2007 Teaching Forum, which addressed the topic of “Making It New.” The contributors to this cluster represent a range of academic ranks (from graduate student to full professor), institutions (from small liberal arts colleges to large public universities), and geographical locations (U.S., Canada, U.K., New Zealand). In an attempt to preserve at least some aspects of our lively, non-linear conversation in Long Beach, each of the six panelists was asked to do the following: 1. submit a question about innovative teaching for the other panelists to consider; 2. contribute a brief first-person essay that addresses one of those questions via a specific, concrete teaching anecdote grounded in theoretical reflection; 3. read and comment on one another’s essays, so that the contributions have the texture of an ongoing intellectual conversation rather than a set piece or lecture. The resulting exchange captured in these pages substitutes conspicuous indicators of academic heft (e.g. footnotes, works cited, carefully crafted sentences) for the spontaneity, serendipity, and interactivity that characterized the live event. What survives intact here, however, is the power of the teachers’ voices, resonant with intelligence, good humor, concern for their students, and an abiding belief in the value of innovative teaching. [End Page 472] Helen Sword Helen Sword is Head of the Academic Practice...
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