No More Fancy Fonts
It’s difficult to believe now, but not so long ago, I looked forward to making up syllabuses.
Once the grand meal of the course had been structured and I’d chosen an exciting title, the syllabus design was my dessert. I took the word “design” quite literally, having fun with frames and borders, trying out different fonts, fiddling with margins.
Then, after printing out the final document, I’d sit at my kitchen table and add images saved for the purpose from old magazines, vintage catalogs, pulp advertising, obscure books, and other ephemera. Fat cherubs blowing their trumpets would announce Thanksgiving break; a skull and crossbones marked the spot of the final exam. My masterpiece was a course on the work of Edgar Allan Poe, whose syllabus was a gothic folly with a graveyard on the front page and cadaver worms crawling up the margins.
Over time, my syllabuses grew less creative. I still gave my courses what I hoped were enticing titles, and I’d usually add an image to the front page, but nothing more. In part, I was afraid my quirky designs might make the course seem less serious; I also had far less free time than I used to. But mostly, it was the number of disclaimers, caveats and addenda at the end of the syllabus that made my designs seem out of place. All these extra paragraphs made the syllabus seem less personal, and more institutional -- but then, I realized, perhaps it was time I grew up and began to toe the party line.
Those were the good old days. Now, at a different institution, I teach in a low-residency program whose courses are taught, in part, online. The institutional syllabus template is pre-provided: Times New Roman, 12-point font, 1-inch margins -- and don’t forget the “inspirational quote” at the top of the page.
The Course Description is followed by the list of Course Objectives, Learning Outcomes, Curriculum and Reading Assignments, Required Reading, Assessment Criteria and so on, all the way down to the Institute’s Plagiarism Policy and Equal Opportunity Provisions. Colleagues tell me it’s the same almost everywhere now; the syllabus is now composed mainly of long, dry passages of legalese.
I no longer design my own course titles -- or, if I do, they need to be the kind of thing that looks appropriate on a transcript, which means “Comparative Approaches to the Gothic Novel,” not “Monks, Murder and Mayhem!” There’s an extra plague in online teaching, however, in that -- at least, at the institution where I’m currently employed -- all course materials, including weekly presentations, must be submitted months in advance.
This, I’m told, is not only to ensure that books are ordered and copyrights cleared, but also for the various documents to pass along the line of administrative staff whose job includes vetting them in order to be sure no rules have been violated, then uploading them in the appropriate format. Moreover, a syllabus, we are constantly reminded, is a binding legal document; once submitted, it must be followed to the letter. Omissions or inclusions would be legitimate grounds for student complaint.
Gone, then, are the days when I could bring my class an article from that morning’s New York Times. Now, when I stumble on a story, book or film that would fit perfectly with the course I’m currently teaching, I feel depressed, not excited. I can mention it, sure, but I can’t “use” it in the class. Nor can I reorient the course in mid-stream once I get to know the students; I can’t change a core text, for example, if I find they’ve all read it before; I can’t change the materials to meet student interests or help with difficulties, as I once did without a second thought.
This is especially perplexing in online teaching, where it’s so easy to link to a video, film clip, or audio lecture. We have an institution-wide rule that such materials may not be used unless accompanied by a written transcript for the hearing impaired. When I object that there are no hearing impaired students in my small class of six, I am told that no, there are currently no students who have disclosed such an impairment. The transcripts are needed in case any of them should do so -- in which case, they would be immediately entitled to transcripts for all audio-visual material previously used in the course. Sadly, those who pay the price for this assiduous care of phantom students are the six real students in the course.
In brief, what used to be a treat is now an irksome chore.
Instead of designing a syllabus, I’m filling out a template, whose primary reader is not the student, not even the phantom potential-hearing-impaired student, but the administrators and examiners who’ll be scanning it for potential deviations from standard policy.
Sitting at my kitchen table with scissors and glue, I always felt as though the syllabus -- and, by implication, the course -- was something that came from within me, something I had literally produced, at home, with pleasure and joy.
Now, by the time the course is finally “taught” months after the template has been submitted, it feels like a stillbirth from a mechanical mother.
Mikita Brottman is chair of the humanities program at Pacifica Graduate Institute.
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