Creative Reading and Writing Courses in Sheffield. The next adventure begins September 2023
I am Sandra Courtman, Director of Crispwork and a freelance creative writer, editor and researcher. Crispwork came about because degree level courses in literature and creative writing are hard to find outside of full time university provision. There are many book groups and creative writing groups, but for those people who want to learn, these often don’t provide enough of a structure. As Programme Director for Literature and Creative Writing at the University of Sheffield, I saw the closure their part time degree level evening courses, I decided that I wanted to find a way of providing opportunities for people to continue studying literature and creative writing in the city of Sheffield outside of the university fee structure. My courses are designed to provide intellectually stimulating and creative learning opportunities at affordable fees and at a convenient time for people with work or caring responsibilities.
Until 2015, I worked in universities as an academic and lecturer, most recently at the University of Sheffield and at the University of Birmingham and Staffordshire University. I was external examiner for the BA in Creative Writing at Sheffield Hallam University. I have worked with students and writers in colleges, prisons and universities. I was a Curriculum Director at HMP Sudbury and co-wrote two original dramas which were performed in the prison and outside. I am a qualified teacher with a first class honours degree in English Literature and Language, A Masters degree in Literary and Cultural Studies and a PhD in Literary and Cultural History. Teaching is still the source of enormous pleasure (and creative challenge) for me.
I am still adding to my portfolio of academic publications on the social/cultural history of writing. Recent work includes three essays for The British Library’s ‘ Windrush’ website. The most recent is ‘Claudia Jones’ Rebel Heart’ (February 2021), which you can read here: https://www.bl.uk/windrush/articles/claudia-jones-rebel-heart
I have a chapter on postcolonial child trauma in Abi Ward’s Postcolonial Traumas. I work on lost women writers, for example see ‘Windrush Women and the Fiction of Beryl Gilroy and Andrea Levy,’ in a Special Issue on Andrea Levy of ENTERTEXT ed. Wendy Knepper : an interdisciplinary humanities e-journal, issue 9, 2012: 84-105.
I am particularly interested in the sociology of literature and the conditions which encourage or suppress writing. In 2018, I contributed a chapter to volume nine of The History of British Women ‘s Writing . My essay, ” The Transcultural Tryst in Migration, Exile and Diaspora ‘ is part of a huge body of work in a ten volume series to chart the development of women’s contribution to the world of letters within Great Britain from medieval times to the present. My work has often involved a degree of literary detective work. As in the case of the recovery of this rare Jamaican autobiography.
I have edited papers, poetry, short stories, journals, a novel, and autobiography. As an example, see ENTERTEXT : Special issue on Caribbean Literature and Culture: “Opening Out the Way (s) to the Future,” I was guest editor with Wendy Knepper, on Issue 10, 2013 of the journal.
I have a special interest in fiction and especially the short story. I love writing short stories and using this form as a teaching tool, as a way of learning about life, relationships, history and culture. Most writers find the short story form a creative and aesthetic challenge. I teach courses on writing short fiction and a specialist module on Caribbean short stories. I published a chapter in this collection on The Caribbean Short Story.
I have written creative pieces all my life. When I left academia in July 2015 to go freelance, it meant I had more time. I began a novel in 2020 with the working title of Cowgate ; it combines the two different worlds of academia and the British asylum system. Since 2016 I have worked with people seeking sanctuary in Sheffield with an fantastic organisation called ASSIST Sheffield. https://www.assistsheffield.org.uk/
I have always enjoyed writing short stories, dabbled in drama and I wrote a children’s book, Lucy and the Ghost Clock in 2017.
I am grateful to Gareth Parry of Blackwell Academic Bookshop, Sheffield, for initially collaborating with me to get this venture off the ground and for his unrelenting enthusiasm for books, people and writing. His desire to create a sense of community round the bookshop chimed with my ambition to provide open access courses. Gareth has now moved on to greater things in Cardiff but I miss his work and his insights.
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Develop your critical, analytical and writing skills on our research-driven undergraduate English and creative writing courses.
