Registration is OPEN: New Course on the Legend at the Carterhaugh School

We have posted before about the Carterhaugh School of Folklore and the Fantastic, an online center for courses on folk narrative and fantastic literature run by two of our founders, Sara Cleto and Brittany Warman.

Registration has just opened for the next course, a 10-week series on the legend. You can read more about it and register here. We’re particularly delighted to say that our third founder, Derek Newman-Stille, will be joining us for a guest lecture on the fairy blast and disability!

Here is the tentative schedule:

July 1st – Introduction to Legends

Supernatural Legends Unit
July 8th – Fairy Legends
July 15th – Vampire Legends
July 22nd – Cryptozoology Legends
July 29th – Sea Legends

Urban Legends Unit
August 5th – Ghost Legends
August 12th – House Legends
August 19th – Internet Legends

Historical Legends Unit
August 26th – British Legends
September 2nd – American Legends & Wrap Up

Don’t hesitate to contact Sara or Brittany if you have any questions!

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The Carterhaugh School

Two of our admins, Sara Cleto and Brittany Warman, recently founded The Carterhaugh School of Folklore and the Fantastic, and we are wrapping up our first long course on The Fairy Tale.

From our “About” page:

“The Carterhaugh School of Folklore and the Fantastic is an online center for classes on folk narrative and fantastic literature created in 2016 by Sara Cleto and Brittany Warman. We both hold Masters degrees in Folklore from George Mason University and are currently completing PhDs in English and Folklore at the Ohio State University.

At OSU we have taught courses on folklore, fairy tales, folk narrative, nineteenth-century to contemporary British literature, fantastic literature, and composition, earning nominations for teaching awards and commendations from both supervisors and students. When we aren’t teaching or working on our dissertations, we are scholars and writers who have published peer-reviewed articles, sold stories and poems, written book introductions and encyclopedia entries, and published both creative and academic reviews. Supported by our backgrounds in academia and creative writing, we aim to use our knowledge and our passion for these subjects to share their wonder, solidify their importance in society, and spread a bit of magic into the world.

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Folklore is an enormous category that unfortunately breeds a great deal of misinformation. In a Carterhaugh class, we will be your guides – we know exactly how to navigate this material and can teach you to do the same! We guarantee that the passion we feel for this subject will be contagious – through video lectures, PowerPoint presentations, beautifully designed PDF lesson summaries, interactive assignments, and much more, a Carterhaugh student will fully engage with the fascinating topics that each class offers. These are the courses for people who dreamed of elven battles while studying economics, those who have always sworn they could see ghosts, those who longed for a school of magic to send them an unexpected acceptance letter.”

The Fairy Tale course brought together students from age 12 to 70 and covered tales from England, China, France, Turkey, India, the US, and more. We were blown away by our students’ amazing reflections on the lectures and readings, and we look forward to seeing their final projects, which will span traditional essays, creative writing, fine arts, and other avenues.

Over the summer, we’ll be teaching another course on folk legend, which will feature classes on fairies, selkies, mermaids, and more- and we’re delighted to have our third TTW admin, Derek, join us for a special lesson on the fairy blast and disability studies. If you’ve ever been curious about the kinds of things that we discuss in our classrooms or wanted to learn more about the tales that don’t often get told, please join us! You can sign up for our newsletter to hear about new course offerings here.

Critical Re-Writing Assignment

Critical Re-Writing.By Derek Newman-Stille
I am currently teaching a course at Trent University on Fairy Tale revisions, and one of the assignments I asked students to complete was their own re-writing of a fairy tale. I wasn’t certain about the response from students because I knew that creative projects are often criticized in academia. I was worried that they may not take this assignment seriously. However, I balanced this with the potential power that I saw in re-writing as a critical, questioning action.

I was at a meeting of the American Folklore Society in 2016 and noticed that many of the people I encountered who were doing critical work on fairy tales were also involved in creative projects – either doing fairy tale revisions, erasure poetry, or visual arts. Through conversations with these academics who harnessed the critical power of creativity, I began to observe that their creative projects frequently gave them new insights into the fairy tales they were exploring that they may not have gotten through simple analysis. I wanted to harness this for my own students, to see if they could use critical creativity to re-envision the fairy tales they were examining and gain new insights through acts of shifting the voice of a character, shifting the time period, shifting the personality of a narrator, playing with gender, with ability, race, class, and orientation. These creative shifts could open up new analytical positions about the way that these tales construct identity.

