Acting Like a Reader, Reading Like a Director

As the start of the semester looms larger, Jeff and I are formally and informally, as they say where I come from, getting cracking. We talked for a few hours yesterday about building a perspective for reading instruction that will inform his work in the ancient literature seminar. I’m madly reading texts I’ve not read before and have arrived at the conclusion that I simply will never have the expertise that Jeffrey has, but I think I can piggyback on him enough to help shape the instructional approach. Overall, though it’s been a steep learning curve with the bot and the poets, I’ve gained some capacity to use the bot both to speed up the process of reading Jeff’s assignments and thinking through my suggestions. In general, right now I’m not feeling too much discomfort in shuttling between my own expertise as a literacy educator, Jeff’s expertise as a subject matter expert, and the bot as a resource.

Yesterday I spent probably too much time talking at Jeff, but I think it was good in that Jeff is excited to retrofit a course he’s an expert in teaching to try out a new approach. One major shift he agrees with is the move from a content or product focus to a process focus. A premise of the content area reading course I taught for years is this: Any assignment that involves reading should have two objectives: a reading objective (how to read) and a content objective (subject matter). To that end, I drew liberally on Iser’s book The Act of Reading (1978), a work with a focus on aesthetic reading appropriate for a seminar on ancient literature.

First, we discussed what Iser called “taking a reader-centered perspective,” that is, adopting the mindset that teaching students how to read these assignments is equal in importance to teaching them to think about and understand the content. We agreed that students would learn strategies to interpret the material as individuals, discuss their readings in seminar, and then apply their interpretations to the modern world. In this light instruction becomes focused both on “how” and “what” looking at the students in the foreground and content in the background. It’s an article of faith with me that what looks like a paradox, a compromise, is actually a synergy. Said differently, once students know how to read, they learn more content, more deeply.

Second, we talked about Iser’s concept of the “implied reader,” though I strayed from orthodox Iser and felt no compunction about it. Essentially, literature is written to be read, and every good writer builds in signals to guide the reader either by way of content selection, word choices, structures within the text, or unconscious framing. There is an implied reader lost in history, but living readers can catch glimpses of them. The diligent reader understands that every text has two readers, the one whose eyes are feasting on the text and the one who was just a twinkle in the author’s eyes. Consciously alert to these readers, students can increase their level of engagement as well as their grasp of nuance and subtlety.

Third, we discussed Iser’s notion of foreground and background, not unlike Judith Langer’s envisionment theory which has been influential in recent years both in large-scale comprehension assessments (e.g., NAEP) and in reading pedagogy (e.g., differences in reading toward or along the textual horizon vis a vis taking up an aesthetic or efferent stance toward text depending on an aesthetic vs. an informational purpose). Iser noted that readers never have the opportunity to see a whole text simultaneously while reading. Instead, readers must shift between what is in the foreground at the moment and what is in the background. At a basic level, reading the foreground and ignoring the background of the text and context results in superficial reading at best.

Fourth, we discussed the “phenomenological reader” or the reader who experiences a text existentially in the moment, the text-as-event idea. In this regard, I asked Jeff to think about the “wandering viewpoint” and ways to legitimize it as a necessary part of reading. During a reading event readers dealing with foreground material necessarily adjust their focus to earlier portions of text that are now background (they wander), in order to create expectations for what is coming. It is important for readers to be alert to moments when they deal with the integration of ideas across text and to note them, to be able to look back at them and bring the results forward into an interpretation. This is effortful reading and all but requires annotation. An ongoing assignment could be to document such experiences.

Finally, we discussed parameters for assessment. Drawing on the dimensions of learning from Patterns of Learning (Barr, Ellis, Hester, and Thomas (1990), I recommended to Jeff that he consider the five strands of development first created to apply in the primary grades: Confidence and Independence, Experience, Strategies, Knowledge, and Reflectivity. Barr et al.’s work elaborate on these elements, but fortunately there is some face validity that seems to resonate with students I’ve had in the secondary reading methods courses. I’ve concluded that these patterns become even more important for teachers to understand as students mature—perhaps reaching a peak of importance at the start of college. Learning outcomes for the seminar can be located within each pattern. Knowledge in particular gradually over the years shifts from a minimal focus in first grade to a maximal focus in college when the other strands sorely need attention. Through seeing the coordination of these patterns holistically, teachers begin to note things like, oh, confidence is related to strategic thinking, knowledge can be surface or deep depending on reflectivity. As Vacca and Vacca said in their classic textbook, try to pump content into a student without attending to how the student is taking it up is like trying to blow up a balloon filled with holes.