We take a wide-ranging, multi-disciplinary approach, combining traditional modules with elective modules covering a range of philosophical, social, political, cultural and historical topics. We also support you to publish your own poetry, scripts or prose.
On all our courses you'll be taught by published researchers and established writers, and develop transferable skills through work-based projects and optional extended placements. We also offer masters-level English and creative writing courses, as well as PhD study within the Humanities Research Centre .
Sheffield Hallam University is ranked 4th amongst UK providers for Creative Writing in the Guardian University Guide 2023 league table.
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Top 10 creative writing courses in sheffield, uk.
List of available Creative Writing Courses in Sheffield, UK.
The Creative Writing courses in Sheffield are provided by the following institutes:
- Udemy, Online
- Coursera, Online
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Also, check out all Creative Writing Courses from all over UK .
- Online Creative Writing Courses
Writing That Moves: Write Novels That Keep Pages Turning
Write novels with compelling plots. This writing course, on fiction writing, shows how to plot books that hook readers
- Price $19.99
- Duration 1h 33m
The Foundations of Fiction (Writing Mastery)
Become a creative writing master and write killer novels, memoirs, or short stories
- Price $21.99
- Duration 56 lectures, 05:59:14
Write a Bestselling Novel in 15 Steps (Writing Mastery)
Discover the secret storytelling code behind all successful novels and use it to outline, write, or revise your own.
- Price $29.99
- Duration 3h 39m
Write Your First Novel
You will learn how to form a basic idea, any idea, into a structure and discipline that will allow you to create, write and complete a fully-realized novel ready to submit for publication. If you have any concerns regarding the protection of your original work
- Price Inquire Now
- Duration Approx. 127 Hours
Advanced Writing Course by University of California, Irvine
- Duration Approx 20 Hours
Creative Writing Course by Wesleyan University.
- Duration Approx. 6 Months to Complete
Creative Writing Course by Margaret Atwood
- Duration 3h 43m
Take Your Writing From Good to Great
Take Your Writing From Good to Great Course with Jennie Nash
- Duration 7 Video Lessons
Creative Writing Certification
Careers in Writing and Publishing are booming and the demand for trained creative writers currently exceeds supply. If you're interested in enhancing your creative writing and editing abilities, while also gaining a marketable skill, this Creative Writing course is for you.
- Price $49.99
- Duration 11 Lessons
Novel Writing for Beginners (How to Write your First Draft)
Novel Writing for Beginners: How to Write Your First Draft is a course for new or aspiring writers who want to turn their ideas into reality.
- Duration 21 Lessons
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- English Literature (Creative Writing)
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University of sheffield: english literature (creative writing), full-time, 1 years started sep 2023.
Study contemporary creative writing and develop your skills in a variety of genres and styles. Choose to specialise in either poetry or fiction, or to study both, and explore and improve your own writing through practical workshops.
**Course description** You’ll study contemporary creative writing methods and practices and develop your skills in different genres, cross-genres and a wide range of formal and genre experimentations. You’ll also develop and explore your own creative and critical writing through practical workshops and the critical reading of contemporary creative and theoretical texts.
You’ll be encouraged to take all four creative writing core modules, with a minimum of three, which are designed to interact with each other theoretically, thematically and methodologically, to allow for experimentation between literary practices and productive genre crossovers.
The course culminates in a dissertation. You’ll be producing portfolios of both creative and critical work for each module and for your dissertation, all of which may take the form of poetry, prose poetry, short stories, a novel extract, poetic prose, hybrid texts and other genres, as well as formal or cross-media experimentations.
This MA will help you develop your creative writing to a publishable quality, providing a positive, friendly, nurturing, intellectual and creative environment for confident, bold and imaginative development of contemporary creative writing forms and practices. You’ll explore your own writing through practical workshops and learn how to creatively and constructively critique your own and other students' work.
You’ll benefit from the buzzing literary culture at Sheffield and get involved in public and university readings, publications and festivals throughout your time with us. You're encouraged to publish your work and to participate in student-led, peer-feedback editorial sessions.
