| American schools have traditionally favored those | | | | and then to consider what about the story and |
| students who excel in the linguistic and analytical | | | | the class discussions made them change their |
| arenas because these skills are highly valued in our | | | | opinions when completing the second opinionnaire. |
| culture. Unfortunately, this traditional approach | | | | Students are also required to use textual |
| leaves certain students behind to stumble blindly | | | | evidence in support of their reasoning. As a result, |
| through an educational system which ignores their | | | | students use their logical-mathematical and |
| unique abilities. This is not to say that the | | | | verbal-linguistic intelligences for analysis of the |
| development of linguistic and analytical skills should | | | | literature and for organization of their essays, in |
| be abandoned in favor of nontraditional | | | | addition to the verbal-linguistic intelligence for |
| approaches to education. Rather, traditional and | | | | reading and writing and the intrapersonal |
| nontraditional approaches should be combined to | | | | intelligence for the introspective thought process. |
| formulate a method of education that is best | | | | 3. Assign a mini-research project and allow |
| suited to the students who populate our | | | | students to present their research in a way that |
| classrooms. | | | | suits their own intelligences. I assign a 1920s |
| The theory of multiple intelligences, developed by | | | | mini-research project as an introduction to The |
| psychologist Howard Gardner, offers a balance | | | | Great Gatsby by F. Scott Fitzgerald. |
| which teaches students what they need to know | | | | I give students the opportunity to work alone, in |
| in order to be successful in our society in a way | | | | pairs, or in groups of three or four. Each student |
| that compliments the unique abilities that each | | | | is required to select his or her own topic to |
| individual possesses. | | | | research. If students choose to work with |
| Having said this, how does one go about | | | | classmates, their individual research is to be |
| effectively implementing the multiple intelligences | | | | integrated into one presentation. As preparation |
| into the classroom? Unfortunately, much has been | | | | for their projects, students brainstorm methods |
| done in the name of multiple intelligences without | | | | for demonstrating knowledge. The form of the |
| actually stimulating any portion of a child's brain. | | | | final product is left to the students' discretion. As |
| For example, simply running around a classroom | | | | a result, students can use the combinations of |
| haphazardly cannot be said to call upon the | | | | intelligences with which they are most |
| bodily-kinesthetic intelligence unless another | | | | comfortable. |
| component of the activity triggers thought on the | | | | 4. Assign small groups of students to "act out" a |
| part of the student. On the other hand, the | | | | portion of a work of literature. I have used this |
| student who creates a dance based upon a work | | | | approach with novels and Shakespearean drama. |
| of literature and communicates the essence of | | | | When using this approach with a novel, I assign |
| that work to an audience is clearly demonstrating | | | | groups of three or four students to a chapter. |
| the bodily-kinesthetic intelligence. | | | | They are asked to select a passage or a series |
| The following lesson ideas target a range of | | | | of passages that they like and which are |
| intelligences... | | | | important to the development of the chapter and |
| 1. Use a scenario that relates to your content | | | | the novel. They are also required to plan and |
| (something controversial works best) and ask | | | | present a rationale in which they explain the |
| students to discuss it. I have used a scenario | | | | reason they select their passage(s) and the |
| called "The Soldier's Dilemma" to introduce themes | | | | importance of the passage to the novel. They are |
| found in Shakespeare's Julius Caesar and in | | | | asked to consider foreshadowing, symbolism, and |
| literature from the Realism movement. | | | | characterization when planning their rationales. |
| First, I read the scenarios out loud to the | | | | (The literary devices assigned depend upon the |
| students, then I ask them to work in groups to | | | | novel.) |
| answer questions about the scenario. Each group | | | | To complete this assignment, students use their |
| is asked to come to a consensus about their | | | | intrapersonal, verbal-linguistic, and |
| opinions. Once they have sufficient time to debate | | | | logical-mathematical intelligences in scene selection, |
| the issue, I ask them to return to their seats for | | | | their interpersonal and logical-mathematical |
| a whole class discussion. | | | | intelligences in planning and organizing their scene, |
| During the process of thinking about and | | | | their interpersonal, verbal-linguistic, and |
| discussing the scenario, students must use their | | | | bodily-kinesthetic intelligences to act out the |
| interpersonal skills to defend their positions, first | | | | scene, and they use their logical-mathematical and |
| with their group members, then with the entire | | | | verbal-linguistic intelligences to organize and |
| class. Students also need to use their intrapersonal | | | | present their rationales at the end of the scene. |
| intelligences because the emotional level of this | | | | When using this approach with Shakespearean |
| discussion requires a sense of self-awareness and | | | | drama, I manage to incorporate all of the |
| self-understanding. Students also need to use their | | | | intelligences into one assignment. It is an elaborate |
| logical-mathematical and verbal-linguistic intelligences | | | | assignment that cannot be fully explained in the |
| for analysis and their verbal-linguistic intelligence for | | | | given space, but students are asked to adapt the |
| communication. | | | | play to a modern situation. Then they have to |
| 2. Use an opinionnaire as a thought-provoking | | | | write a script, create sets, props, and costumes, |
| activity. I've used opinionnaires as introductory | | | | plan music/sound effects, etc. Finally, they |
| activities and I have also used them as the basis | | | | perform their rendition for the class. |
| for essay assignments. | | | | Handouts are available for most of these |
| I use a wilderness survival opinionnaire when I | | | | assignments. To obtain handouts for or more |
| teach "To Build a Fire" by Jack London. Students | | | | information about any of these assignments, visit |
| complete the opinionnaire before reading the short | | | | The Writing Tutor's lesson plans section. |
| story, then again after reading and discussing it. | | | | References: |
| The second opinionnaire is followed up with an | | | | Johannessen, L. R. (1994). The call of adventure: |
| essay assignment that asks students to identify | | | | Jack London's "To Build a Fire." Notes Plus, 12 (1), |
| three statements from the opinionnaire for which | | | | 11-15. |
| their answers changed as a result of reading and | | | | Johannessen, L. R. (1997, January 20). Teaching |
| discussing the story. | | | | the Vietnam War. Presented at a teacher's |
| This assignment requires students to consider the | | | | institute meeting at Township High School, |
| reasons for their answers on the first opinionnaire | | | | LaGrange, IL. |