Prospero’s knowledge: magic or curse?

‘Real learning requires stepping into the unknown, which initiates a rupture in knowing’. Leslie Schwartzman

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The pursuit of knowledge

I have been thinking a lot about The Tempest recently. Preparing two A2 classes for their imminent exams means I have been immersed in the ideas and characters in this late Shakespeare play. At the same time I have been working on approaches to help teachers improve their subject knowledge as a part of our professional development programme, something I think is sadly lacking from much INSET which tends to focus more on generic aspects of pedagogy. A number of issues in the play, and more specifically tensions arising from my teaching of it, have made me reflect on the nature and efficacy of teacher subject knowledge. This post attempts to outline some of these issues and how I think I have resolved them.

Those familiar with The Tempest will know there is a speech near the end where the main protagonist Prospero renounces his ‘rough magic’ and symbolically drowns his books and breaks his staff. The scene is the moment in which the magician, the rightful Duke of Milan who was overthrown by his own brother and exiled to a faraway island, recognises the part his own selfish pursuit of magic played in his usurpation and rejects it in order to be restored to humanity and his previous courtly status. He has come to realise that for reconciliation to be possible, he must wave goodbye to the one of the sources of the initial disorder: the magic that is his ‘art’.

In constructing Prospero’s character Shakespeare drew upon contemporary concern for the danger of magic – embodied in the divisive figure of John Dee and Marlowe’s recasting of the Faustus myth – as well to fears about the underlying danger of knowledge acquisition itself, particularly of the supernatural kind. In an age of growing humanistic enquiry and learning, Shakespeare’s presentation of Prospero appears to be asking, is there a price to be paid for the pursuit of knowledge? Should we strive to know the secrets of nature, or should we make do with what is determined for us by others? Should we have the ambition to think like a god, or heed the lessons from over-reachers like Prospero and Faustus who venture beyond boundaries and suffer terribly as a result?

Rethinking CPD

I have always believed that strong, evolving subject knowledge is as just as important to excellence in the classroom as strong, evolving pedagogy. In many respects this belief drives my approach to teaching. Regardless of the topic or age group, I go to great lengths to ‘know’ as much as possible about what I am teaching – indeed as much as I do about how I am going to teach it. In the past this ethos has involved spending large chucks of holiday time reading and re-reading primary and secondary sources, taking copious notes, listening to online lectures and podcasts and even reviewing old university notes. I have never thought it acceptable to be on the next page or even the next chapter to the students; I want to be on the next book!

This desire to keep on top of the knowledge necessary to help my students thrive has become increasingly burdensome. Whilst I like to think that I have a rich seam of conceptual underpinning from my own studies, I have inevitably forgotten a great deal and much of what I have learnt (and remembered) is no longer relevant to the students, courses and texts I now teach. Every year I therefore have to replenish my knowledge and add to it. Each new text represents a mini programme of study and even though I adore reading, with increased responsibility at work and home, it is becoming more difficult to put in the hours to get to the level of understanding necessary required.

If I am feeling like this, then surely others are too, and if this is the case CPD must address the imbalance between time spent honing subject knowledge and time spent developing pedagogy. I have thought a lot about how to do this practically and meaningfully: devising ways to give teachers more time and resources to concentrate on developing their subject expertise. From distributing INSET more equitably to implementing subject audits that help teachers to identify priorities for future development, there is much that can be done. Within this re-articulation of CPD there is a need to raise the profile of subject expertise, particularly in relation to the development of Growth Mindset. I believe in embedding this philosophy from the outset through the recruitment process, along the lines Michael Fordham expertly delineates in his post on the ways schools can announce their commitment to strong subject knowledge to prospective staff.  

Overreaching?