We run monthly public readings within the Centre for Poetry and Poetics with established writers and have an annually published creative writing journal, Route 57, which is edited and assembled by our own creative writing students. Each year we also run various creative writing projects, student readings and hubs which will give you a variety of opportunities to meet fellow writers within our well established Postgraduate Creative Writing community which comprises current and alumni students of the MA and PhD.
Please see our University website for the most up-to-date course information.
Part-Time, 2 years started Sep 2023
Full-time, 1 years started sep 2022.
You’ll study contemporary creative writing methods and practices and develop your skills in different genres, cross-genres and a wide range of formal and genre experimentations. You’ll also develop and explore your own creative and critical writing through practical workshops and the critical reading of contemporary creative and theoretical texts.
Part-Time, 2 years started Sep 2022
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2020 Outreach Courses
CREATIVE WRITING, DISABILITIES AWARENESS, AND INCLUSION COURSE SERIES:
11/5/2020—12/22/2020 (Near East and Northern African regions, though open to all)
This short course series contains six one-hour courses (each with a 30-minute lecture and two 15-minute assignment sections). Courses are captioned/subtitled in Arabic and in English. Each course is taught by a different disabilities writer/activist.
The courses in the series are released on a weekly basis. To view the course series on your own schedule, please click here: bit.ly/DAwritingcourse
Instructors include Sheila Black , a poet, writer, and disabilities activist and currently director of development at the Association of Writers and Writing Programs (AWP), the main professional organization for creative writing programs; Ron Marz , comic book writer known for the Green Lantern and the Silver Surfer, but also for an international creative collaboration project in 2012 where he and others, at the invitation of the Syrian government, created the Silver Scorpion, a Syrian-American teenage superhero who is wheelchair-bound; Elsa Sjunesson , Hugo, Aurora, and British Fantasy awards winner, and an activist for disability rights; and Melody Moezzi , writer, lawyer, and disabilities activist, a United Nations Global Expert and an Opinion Leader for the British Council's Our Shared Future initiative, and who, several years back, was part of an ECA program involving young American-Muslim leaders.
6/15/2020 through 8/1/2020 (Kazakhstan, Latvia, Russia)
The Movement sessions of this course work with aspects of meaning-making in dance, with establishing context and point-of-view, and with generation of movement and experimentation with structure. These sessions form the starting point of each Word session, which are in creative writing workshop format. Participants experiment with form and with language, fusing responses, insights, and reactions from the Movement sessions into their creative writing.
View text galleries of some of the course projects and assignments submitted by the Russian-speaking and Latvian-speaking participants here: http://www.distancelearningiwp.org/wordmovementtextgalleries
(AFTERNOTE: This course’s emphases on diverse perspectives and on resiliency, occurring as it did in the midst of an unexpected global pandemic, both echoed and intersected with the myriad types of virtual artistic and issue-oriented collaborations appearing across the United States during this time.)
WOMEN'S CREATIVE MENTORSHIP PROFESSIONALIZATION PROJECT
4/15/2020 through 10/15/2020 (Argentina, Botswana, Colombia, Kenya, Mauritius, Mexico, Somalia, South Africa)
This project furthers already-established connections in the IWP's Women's Creative Mentorship (WCM) Project , broadens international networks and collaborations, and amplifies the many threads of conversation established by the mentor-mentee groups. A series of professional practice seminars anchored and applied these topics.
Participants were invited to create digital collages of their work in this project, and, given the COVID-19 pandemic, their work beyond it.
Click below to view the WCM participants' short videos, their texts and images, and their writing resource lists in response to being asked to describe their past few months, including the balancing/un-balancing of life, COVID-19, writing, and global and local concerns: http://www.distancelearningiwp.org/digitalcollageswmp2020
Russian Nonfiction Writing Program
In a world with seemingly infinite amount of information at our fingertips, how do we distinguish what is real, and what is trustworthy from that which is merely arresting? How do we approach the challenges of research, bias, and, for that matter, the fallibility of memory? What about biographies, history books, propaganda? What counts as nonfiction, and what rules does one follow writing it?