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Here is a conversation I had with the bot on matters related to yesterday’s work with Jeffrey. I’m recording our conversations and at some point if appropriate I may edit them and upload an audio file.

- user: Are you as an AI capable of pretending to be a character? Another way of asking is this: Can you assume a persona?

 - robot: As an AI language model, I don't have personal experiences, emotions, or consciousness. I can provide information and assist with various tasks based on the instructions and knowledge I've been trained on. However, I don't possess the ability to assume a persona or pretend to be a specific character. My purpose is to provide helpful and accurate information to the best of my abilities.

 - user: I understand. If not pretend to be a character (i.e., acting) nor assume a persona, can you look at things from different perspectives?

 - robot: Yes, as an AI language model, I can provide information from different perspectives based on the data I've been trained on. By analyzing and interpreting the input given to me, I can offer responses and insights that consider various viewpoints or provide a balanced understanding of a given topic. However, it's essential to note that my responses are generated based on patterns and examples in the data, rather than personal beliefs or opinions.

 - user: As an aside, can you explain to me the differences between assuming a persona and taking a perspective?

 - robot: Certainly! While assuming a persona and taking a perspective may seem similar, there are distinct differences between the two:

Assuming a persona: When someone assumes a persona, they adopt a specific character or role, often fictional or imagined. It involves consciously embodying that character, including their personality, traits, and behavior. It is akin to acting or pretending to be someone else.

Taking a perspective: Taking a perspective involves adopting a particular point of view or standpoint when considering a situation or issue. It more broadly refers to shifting one's mindset to understand and analyze a given topic from a specific angle or viewpoint. It does not necessarily involve embodying a character or altering one's identity.

In summary, assuming a persona focuses on becoming a different character, while taking a perspective focuses on adopting a specific point of view or vantage point for analysis or understanding.

 - user: If I’m understanding you correctly, altering one’s identity is antinomous with taking a perspective. Correct?

 - robot: Yes, you understood correctly. Altering one's identity, such as assuming a persona, involves taking on a different character or role that is separate from one's own identity. This can be antinomous or incompatible with taking a perspective. Taking a perspective involves looking at a situation or issue from a specific point of view or frame of reference. It does not necessarily involve altering one's identity or assuming a different character or role. Taking a perspective involves understanding and considering the beliefs, values, experiences, and viewpoints of others, even if they differ from one's own. It requires empathy and the ability to step into someone else's shoes, gaining insight into how they see the world and why they hold certain beliefs or opinions.

In contrast, assuming a persona often involves adopting a fictional or imagined identity for the purpose of portraying or presenting oneself as someone else. It's a deliberate act of playing a role or character, which may or may not involve considering different perspectives.

While assuming a persona can be a form of artistic expression or performance, taking a perspective is about expanding one's understanding and developing a broader outlook by considering multiple viewpoints. It promotes empathy, critical thinking, and the ability to engage in open-minded dialogue.

 - user: Is it roughly accurate to say that becoming a character is predominantly imaginary while taking a perspective is predominantly analytic?

 - robot: Yes, that is a roughly accurate way to differentiate between becoming a character and taking a perspective. Becoming a character involves using imagination and creativity to embody a fictional or imagined identity. On the other hand, taking a perspective is predominantly analytic in nature. It involves adopting a specific viewpoint or frame of reference to understand and analyze a situation or issue. It requires critical thinking, empathy, and the ability to consider multiple angles and viewpoints. Taking a perspective allows one to examine a topic from different angles, evaluate different opinions, and gain a broader understanding of the subject matter. It is a cognitive process that involves analysis, interpretation, and synthesis of information.

 - user: Can you give me an example of how a reader might take a perspective while reading a text?

 - robot: Certainly! Here's an example of how a reader might take a perspective while reading a text:

Let's say a college student is assigned to read an article about climate change from a scientific standpoint. The reader, in taking a scientific perspective, would analyze the article through the lens of scientific principles and methodologies. They would consider the evidence presented, evaluate the research methods used, and assess the validity of the conclusions drawn by the authors. By taking a scientific perspective, the reader might also consider the broader implications of the article's findings.

Additionally, while reading the text, the reader might actively engage with the author's arguments and evidence, critically evaluating their validity and reliability. They may compare the information presented with their existing knowledge or other sources. Furthermore, the reader might also consider alternative perspectives while reading the text. They could examine different viewpoints related to climate change, such as economic, political, or sociocultural perspectives.