But what if this is the wrong approach and that I am overstating the importance of deep mastery over subject content? What if, beyond the basic levels of understanding necessary to cover the core curriculum of each domain, there is no additional benefit accrued to students as a result of teachers knowing more? We all have colleagues who know their subjects inside and backwards, but cannot use what they know to inspire others. Similarly, we are familiar with those who can teach a variety of subjects outside their specialisms – often to good effect. Though caricatures, these extreme positions raise the possibility that maybe there is an optimum amount of knowledge a teacher needs to be effective: enough to get the job done, but not too much to get in the way of the learning. What if, like rarefied academics such as Prospero and Faustus, there is a consequence for teachers attempting to know (or to teach) too much?

Whilst I remain committed to the virtues of strong subject knowledge, every year things happen in my classes and with certain students in particular, that make me question my certainty. This year these instances have manifest in my teaching of The Tempest. Now in my third year of teaching the play, I feel I know it reasonably well, including background context, dramatic history and critical interpretation. I try to use this knowledge to explain, clarify, challenge and extend my students. For the most part this approach is successful (though only the results will tell!), and my students’ essays this year have been demonstrably better than the first time I taught the play. Yet there are occasions where I feel that what I know might have got in the way, and that as a result of wanting students to go beyond what is strictly necessary to do well in the exam, I have taken them from a position of certainty to a state of doubt.

One example where my subject knowledge appeared to hinder rather than help was my recent attempt to teach a psychoanalytical reading of Prospero’s character. I wanted my class to understand how Ariel and Caliban can be read as facets of Prospero’s psyche: Caliban the desirous ego that acts solely upon impulse, and Ariel the more ethereal representative of restraint and conscience, the id. Prospero is the superego, mediating between the two positions by way of the Reality Principle. I realised this would be tricky so I structured my approach carefully, introducing the ideas in a number of different ways, explaining them in detail and reinforcing them through retrieval activities. And yet, despite my planning the students still struggled to understand. Worse, their subsequent essays were weaker than previously. Had my own understanding of this complex interpretation led me to introduce something too difficult for my students, resulting in them losing confidence? Had I overreached in my ambitions as a teacher?

Mental models

In their excellent book Make it Stick Brown, Roediger and McDaniel offer a useful corollary to what I have been discussing. They consider how ‘the better you know something, the more difficult it becomes to teach it’. Drawing upon Jacoby, Bjork and Kelly’s ‘Illusions of Comprehension, Competence and Remembering’ and Eric Mazur’s paper ‘Confessions of a Converted Lecturer’ (available to view on Youtube), the authors describe how as an individual’s expertise grows the mental models that underpin their mastery start to get increasingly complex, at which point the ‘component steps that compose them fade into the background.’ It seems that despite my best efforts to carefully structure my teaching of complex theoretical material, I might be guilty of forgetting some of the steps that helped me achieve mastery and as result neglected to teach what was necessary for my less experienced learners. In other words, my subject knowledge might have got in the way of my students’ learning.

The premise that I might have forgotten some of the steps necessary to understand the concept of psychoanalytical interpretation makes perfect sense. As a teacher I must therefore continually guard against taking for granted complex mental models that have helped to give structure and coherence to my own understanding, but which my conscious mind has long since forgotten. And this is where I think knowledge about teaching complements knowledge about subject content. It provides insights into how to teach complex concepts like theoretical interpretation and facilitates the assimilation of new knowledge into old. Depth of subject knowledge remains central, but it is harnessed through appropriate pedagogy, which is unlikely to ever be absolute or definitive.

Learning for the future

In what appears to be a defining moment in education – where increased rigour and content is being brought to the fore – the successful alignment of subject knowledge with teaching expertise needs considered thought. Many schools (including ours) are introducing much more challenging texts at KS3. There is the temptation to think that simply moving towards harder content will automatically raise the rigour and in and of itself prepare students for more demanding examinations at GCSE and beyond. This is unlikely. In reality, many teachers (like me) will need as much support in understanding what they are teaching as how they are going to teach it. Subject specific training is absolutely necessary if challenging Classical texts like The Odyssey are to be taught and understood in a meaningful way.

