Teaching Statement

In the first lines of my dissertation’s acknowledgements, I thanked my 10th grade English teacher. I thanked him for seeing me read Anna Karenina under my desk during lecture; for not penalizing me or taking away my book; for understanding that my homework did not suffer for my hidden reading; and, most of all, for asking if I had already read the assigned reading, and then handing me a copy of Nineteen Eighty-Four to keep me occupied during class reading time. His compassionate and flexible approach to my individualized needs is reflected in the first chapter of my manuscript—all about Nineteen Eighty-Four.

I have many anecdotes about teachers or advisors that have made an impact on me, but this one stands out. When it came time for me to reach out to a college student struggling to stay engaged in my class, my instinct was to hand him a copy of Doctor Zhivago and invite him to my office hours for independent discussion. I learned from our private discussions that the pandemic had forced him to move back into an unsafe home environment, and reading was his primary coping mechanism. Our discussions over Doctor Zhivago built trust between us to the extent that I eventually felt comfortable connecting him to virtual campus mental health resources. He stopped speaking to me, and I feared I had broken our trust. He emailed me many months later to let me know that he had eventually sought help from campus resources, and even included a photograph of him holding Doctor Zhivago in his new apartment.

I have taken what I learned from my 10th grade teacher, as well as numerous other inspiring teachers throughout my long academic journey, and cultivated a personal teaching philosophy that exemplifies the most significant impacts that my teachers have had on me. Although my primary career has been as a researcher and writer, I have always thrived in the classroom—especially with younger student populations where attention spans are shorter, theoretical language is often extraneous, and I get to participate in students’ first experiences with intellectual challenge.

 

Collaborative

My approach is, above all else, student-centered. It is important to me that students, especially young students like my first grade Hebrew school students or K-12 music camp students, are included in the implementation of their own education. I greatly value their feedback in my course development. I include midterm and end-of-semester reviews in each class I teach, soliciting evaluations on course materials and my instruction techniques. I find that openly collaborating with students to meet their needs makes students of all ages feel more responsible for their writing and learning processes. 

 

Holistic

I enter any lesson with the understanding that my students have rich lives outside of the classroom that inevitably inform the way they learn. My pedagogical approach is to meet students where they are, show compassion for their personal circumstances, and continually update my approach to meet accessibility needs. My intention is to every day assess student strengths and abilities, recognize and learn about diverse learners, focus on problem-solving and group work as critical methodologies for student development, and offer varied and motivating assignments with student input.

 

Multi-modal

I have spent as much time teaching K-12 students as I have university students, and I continue to learn exciting ways to teach from both groups. Teaching first grade religious school gave me a deep appreciation for very short attention spans and the kind of work it takes to maintain student focus. Multi-modal teaching is the best way I have found to keep students of varying ages engaged in learning. This means that I regularly vary the medium and mode of learning in my classroom. It can be a small change—having students stand up and sit down to break up the tedium of listening—or a big change—shifting from a lecture to student peer-review workshop. Multi-modal teaching also involves changing the technology of learning—creating a cognitive map on a whiteboard, reading out from a textbook, or having students take personal time to write. These types of variances keep students interested in the course topic, and provide numerous opportunities for differential participation in classroom activities. 

 

High School Courses

American Literature (10th Grade, Spring 2022)

The Great Gatsby Essay Worksheet

The Great Gatsby Lesson

Writing Targets

Speculative Fiction (11-12th Grade, Spring 2022)

The Time Machine Lesson

Brave New World Lesson

World Literature (9th Grade, Fall 2021)

Quarter 2 Summative Assessment

The Penelopiad Reading Guide

Philosophy Days Presentation

American Literature (10th Grade, Fall 2021)

Quarter 2 Summative Assessment

Summative Grading Rubric

Reading Guides Assignment

In-Class Essay Mapping Example

21st Century Novel (12th Grade, Fall 2021)

Quarter 2 Summative Assessment

Summative Grading Rubric

Essay Revision Worksheet

Kitah Aleph (1st Grade Hebrew School)

Sample Lesson Plans

First Day

Teaching Sukkot

Teaching Rosh Hashanah

Teaching Shul

College Courses

Stories of the US from the Bomb to 9/11

(W101, Duke University)

This course moves chronologically to examine the cultural sentiments of international conflict from the 1940s to the present day. Readings cover banned short stories, counterculture stories, post-nuclear science fiction, and other Cold War and post-9/11 fiction that tries to narrate and re-narrate the relations of gendered, racialized, xenophobic, ablest, etc. power embedded in national self-creation. Authors include Isaac Asimov, Shirley JacksonOctavia Butler, and Mark Millar, among others. Students leave this class with the ability to apply ethical critical lenses to concepts such as race, religion, gender and sexuality, and citizenship during the Cold War and War on Terror.

Syllabus

“New” Cold War Narratives

(Lit 190s – HIST 190s – ICS 190s – SES 290s, Duke University)

The central inquiry of this course is whether the period in US-Russian cultural relations after the Cold War are distinct from the Cold War. Can the period of US-Russian relations in the late 20th and early 21st century be called “post-Cold War,” a “second Cold War,” or something else entirely? Why the new fascination with Russia under Trump? Focusing on cultural and critical production about the US during the Cold War and after, we examine the ways cultural production and cultural studies of the contemporary period look back to the 20th century Cold War, and whether such re-narration of the Cold War in the present says something new about from where 21st century Cold Warriorism and Cold War nostalgia in the US emerges. Course materials include a combination of scholarly texts with novels, memoirs, television shows, and films in order to assess the legacies of the Cold War and post-Cold War periods in narratives of national identity in the US in its relation to Russia. We end with special attention to whether revisionist narratives after 9/11 mark a shift in the way US culture narrates the Cold War, as well as the citizen-subject created by and responding to Cold War culture.

Syllabus


Additional Syllabi

Special Topics in International Literature and Culture: Cold War, Hot Books (College)

Creative Chronicles (High School)