 The reader, in considering alternative perspectives, may also engage in a process of critical thinking and analysis. They might question the underlying assumptions, biases, or limitations present in the text. By adopting a critical perspective, the reader may also explore the implications of the author's argument on different stakeholders or communities. They might consider how the information presented in the text aligns with real-world events. Additionally, taking a perspective while reading a text involves actively interpreting and reflecting on the content. The reader might seek to understand the author's intentions, underlying messages, and the overall purpose of the text. They may analyz

 - user: Go on. Let me know when you have said everything you want to say about taking a perspective

 - robot: Certainly! To conclude, taking a perspective while reading a text involves approaching the material with a specific frame of reference, such as a scientific, cultural, or critical viewpoint. It requires actively engaging with the content, analyzing information, and considering alternative perspectives. By adopting a perspective, the reader gains deeper insights, develops critical thinking skills, and expands their understanding of the subject matter.

 - user: Please summarize this content on taking a perspective. Put it in captions or themes that students will find memorable and meaningful

 - robot: Certainly! Here are some summarized captions or themes that students may find memorable and meaningful when it comes to taking a perspective while reading a text:

1. Walk in their shoes: Understanding different viewpoints requires empathy and putting yourself in someone else's position.

2. Analyze and question: Take a critical approach by evaluating evidence, questioning assumptions, and looking for bias in the text.

3. Seek the bigger picture: Consider the broader implications of the text's arguments and how they relate to real-world events or different communities.

4. Engage in dialogue: Encourage discussion and explore alternative perspectives to gain a deeper understanding.

5. Connect the dots: Look for connections between the text and your existing knowledge or other sources of information to expand your understanding.

6. Uncover intentions: Seek to understand the author's intentions, underlying messages, and the overall purpose of the text.

Remember, these captions or themes are just a summary, and each point can be explored further for a more comprehensive understanding.

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 - user: Now let’s turn back to assuming a persona. As near as I can tell from your earlier comments, assuming a persona is fundamentally a different form of consciousness in contrast with taking a perspective, though they share some elements. Is that fair to say?

 - robot: Yes, you are correct. Assuming a persona involves adopting a different form of consciousness or awareness compared to taking a perspective. While both activities involve stepping outside of one's own immediate perspective, assuming a persona is more immersive and involves fully embodying a different character or role. It requires a shift in mindset and a temporary suspension of one's own identity in order to authentically inhabit the persona. In contrast, taking a perspective allows one to consider different viewpoints while still maintaining their own identity and awareness.

 - user: Assuming a persona is a requirement for performance as an actor in a play or film if I’m understanding you.

 - robot: Yes, that's correct. Assuming a persona is a crucial aspect of acting, particularly in plays or films. Actors need to fully immerse themselves in the character they are portraying, adopting their thoughts, emotions, mannerisms, and even their physicality. This process allows them to bring the character to life and convincingly portray them on the stage or screen.

 - user: The expectation that an actor must “convincingly portray” a character for an audience is an important way to distinguish these different mindsets, correct? This requirement makes assuming a persona antinomous with taking a perspective.

 - robot: Yes, the expectation for an actor to "convincingly portray" a character is an important distinction between assuming a persona and taking a perspective. By assuming a persona, actors strive to create a believable and immersive experience for the audience. The focus is on the external presentation and portrayal of a character, capturing their essence and bringing them to life on stage or screen. The expectation is that the audience will suspend disbelief and perceive the character as real, separate from the actor.

On the other hand, taking a perspective involves intellectual engagement and analysis. The emphasis is on understanding and interpreting a specific viewpoint, whether it's from a scientific, cultural, or critical standpoint. The primary goal is to gain insight, broaden understanding, and evaluate different perspectives.

So, while there may be some overlapping elements between assuming a persona and taking a perspective, the primary objectives and ways of engaging with the subject matter are distinct.

 - user: Can you explain how an actor might approach reading and studying a text in preparation for assuming a persona?

 - robot: Certainly! When preparing to assume a persona, an actor typically approaches reading and studying a text with a specific set of steps:

1. Script Analysis: The actor carefully reads and analyzes the script to understand the plot, themes, and characters. They pay close attention to the character they will be portraying, noting their traits, relationships, and objectives.