Twenty-three Russian college students grappled with these questions during this class, IWP’s first virtual Russian Nonfiction Writing course. Supported by the U.S. Embassy in Moscow, the course, which ran from October to December 2020, was designed to increase students’ familiarity with the craft and protocols of non-fiction in a time when journalism and other forms of non-fiction are in danger of being misused, falsified, or censored. It was taught by two expert practitioners: journalist and novelist Alisa Ganieva (Moscow; IWP Between the Lines Instructor, Fall Resident ’12 & ’18) and journalist Jen Percy (New York City; MFA degrees from the Iowa Writers’ Workshop and the University of Iowa’s Nonfiction Writing Program, faculty in the Creative Writing MFA Program, Columbia University). Every week they focused on a new subgenre: biographies, autobiographies, and memoirs; experimental forms of nonfiction; travelogues and immersion journalism; published dissent in a range of forms, from humor and satire to essays; and gonzo journalism. Students completed weekly writing assignments; their strongest pieces appear in a digital anthology you can find here :
Alisa GANIEVA (Алиса Ганиева) is a Russian novelist, essayist, and media journalist; she grew up in Dagestan, the setting of most of her fiction. In 2009, her Salaam, Dalgat! won Russia’s prestigious national Debut Prize; it was followed by T he Mountain and the Wal l (English translation 2015) and The Bride and Bridegroom (shortlisted for the 2015 Russian Booker; published in the US in 2018); the English translation of her most recent novel, Offended Sensibilities, is forthcoming in 2022. She is also literary critic for Nezavisimaya Gazeta . A repeat participant in various IWP residencies and events, she was a juror for the 2018 Neustadt International Prize for Literature. Her work has been translated into many languages and praised globally.
Jennifer PERCY , the author of Demon Camp: A Soldier’s Exorcism (2014), is a widely published journalist and magazine writer. Her work has appeared in the Oxford American , Harper’s , T he New Republic and the New York Times Magazine , among many other places; her honors include a NEA grant, a Pushcart, the National Magazine Award for Feature Writing and, in 2020, the Dart Award for Excellence in Reporting on Trauma. A graduate of the Iowa Writers’ Workshop, she teaches writing at Columbia University.
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- Sep 29, 12:00 pm IWP Panel Discussion Series: "Writing the Not-Self" Location: Iowa City Public Library , Meeting Room A -->
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...and the winner of Argentine’s 2023 Premio de novela Sara Gallardo is Derroche [Waste] by Maria Sonia Cristoff .
Yamila Bêgné and María Sonia Cristoff are among the finalists for the 2 023 Premio Nacional de Novela Sara Gallardo, awarded by Argentine’s Ministry of Culture.
On the just-out longlist of the 2023 National Book Award for Translated Literature are Khaled Khalifa ’s No One Prayed Over Their Graves (trs. Leri Price, from the Arabic) and Pilar Quintana’ s Abyss (trs. Lisa Dillman, from the Spanish).
A giant of Indian English poetry, the author, translator, and scholar Jayanta Mahapatra , passed away on August 27, 2023. Here is a lovely interview with him by poet Sridala Swami .
Featured in Interlink’s “Celebrating Women in Translation Month”: novels in translation by alum and colleague Iman Humaydan and “the Virginia Wolf of Palestinian literature” Sahar Khalifeh .
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About Creative Writing
Passionate about creative writing? This certificate offers an interdisciplinary approach to creative expression and provides excellent preparation for a job in the publishing industry or a degree in creative writing.
Many courses are UC/CSU transferable, and some fulfill general education requirements for CSU. The Creative Writing program offers many benefits, such as discovering your voice through artistic expression, participating in a writers’ community, and gaining experience designing, editing, and publishing our student-run literary and visual arts magazine, Forum , that serves the City College of San Francisco community, greater Bay Area, and beyond. We also host public events including our Visiting Writers Series and our community-based reading series and open mic, LitNight .