After doing analyses with students about the way that identities, social perspectives, and social constructs were manifested and reinforced in fairy tales for the first half of the course, I asked students to put some of these critiques into practice and do a critical revision of a fairy tale. They had already, by this point in time, been asked to do an analytical close reading of a fairy tale, so my hope was that they would be able to use these analytical lenses to explore their fairy narrative.

Since many students were uncertain about creative writing and questioned whether they had the skills to do creative writing, I decided to have them do a “pass the story” activity in class first. I passed out (at random) the titles of fairy tales they had read in class. Students were then asked to begin writing their own take on the fairy tale, leaving enough of the original tale in their revision to let the next student know what tale it was while also not giving it away too easily. After writing for about ten minutes, I then asked them to pass their story to the next student, who would add to it, and so on until I asked the students to conclude their tale. This activity gave them some confidence in creative writing and allowed them to feel that they could write a tale on their own.

The creative writing assignments I got back varied, some exploring single tales and some exploring multiple. Students examined constructions of gender in fairy tales, the role of food, ideas of hunger and poverty, critiqued the heterosexual happily ever after, questioned tropes of ageing, critically engaged with ideas of the rural. These tales represented an engagement with theory and text.

In some cases their creative critical re-writing was stronger than their close reading assignments, allowing them to explore textual issues. Where many of them were resistant to ask the critical question “why?”, their creative assignments interrogated the question of why certain images were prevalent in a narrative, why characters were positioned in certain ways, and why different tropes were employed in the narratives. There was a shift in the STAKES of the narrative: instead of the narrative being about someone else’s tale, the tale now became THEIRS. It became something that they were invested in constructing, and so their process of rewriting also became a process of reinvesting themselves in the narrative and in what the narrative was saying. This was no longer the work of the Grimm Brothers, it was their own.

The act of critically writing allowed students to examine what other fairy tale revisions are doing, how they are adapting the tale and what allows the tale to be so open to adaptation and fluidity.

Fairy Tale Mock Trial

By Derek Newman-Stille

This is an activity I have designed for my Fairy Tale students at Trent University that allows them to explore fairy tale texts in a unique and exciting way, while also developing argumentative skills. The mock trial format allows them to critically interrogate the text and develop arguments from their exploration. I was inspired to develop this activity by watching “How to Get Away With Murder”.

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How to Get Away With Murdering a Fairy Tale Witch: The Trial of Hansel and Gretel

Why a Trial?

It develops several academic skills including:

  • How to create well-structured arguments
  • Augmenting your critical thinking skills
  • How to critically analyze an opposing argument and use evidence to respond to these arguments
  • Oral discussion skills

This type of debate is like scholarship. In academic research, you have to see the points someone else has raised about your topic and create responses to those points that are more persuasive.

The trial will allow you to interact with the text in a unique way, examining it as an evidentiary document. You will find that you remember more about the text.

This is an exploration of active learning since you have to learn on the spot as things are happening around you.

Above all – IT IS FUN!!

 

Instructions:

You will be divided into two groups: the prosecution and defence. It is the job of the prosecution to represent the state and prove that the person or people on trial are guilty. It is the duty of the defence to prove the innocence of the accused person. You will be divided randomly to make this more exciting and to allow you to develop an argument that you may not entirely agree with.

Read through The Grimm Brothers’ “Hansel and Gretel”. Mine this text for evidence of BOTH sides – remember, you will have to think in advance of any arguments the opposing side may come up with and counter them. Ask yourself: What are the details of the case? What could Hansel and Gretel be accused of? Consider what would be compelling arguments to persuade a jury.

Make sure not to speak while the other side is presenting their arguments. Take notes silently and observe so you don’t miss anything.

The Trial

  1. Take 10 minutes to confer with the rest of your legal team and play your case. Each person in the group should contribute. Make sure to take notes while the other side is presenting their case so you can counter them.
  2. Each of you will then have 10 minutes to present their case. Prosecution first, and then defence. Each member of the group should try to make at least one point.
  3. Take 5 minutes to prepare a rebuttal of the opposing team’s statements. Rely on the notes that you took when the opposing team was speaking.
  4. Each of you will then have 10 minutes to present their case. Prosecution first, and then defence. Each member of the group should try to make at least one point.
  5. Your professor will judge the trial and determine the guilt of Hansel and Gretel.