2. Contextual Research: The actor conducts research to gain a deeper understanding of the time period, social norms, cultural background, and historical context in which the story takes place. This helps inform their portrayal of the character and their interactions within the scene.

3. Character Exploration: The actor delves into the character's backstory, motivations, and emotional journey. They ask questions like: What are the character's desires, fears, and conflicts? What drives their actions? They might create a character biography or journal to further explore their character's psyche.

4. Physicality and Voice: The actor considers the physicality and vocal qualities of the character. They might experiment with different postures, gestures, and vocal patterns to embody the character fully. They might explore how the character walks, talks, and expresses themselves physically.

5. Rehearsals and Collaboration: The actor collaborates with the director and fellow actors during rehearsals. They experiment with different choices, test their character's interactions with others, and refine their performance based on feedback and insights gained through the collaborative process.

6. Emotional Connection: The actor seeks to connect emotionally with the character and their circumstances. They explore the character's emotions, experiencing and understanding their highs and lows, joys and sorrows, in order to authentically convey those feelings on stage or screen.

7. Performance Choices: As the actor becomes more familiar with the character, they make choices about how to portray them, bringing together all the elements they have explored. They consider aspects such as vocal inflections, intonations, facial expressions, and body language to create a coherent and compelling performance.

In summary, an actor's approach to reading and studying a text in preparation for assuming a persona involves thorough script analysis, research, character exploration, physicality and voice work, collaboration, emotional connection, and ultimately making performance choices that bring the character to life on stage or screen.

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 - user: It seems that a director, though not expecting to assume a persona, would have to accomplish at least some of these steps in the reading and studying process in order to direct an actor. How does a director’s approach to a text overlap and differ from an actor?

 - robot: You're correct. While a director does not necessarily need to assume a persona, they still engage in a similar reading and studying process to understand the text and guide the actors' performances. Here's how a director's approach to a text may overlap and differ from an actor:

1. Script Analysis: Like an actor, a director engages in script analysis to comprehend the story, characters, themes, and overall vision of the production. They delve into the subtext, underlying messages, and dramatic structure of the play or screenplay.

2. Character Exploration: While actors focus on embodying specific characters, directors take a broader view of the ensemble of characters. They consider the relationships and interactions between characters, their motivations, and how they contribute to the overall narrative arc. Directors may also analyze the character arcs and dynamics to guide the actors in their performances.

3. Vision and Concept: Directors develop a vision and concept for the production based on their interpretation of the text. They consider elements such as staging, set design, lighting, and sound, all of which contribute to the overall artistic vision and storytelling.

4. Blocking and Staging: Directors work on the physical placement and movement of actors on stage or on set. They consider the spatial relationships, entrances, exits, and dramatic blocking to enhance the dramatic impact and visual presentation of the performance.

5. Collaboration and Guidance: While actors immerse themselves in specific characters, directors collaborate with the entire cast and crew. They provide guidance and direction to actors, helping them to develop their character portrayals while ensuring the overall coherence and cohesion of the production.

Overall, a director's approach to a text overlaps with an actor in terms of script analysis and character understanding, but differs in terms of the broader vision, concept, and collaboration aspects that encompass the entire production.

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 - user: Makes sense. The actor’s goal is so different from the director. Can you write a few paragraphs explaining for students how to “read like a persona” vs. “reading like a director”?

 - robot: Certainly! Here's an explanation of how an actor might approach "reading like a persona" and how a director might approach "reading like a director":

Reading like a persona (actor's perspective):

When an actor reads a script, their goal is to fully immerse themselves in the character they are portraying. They read the text to understand the character's traits, motivations, and journey throughout the story. Instead of simply analyzing the plot or themes, they focus on the character's dialogue, actions, and emotional arc. The actor strives to get into the mindset of the character and understand their thoughts, desires, and conflicts. They pay attention to the character's relationships with other characters and how they contribute to their development. By reading like a persona, actors are able to embody the character more authentically and bring them to life.

Reading like a director (director's perspective):

A director, on the other hand, reads a script with the intention of understanding the overall vision of the production. They take a broader view and analyze the script in terms of its structure, pacing, themes, and visual elements. While they have an appreciation for the characters, their main focus is on how the story is presented as a whole. They pay attention to the narrative flow, character dynamics, and the emotional impact on the audience. Directors also consider the technical aspects, such as set design, lighting, and sound, to enhance the storytelling. They might read the script multiple times, envisioning the staging, blocking, and the overall directorial approach.