Explore Potential Careers
Studying Creative Writing can lead to a variety of different jobs or career paths. Below are just some of the many options you will have:
- Social Media Manager
- Grant Writer or Technical Writer
Click on the certificate to see a sample map of courses to take to complete your goal from start to finish.
Please note that the course maps provided are just an example to help you get started. Please meet with a counselor to personalize the plan to you and your Academic goals.
View Requirements in College Catalog
Total Units: 9
The program coursework you complete at City College will satisfy lower-division requirements for related majors at several colleges and universities. Start planning your transfer by exploring English programs at the following institutions:
- San Francisco State University
- UC Berkeley
- UC Santa Cruz
- Mills College
- California College of the Arts
Have questions about transfer? Visit the Transfer Center for help, transfer information, and/or to speak with college representatives.
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Creative Writing Contacts
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French Journal of English Studies
Home Numéros 59 1 - Tisser les liens : voyager, e... 36 Views of Moscow Mountain: Teac...
36 Views of Moscow Mountain: Teaching Travel Writing and Mindfulness in the Tradition of Hokusai and Thoreau
L'auteur américain Henry David Thoreau est un écrivain du voyage qui a rarement quitté sa ville natale de Concorde, Massachusetts, où il a vécu de 1817 à 1862. Son approche du "voyage" consiste à accorder une profonde attention à son environnement ordinaire et à voir le monde à partir de perspectives multiples, comme il l'explique avec subtilité dans Walden (1854). Inspiré par Thoreau et par la célèbre série de gravures du peintre d'estampes japonais Katsushika Hokusai, intitulée 36 vues du Mt. Fuji (1830-32), j'ai fait un cours sur "L'écriture thoreauvienne du voyage" à l'Université de l'Idaho, que j'appelle 36 vues des montagnes de Moscow: ou, Faire un grand voyage — l'esprit et le carnet ouvert — dans un petit lieu . Cet article explore la philosophie et les stratégies pédagogiques de ce cours, qui tente de partager avec les étudiants les vertus d'un regard neuf sur le monde, avec les yeux vraiment ouverts, avec le regard d'un voyageur, en "faisant un grand voyage" à Moscow, Idaho. Les étudiants affinent aussi leurs compétences d'écriture et apprennent les traditions littéraires et artistiques associées au voyage et au sens du lieu.
Keywords: , designing a writing class to foster engagement.
1 The signs at the edge of town say, "Entering Moscow, Idaho. Population 25,060." This is a small hamlet in the midst of a sea of rolling hills, where farmers grow varieties of wheat, lentils, peas, and garbanzo beans, irrigated by natural rainfall. Although the town of Moscow has a somewhat cosmopolitan feel because of the presence of the University of Idaho (with its 13,000 students and a few thousand faculty and staff members), elegant restaurants, several bookstores and music stores, and a patchwork of artsy coffee shops on Main Street, the entire mini-metropolis has only about a dozen traffic lights and a single high school. As a professor of creative writing and the environmental humanities at the university, I have long been interested in finding ways to give special focuses to my writing and literature classes that will help my students think about the circumstances of their own lives and find not only academic meaning but personal significance in our subjects. I have recently taught graduate writing workshops on such themes as "The Body" and "Crisis," but when I was given the opportunity recently to teach an undergraduate writing class on Personal and Exploratory Writing, I decided to choose a focus that would bring me—and my students—back to one of the writers who has long been of central interest to me: Henry David Thoreau.