As well the need to provide teachers with adequate support to develop their subject knowledge, I also think there needs to be greater recognition that this increased ambition has the potential to make learning fuzzier and to create doubt amongst students. The difficulties I have encountered in my teaching, for instance, are almost impossible to mitigate and so we must be equipped to deal with uncertainty when it arises. Next time round I will approach the way I teach psychoanalytical readings differently, but even then I may still get it wrong. Or rather, I may get it right and my students may still not understand. This should not mean I settle for second best, though. My students’ confusion was the result of poor execution, not misplaced ambition.

Prospero and his creator Shakespeare existed in restrictive and tightly bound worlds, where the scope of knowledge, whilst rapidly evolving, nevertheless had limitations and where fears to established order were rife. We live in intellectually freer times, and so we owe it to our students to ensure that we are armed with the tools necessary to fully challenge, develop and critique their learning. And this means spending as much time on what we know about our subjects as how to deliver them, and be prepared for doubt, confusion and sometimes failure – on our part and on the part of our students. Whilst it is eminently possible to teach students to a reasonable level without strong subject knowledge, I think that it is only with deep expertise that we are truly able to take learners through the threshold concepts of our domains – from positions of certainty to uncertainty (what Land et al refer to as ‘liminality’) and out the other end to a ‘transformed way of understanding.’

In The Tempest Prospero renounces his magic, not because he does not value the knowledge he gleaned from the volumes he ‘prized above his dukedom’, but because he recognises he put his learning to the wrong use. The Tempest may well have been Shakespeare’s last solo-authored play, but he certainly did not give up on the power of ‘art’ to transform lives; he embraced tension, championed uncertainty and in doing profoundly altered people’s understanding of themselves and the world around them for many years to come.

This is the magic of knowledge.

 

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7 thoughts on “Prospero’s knowledge: magic or curse?

  1. Loved this, Phil – beautifully written, thoughtful and quietly provocative!

    I taught The Tempest several times in my career and I think it was probably one of the Shakespeare texts I enjoyed teaching the most. I found the ending incredibly moving each time I taught it.

    I had a strategy when choosing A level texts of choosing at least one thing I knew well/had taught before/had studied in some depth and at least one I didn’t know at all but was keen to learn about. It was my love of English which motivated me to train as an English teacher in the first place, and I relished the fact that taking on new texts gave me an opportunity to keep learning and stretching myself. Sometimes I suspect I taught these new texts BETTER than the ones I was more familiar with and confident about.

    When I became Head of English and later Head of Sixth Form I sometimes opted to teach texts I was less keen on (but felt the students perhaps needed to have in their text selection to give them a good balance/range) and that was a different challenge again. Sometimes the texts ‘grew on me’ as I taught them. Sometimes they didn’t and I had to conceal my antipathy from the students so as not to colour their judgement! I think I usually managed it…..

  2. I love this post Phil; it’s reflective and engaging and outlines a reality for many deeply involved in their art and craft. Do you think you lost empathy for you’re learners? I don’t suggest this in an emotional way but when we walk in their shoes as learners we see the reality of their education to date across the subject, skills & knowledge range. I often have to take a step back and see what they are doing across the board to understand why they may struggle with a concept in my lesson. I think my subject knowledge is good, and it’s way better than there’s, as it should be. I have to remember that they haven’t had the life experience of an adult and can’t apply wisdom to my lessons they’ve not had the opportunity to gain. This alters the way I plan and my outcomes for them.
    Thanks for your thoughts, it really made me think 🙂

    • Thanks for the comment, Anna.

      I think maybe at times is do lose empathy for the wholeness of their education, both inside and outside the classroom. Increasingly, I am finding that what I think are great analogies do not alway resonate with the students. I guess that is what makes teaching so complex: judiciously balancing aspiration with realism and a healthy dollop of compassion.

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