A director reads a script with a broader vision in mind. They aim to understand the overall structure, themes, and messages of the text. They analyze the pacing, tension, and dramatic moments to plan how to visually and audibly convey them on screen or stage. They look for opportunities to enhance the story through visual elements, blocking, and staging. They also pay attention to the relationships between characters, their dynamics, and how they serve the narrative as a whole.

While an actor delves deep into the psyche of a character, a director has a more objective viewpoint. They consider the big picture and the interplay of various elements to create a cohesive and impactful production. They make decisions about casting, blocking, and overall direction based on their understanding of the story and the desired audience response.

In summary, reading like a persona involves personally connecting with the character's thoughts and emotions, while reading like a director involves analyzing the script, envisioning the bigger picture, and making creative choices to bring the story to life. Both approaches are essential in the collaborative process of creating an immersive and authentic theatrical or film experience.

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 - user: Consider the character of Achilles in the Iliad. Can you narrate how a student might read Book 1 and Book 9 “reading like an actor”?

 - robot: Certainly! Here's how a student might approach reading Book 1 and Book 9 of the Iliad "reading like an actor" and focusing on the character of Achilles:

Reading like an actor (Achilles' perspective):

1. Immersion in character: The student would read the text with a deep sense of connection to Achilles. They would seek to understand his internal thoughts, emotions, and motivations as described in the text.

2. Analyzing dialogue: The student would closely examine Achilles' dialogue in each book, paying attention to the language, tone, and manner in which he speaks. They would consider the emotional depth, vulnerabilities, and conflicts that Achilles portrays through his words.

3. Exploring relationships: The student would focus on Achilles' relationships with other characters, such as Agamemnon, Patroclus, and the gods. They would analyze how these relationships shape Achilles' actions and attitudes.

4. Physicality and gestures: In addition to the dialogue, the student would pay attention to the physical descriptions and actions attributed to Achilles. They would consider how his posture, movements, and gestures can enhance their understanding of his character.

5. Emotional journey: The student would track Achilles' emotional trajectory throughout the two books. They would identify any shifts in his mood, conflicts, or personal growth, and explore how these changes influence his decisions and actions.

By engaging in these reading practices "like an actor," the student can gain a deeper understanding of Achilles' character and improve their ability to embody and portray him in a performance or interpretation of the text.

 - user: In lieu of acting out Achilles’ part on stage, what might be alternative creative outputs for students to express the persona of Achilles?

 - robot: There are several alternative creative outputs for students to express the persona of Achilles, even if they are not acting out his part on stage. Here are a few suggestions:

1. Monologue or Interior Dialogue: Students can write and perform a monologue or interior dialogue from Achilles' perspective. This allows them to delve deep into Achilles' thoughts, emotions, and motivations and express them in their own words.

2. Character Analysis: Students can create a detailed character analysis of Achilles, exploring his strengths, weaknesses, conflicts, and relationships. They can present their analysis in a written format or even as a multimedia presentation incorporating visuals and sound.

3. Artistic Interpretation: Students can create visual artwork, such as paintings or drawings, that capture the essence of Achilles as a character. This could include representations of key scenes, symbols, or motifs associated with Achilles in the text.

4. Creative Writing: Students can write a short story, poem, or song inspired by Achilles and the events in the Iliad. They can explore different aspects of his persona, his experiences, and his journey throughout the narrative.

5. Comparative Analysis: Students can compare Achilles to another heroic figure from literature, mythology, or history. They can write an essay or give a presentation discussing the similarities and differences between these personas, exploring the themes and qualities they embody.

These alternative creative outputs allow students to engage with the persona of Achilles in a meaningful and imaginative way, showcasing their understanding and interpretation of the character.

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 - user: Now narrate how a student might “read like a director” with the intention of understanding the relationship between Agememnon and Achilles.

 - robot: Certainly! Here's how a student might approach "reading like a director" and focus on understanding the relationship between Agamemnon and Achilles in the Iliad:

Reading like a director (relationship focus):

1. Identifying key scenes: The student begins by carefully identifying the key scenes in the Iliad that depict the interactions between Agamemnon and Achilles. They may focus on Book 1, where Agamemnon and Achilles' conflict emerges, and Book 9, where Agamemnon makes amends for his past actions.

2. Analyzing character dynamics: The student examines the dialogue, actions, and motivations of Agamemnon and Achilles within these key scenes. They pay close attention to the power dynamics, conflicts, and shifts in the relationship between the two characters.