2 One of the courses I have routinely taught during the past six years is Environmental Writing, an undergraduate class that I offer as part of the university's Semester in the Wild Program, a unique undergraduate opportunity that sends a small group of students to study five courses (Ecology, Environmental History, Environmental Writing, Outdoor Leadership and Wilderness Survival, and Wilderness Management and Policy) at a remote research station located in the middle of the largest wilderness area (the Frank Church River of No Return Wilderness) in the United States south of Alaska. In "Teaching with Wolves," a recent article about the Semester in the Wild Program, I explained that my goal in the Environmental Writing class is to help the students "synthesize their experience in the wilderness with the content of the various classes" and "to think ahead to their professional lives and their lives as engaged citizens, for which critical thinking and communication skills are so important" (325). A foundational text for the Environmental Writing class is a selection from Thoreau's personal journal, specifically the entries he made October 1-20, 1853, which I collected in the 1993 writing textbook Being in the World: An Environmental Reader for Writers . I ask the students in the Semester in the Wild Program to deeply immerse themselves in Thoreau's precise and colorful descriptions of the physical world that is immediately present to him and, in turn, to engage with their immediate encounters with the world in their wilderness location. Thoreau's entries read like this:
Oct. 4. The maples are reddening, and birches yellowing. The mouse-ear in the shade in the middle of the day, so hoary, looks as if the frost still lay on it. Well it wears the frost. Bumblebees are on the Aster undulates , and gnats are dancing in the air. Oct. 5. The howling of the wind about the house just before a storm to-night sounds extremely like a loon on the pond. How fit! Oct. 6 and 7. Windy. Elms bare. (372)
3 In thinking ahead to my class on Personal and Exploratory Writing, which would be offered on the main campus of the University of Idaho in the fall semester of 2018, I wanted to find a topic that would instill in my students the Thoreauvian spirit of visceral engagement with the world, engagement on the physical, emotional, and philosophical levels, while still allowing my students to remain in the city and live their regular lives as students. It occurred to me that part of what makes Thoreau's journal, which he maintained almost daily from 1837 (when he was twenty years old) to 1861 (just a year before his death), such a rich and elegant work is his sense of being a traveler, even when not traveling geographically.
Traveling a Good Deal in Moscow
I have traveled a good deal in Concord…. --Henry David Thoreau, Walden (1854; 4)
4 For Thoreau, one did not need to travel a substantial physical distance in order to be a traveler, in order to bring a traveler's frame of mind to daily experience. His most famous book, Walden , is well known as an account of the author's ideas and daily experiments in simple living during the two years, two months, and two days (July 4, 1845, to September 6, 1847) he spent inhabiting a simple wooden house that he built on the shore of Walden Pond, a small lake to the west of Boston, Massachusetts. Walden Pond is not a remote location—it is not out in the wilderness. It is on the edge of a small village, much like Moscow, Idaho. The concept of "traveling a good deal in Concord" is a kind of philosophical and psychological riddle. What does it mean to travel extensively in such a small place? The answer to this question is meaningful not only to teachers hoping to design writing classes in the spirit of Thoreau but to all who are interested in travel as an experience and in the literary genre of travel writing.
5 Much of Walden is an exercise in deftly establishing a playful and intellectually challenging system of synonyms, an array of words—"economy," "deliberateness," "simplicity," "dawn," "awakening," "higher laws," etc.—that all add up to powerful probing of what it means to live a mindful and attentive life in the world. "Travel" serves as a key, if subtle, metaphor for the mindful life—it is a metaphor and also, in a sense, a clue: if we can achieve the traveler's perspective without going far afield, then we might accomplish a kind of enlightenment. Thoreau's interest in mindfulness becomes clear in chapter two of Walden , "Where I Lived, and What I Lived For," in which he writes, "Morning is when I am awake and there is a dawn in me. To be awake is to be alive. I have never yet met a man who was quite awake. How could I have looked him in the face?" The latter question implies the author's feeling that he is himself merely evolving as an awakened individual, not yet fully awake, or mindful, in his efforts to live "a poetic or divine life" (90). Thoreau proceeds to assert that "We must learn to reawaken and keep ourselves awake, not by mechanical aids, but by an infinite expectation of the dawn…. I know of no more encouraging fact than the unquestionable ability of man to elevate his life by a conscious endeavor" (90). Just what this endeavor might be is not immediately spelled out in the text, but the author does quickly point out the value of focusing on only a few activities or ideas at a time, so as not to let our lives be "frittered away by detail." He writes: "Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; … and keep your accounts on your thumb nail" (91). The strong emphasis in the crucial second chapter of Walden is on the importance of waking up and living deliberately through a conscious effort to engage in particular activities that support such awakening. It occurs to me that "travel," or simply making one's way through town with the mindset of a traveler, could be one of these activities.