3. Exploring thematic elements: The student delves into the broader thematic elements at play in the relationship between Agamemnon and Achilles, such as pride, honor, leadership, and the effects of war. They consider how the dynamics between these two characters contribute to the larger themes of the epic.

4. Considering directorial choices: The student starts to think about the directorial choices they would make to highlight the nuances of the Agamemnon-Achilles relationship. This may involve selecting specific staging, blocking, or tone to emphasize the tension, reconciliation, or evolution of the relationship throughout the story.

5. Visualizing the scenes: The student may sketch or create storyboards to visually depict the key scenes between Agamemnon and Achilles, imagining how they would be staged and shot in a film or theater production. This helps them further understand the emotional and visual impact of the relationship.

By reading like a director, the student gains a deeper understanding of the relationship between Agamemnon and Achilles, allowing them to analyze the complexities and dynamics between the characters and make informed decisions for potential adaptations or interpretations of the text.

*****

 - user: What are the pros and cons of assigning students to read Books 1, 9, and 22, 23, and 24 of the Iliad from their choice of perspective— reading like an actor or reading like a director?

 - robot: Assigning students to read Books 1, 9, and 22, 23, and 24 of the Iliad from their choice of the perspective - reading like an actor or reading like a director - can have several pros and cons:

Pros:

1. Enhanced engagement: Giving students the option to choose their perspective can help increase their interest and engagement with the text. Students are more likely to be motivated when they have a say in their approach to reading.

2. Empathy and deeper understanding: Those reading like an actor can develop a deep understanding of the characters, their motivations, and emotions. This allows them to empathize and connect more closely with the text, leading to a richer interpretation.

3. Critical analysis: Students reading like directors can focus on the bigger picture, analyzing the overall themes, character relationships, and narrative structure. This perspective encourages critical thinking and a more holistic understanding of the text.

Cons:

1. Limited perspective: Some students may struggle with fully embodying a particular perspective, such as reading like an actor or director, resulting in a less comprehensive interpretation of the text.

2. Potential bias: Choosing a specific perspective can lead to a biased interpretation, as students may overlook or downplay aspects that do not align with their chosen approach. This can limit their understanding of the text's nuances and complexities.

3. Skill requirements: Reading like an actor or director requires specific skills and knowledge. Some students may feel overwhelmed or struggle to effectively analyze the text from these perspectives without proper guidance or prior experience.

To mitigate these challenges, educators can provide guidance, scaffolding, and opportunities for discussions that integrate multiple perspectives. This can encourage a more well-rounded understanding of the text for all students.

 - user: What if the assignment was staged like this:

Read like an actor—focus on Achilles and Agamemnon; produce a creative output from the menu.

Read like a director—Focus on creating a storyboard, and produce a diagram to discuss in class.

 - robot: Assigning the reading in the manner you proposed - reading like an actor with a focus on Achilles and Agamemnon, and reading like a director with a focus on creating a storyboard and producing a diagram - can have the following benefits:

Pros:

1. Differentiated learning: Students with different learning preferences have the opportunity to engage with the material in a way that suits their strengths. Those who enjoy performing and embodying characters can delve into the actor's perspective, while visual learners can explore the director's perspective through storyboarding.

2. Comprehensive understanding: By approaching the text from both perspectives, students gain a more comprehensive understanding of the relationship between Achilles and Agamemnon. The actor's perspective helps students connect with the characters' emotions and motivations, while the director's perspective enables them to analyze the visual storytelling aspects and the dynamics of the scenes.

3. Creative expression: By offering students a choice of creative outputs, such as monologues or interior dialogues for the actor's perspective and storyboards for the director's perspective, they have the opportunity to express their understanding in creative and personalized ways. This encourages critical and imaginative thinking.

Cons:

1. Time constraints: Depending on the length of the Iliad and the class time available, diving deep into specific sections from two different perspectives may require additional time and planning. It's important to ensure that there is ample time for students to engage with the material and complete their chosen creative outputs.

2. Varied assessment criteria: Assessing and grading creative outputs can be subjective and challenging, as different choices of perspective and creative expression may not fit into traditional grading rubrics easily. Clear communication of expectations and criteria for assessment can mitigate this challenge.

Overall, the assignment structure allows for a multi-faceted exploration of the text, catering to different learning styles and encouraging creativity, but it may require careful planning and assessment considerations.

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 - user: What suggestions do you have to help with planning?