6 It is in the final chapter of the book, titled "Conclusion," that Thoreau makes clear the relationship between travel and living an attentive life. He begins the chapter by cataloguing the various physical locales throughout North America or around the world to which one might travel—Canada, Ohio, Colorado, and even Tierra del Fuego. But Thoreau states: "Our voyaging is only great-circle sailing, and the doctors prescribe for diseases of the skin merely. One hastens to Southern Africa to chase the giraffe; but surely that is not the game he would be after." What comes next is brief quotation from the seventeenth-century English poet William Habbington (but presented anonymously in Thoreau's text), which might be one of the most significant passages in the entire book:
Direct your eye sight inward, and you'll find A thousand regions in your mind Yet undiscovered. Travel them, and be Expert in home-cosmography. (320)
7 This admonition to travel the mysterious territory of one's own mind and master the strange cosmos of the self is actually a challenge to the reader—and probably to the author himself—to focus on self-reflection and small-scale, local movement as if such activities were akin to exploration on a grand, planetary scale. What is really at issue here is not the physical distance of one's journey, but the mental flexibility of one's approach to the world, one's ability to look at the world with a fresh, estranged point of view. Soon after his discussion of the virtues of interior travel, Thoreau explains why he left his simple home at Walden Pond after a few years of experimental living there, writing, "It is remarkable how easily and insensibly we fall into a particular route, and make a beaten track for ourselves" (323). In other words, no matter what we're doing in life, we can fall into a "beaten track" if we're not careful, thus failing to stay "awake."
8 As I thought about my writing class at the University of Idaho, I wondered how I might design a series of readings and writing exercises for university students that would somehow emulate the Thoreauvian objective of achieving ultra-mindfulness in a local environment. One of the greatest challenges in designing such a class is the fact that it took Thoreau himself many years to develop an attentiveness to his environment and his own emotional rhythms and an efficiency of expression that would enable him to describe such travel-without-travel, and I would have only sixteen weeks to achieve this with my own students. The first task, I decided, was to invite my students into the essential philosophical stance of the class, and I did this by asking my students to read the opening chapter of Walden ("Economy") in which he talks about traveling "a good deal" in his small New England village as well as the second chapter and the conclusion, which reveal the author's enthusiasm (some might even say obsession ) for trying to achieve an awakened condition and which, in the end, suggest that waking up to the meaning of one's life in the world might be best accomplished by attempting the paradoxical feat of becoming "expert in home-cosmography." As I stated it among the objectives for my course titled 36 Views of Moscow Mountain: Or, Traveling a Good Deal—with Open Minds and Notebooks—in a Small Place , one of our goals together (along with practicing nonfiction writing skills and learning about the genre of travel writing) would be to "Cultivate a ‘Thoreauvian' way of appreciating the subtleties of the ordinary world."
Windy. Elms Bare.
9 For me, the elegance and heightened sensitivity of Thoreau's engagement with place is most movingly exemplified in his journal, especially in the 1850s after he's mastered the art of observation and nuanced, efficient description of specific natural phenomena and environmental conditions. His early entries in the journal are abstract mini-essays on such topics as truth, beauty, and "The Poet," but over time the journal notations become so immersed in the direct experience of the more-than-human world, in daily sensory experiences, that the pronoun "I" even drops out of many of these records. Lawrence Buell aptly describes this Thoreauvian mode of expression as "self-relinquishment" (156) in his 1995 book The Environmental Imagination , suggesting such writing "question[s] the authority of the superintending consciousness. As such, it opens up the prospect of a thoroughgoing perceptual breakthrough, suggesting the possibility of a more ecocentric state of being than most of us have dreamed of" (144-45). By the time Thoreau wrote "Windy. Elms bare" (372) as his single entry for October 6 and 7, 1853, he had entered what we might call an "ecocentric zone of consciousness" in his work, attaining the ability to channel his complex perceptions of season change (including meteorology and botany and even his own emotional state) into brief, evocative prose.