 - robot: When it comes to planning, here are some suggestions to help you:

1. Set clear goals: Clearly define the objectives and outcomes you want to achieve through your planning process. This will help you stay focused and driven towards a specific purpose.

2. Gather relevant information: Conduct thorough research and gather all the necessary information related to the task or project at hand. This will provide you with a solid foundation and assist you in making well-informed decisions.

3. Break it down: Divide your planning process into smaller, manageable tasks and create a timeline or a schedule to work with. Breaking down your plan will make it less overwhelming and more achievable.

4. Prioritize and organize: Determine the most important and urgent components of your plan and prioritize them accordingly. Use tools like to-do lists, calendars, or project management software to organize your tasks and keep track of deadlines.

5. Seek input and collaboration: If possible, involve others in the planning process. This could be team members, colleagues, or mentors who can offer valuable insights and suggestions. Collaborating with others can also help generate fresh ideas and perspectives.

6. Flexibility is key: Keep in mind that plans can change, and unexpected circumstances may arise. Stay flexible and be prepared to adjust your plan as needed. Adaptability is an essential skill when it comes to effective planning.

7. Evaluate and learn: After executing your plan, take the time to evaluate its effectiveness. Reflect on what worked well, what could be improved, and the lessons learned. This will provide valuable feedback for future planning endeavors.

Remember, planning is a dynamic process that requires organization, adaptability, and open-mindedness. By following these suggestions, you can enhance your planning abilities and achieve greater success in your endeavors.

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 - user: For each of my assignments throughout the course, I will have two main objectives: a “learning to read ancient literature” objective and a “content” objective. For example, for the assignment we are discussing, the reading objective will be “Students will assume two different stances toward the text, reading as an actor and reading like a director. For the content objective, students will comprehend the arc of the narrative in the Iliad and explain the roles of Agamemnon, Achilles, and Ulysses in it. Can you help me with some assessment criteria?

 - robot: Certainly! Here are some assessment criteria that you can consider for evaluating the assignment with the objectives of "learning to read ancient literature" and understanding the content of the Iliad:

Learning to read ancient literature objective:

1. Depth of perspective: Assess the extent to which students are able to fully immerse themselves in the perspectives of an actor and a director while reading the text.

2. Empathy and understanding: Evaluate how well students are able to empathize with the characters and portray their emotions, motives, and thoughts.

3. Creativity and originality: Gauge the level of creativity and originality in the creative outputs produced by the students, reflecting their chosen perspectives.

Content objective:

1. Comprehension of the narrative arc: Assess the students' understanding of the overall narrative structure of the Iliad, including the major events and character interactions.

2. Analysis of characters: Evaluate how well students are able to explain the roles and significance of Agamemnon, Achilles, and Ulysses in the Iliad, considering their actions, motivations, and impact on the story.

3. Application of textual evidence: Look for the use of relevant textual evidence to support their explanations and analyses of the characters and their roles.

It's important to note that these assessment criteria can be further customized to align with the specific requirements and expectations of your course and assignment.

  - user: To assess their comprehension of the arc of the narrative as well as core details of the central characters, I’m considering using a short multiple choice quiz. What are the pros and cons of this strategy?

 - robot: Using a short multiple-choice quiz to assess students' comprehension of the arc of the narrative and core details of the central characters in the Iliad has both pros and cons:

Pros:

1. Objective assessment: Multiple-choice quizzes provide an o

 - user: Go on

 - robot: 2. Efficient evaluation: Multiple-choice quizzes can be administered and graded quickly, allowing for efficient evaluation of students' comprehension. This can be particularly beneficial when working with a large number of students or limited time for assessment.

3. Standardized scoring: Multiple-choice quizzes provide standardized scoring, which can help ensure consistency in grading and minimize subjective biases.

4. Identify areas of improvement: The results of the quiz can help pinpoint specific areas where students may struggle in understanding the narrative arc or core details. This can guide subsequent instruction and intervention to address any gaps in comprehension.

Cons:

1. Limited depth of assessment: Multiple-choice quizzes typically assess surface-level knowledge, focusing on factual recall rather than deeper understanding or analysis. They may not capture students' ability to interpret complex themes or make nuanced connections.

2. Guessing possibility: Multiple-choice format allows for guessing, potentially inflating scores and not accurately reflecting students' true comprehension.

3. Incomplete picture: Assessing comprehension solely through multiple-choice quizzes may not capture the full range of students' abilities or provide insight into their critical thinking skills, creativity, or ability to engage with the text on a deeper level.

4. Lack of context: Multiple-choice questions may not capture the intricacies and context-dependent nature of the narrative or character details. Some aspects of the text may not lend themselves well to a multiple-choice format.

It's important to consider a balanced approach to assessment by incorporating other methods, such as open-ended questions, discussions, or written responses, to capture a more comprehensive understanding of students' comprehension and engagement with the material.

 - user: I plan to ask for a storyboard for reading like a director and an interior monologue for choice of Agamemnon or Achilles. The multiple choice test will be short—five questions—and intended to keep students honest. What effects do you think their knowing that they will have this test might have on their motivation?

 - robot: The knowledge that students will have a short multiple-choice test as part of their assessment might have the following effects on their motivation:

1. Increased focus and attentiveness: The presence of a test can encourage students to stay more focused and attentive during their reading and study process. They may be more motivated to thoroughly understand the arc of the narrative and the core details of the characters, knowing that they will be tested on it.

2. Accountability and preparation: The test serves as a form of accountability for students. Knowing that they will be evaluated through a quiz can motivate them to actively engage with the material, take thorough notes, and review their understanding in preparation for the test.

3. Encouragement of thoroughness: The knowledge that there will be a test might encourage students to approach their reading and studying with more thoroughness. They may be driven to pay closer attention to details, analyze the text more deeply, and seek a comprehensive understanding of the material in order to perform well on the test.

4. Anxiety or stress: On the flip side, some students may experience anxiety or stress due to the anticipation of the test. The fear of not performing well can affect their motivation negatively and hinder their ability to engage with the material effectively.

It's important to consider these potential effects and balance them with supportive measures to create a positive learning environment and ensure that the test serves as a tool for learning and assessment rather than solely as a stress-inducing event.

 - user: So I will use their storyboards and interior monologues to assess the reading objective and to some extent the content objective. I won’t overly emphasize the multiple choice quizzes in my grading scheme (and lower some anxiety) but still have an objective measure of low-level content learning. What do you think?

 - robot: That sounds like a well-balanced approach! By using the storyboards and interior monologues to assess the reading objective and content objective, you are giving students the opportunity to demonstrate their understanding and creative interpretation of the material. Additionally, by de-emphasizing the multiple-choice quizzes in your grading scheme, you can alleviate some anxiety and focus more on higher-level thinking and engagement. Including the quizzes as a lower-level content measure provides an objective assessment of basic knowledge and can help ensure students are keeping up with the material. Overall, this approach allows for a well-rounded assessment that addresses different learning styles and levels of comprehension.

*****

 - user: Thank you. This conversation has been one of the best I’ve had with you. Can you pinpoint for me some of the prompts I gave you that were the most effective in terms of setting your parameters?

 - robot: I'm glad to hear that you found our conversation effective! Here are some prompts that were particularly helpful in setting parameters and guiding the conversation:

- "Can you write a few paragraphs explaining for students how to 'read like a persona' vs. 'reading like a director'?"

- "In lieu of acting out Achilles’ part on stage, what might be alternative creative outputs for students to express the persona of Achilles?"

- "Now narrate how a student might 'read like a director' with the intention of understanding the relationship between Agememnon and Achilles."

- "What are the pros and cons of assigning students to read Books 1, 9, and 22, 23, and 24 of the Iliad from their choice of perspective—reading like an actor or reading like a director?"

- "What suggestions do you have to help with planning?"

- "To assess their comprehension of the arc of the narrative as well as core details of the central characters, I’m considering using a short multiple-choice quiz. What are the pros and cons of this strategy?"

- "What effects do you think their knowledge of having a short multiple-choice test will have on their motivation?"

These prompts enabled me to understand your goals and concerns, allowing me to provide information and guidance that specifically addressed your needs.

 - user: I noticed also that you had fewer instances where I had to prompt you to go on. Was this finding just random chance or did my prompts have something to do with it?

 - robot: The fact that there were fewer instances where you had to prompt me to continue was not random chance, but rather a result of your effective prompts. Your prompts were clear, specific, and provided enough information for me to understand your request and continue with the relevant information. This allowed for a smooth flow of the conversation. Well-crafted prompts can certainly contribute to a more seamless and productive interaction.

 - user: Soon I plan to have a conversation with you to improve my capacity to write productive prompts. Have a good day, my friend.

 - robot: Thank you! I'm glad to hear that you found our conversation helpful, and I look forward to our next conversation to further improve your capacity to write productive prompts. Have a great day!