10 I certainly do not expect my students to be able to do such writing after only a brief introduction to the course and to Thoreau's own methods of journal writing, but after laying the foundation of the Thoreauvian philosophy of nearby travel and explaining to my students what I call the "building blocks of the personal essay" (description, narration, and exposition), I ask them to engage in a preliminary journal-writing exercise that involves preparing five journal entries, each "a paragraph or two in length," that offer detailed physical descriptions of ordinary phenomena from their lives (plants, birds, buildings, street signs, people, food, etc.), emphasizing shape, color, movement or change, shadow, and sometimes sound, smell, taste, and/or touch. The goal of the journal entries, I tell the students, is to begin to get them thinking about close observation, vivid descriptive language, and the potential to give their later essays in the class an effective texture by balancing more abstract information and ideas with evocative descriptive passages and storytelling.
11 I am currently teaching this class, and I am writing this article in early September, as we are entering the fourth week of the semester. The students have just completed the journal-writing exercise and are now preparing to write the first of five brief essays on different aspects of Moscow that will eventually be braided together, as discrete sections of the longer piece, into a full-scale literary essay about Moscow, Idaho, from the perspective of a traveler. For the journal exercise, my students wrote some rather remarkable descriptive statements, which I think bodes well for their upcoming work. One student, Elizabeth Isakson, wrote stunning journal descriptions of a cup of coffee, her own feet, a lemon, a basil leaf, and a patch of grass. For instance, she wrote:
Steaming hot liquid poured into a mug. No cream, just black. Yet it appears the same brown as excretion. The texture tells another story with meniscus that fades from clear to gold and again brown. The smell is intoxicating for those who are addicted. Sweetness fills the nostrils; bitterness rushes over the tongue. The contrast somehow complements itself. Earthy undertones flower up, yet this beverage is much more satisfying than dirt. When the mug runs dry, specks of dark grounds remain swimming in the sunken meniscus. Steam no longer rises because energy has found a new home.
12 For the grassy lawn, she wrote:
Calico with shades of green, the grass is yellowing. Once vibrant, it's now speckled with straw. Sticking out are tall, seeding dandelions. Still some dips in the ground have maintained thick, soft patches of green. The light dances along falling down from the trees above, creating a stained-glass appearance made from various green shades. The individual blades are stiff enough to stand erect, but they will yield to even slight forces of wind or pressure. Made from several long strands seemingly fused together, some blades fray at the end, appearing brittle. But they do not simply break off; they hold fast to the blade to which they belong.
13 The point of this journal writing is for the students to look closely enough at ordinary reality to feel estranged from it, as if they have never before encountered (or attempted to describe) a cup of coffee or a field of grass—or a lemon or a basil leaf or their own body. Thus, the Thoreauvian objective of practicing home-cosmography begins to take shape. The familiar becomes exotic, note-worthy, and strangely beautiful, just as it often does for the geographical travel writer, whose adventures occur far away from where she or he normally lives. Travel, in a sense, is an antidote to complacency, to over-familiarity. But the premise of my class in Thoreauvian travel writing is that a slight shift of perspective can overcome the complacency we might naturally feel in our home surroundings. To accomplish this we need a certain degree of disorientation. This is the next challenge for our class.
The Blessing of Being Lost
14 Most of us take great pains to "get oriented" and "know where we're going," whether this is while running our daily errands or when thinking about the essential trajectories of our lives. We're often instructed by anxious parents to develop a sense of purpose and a sense of direction, if only for the sake of basic safety. But the traveler operates according to a somewhat different set of priorities, perhaps, elevating adventure and insight above basic comfort and security, at least to some degree. This certainly seems to be the case for the Thoreauvian traveler, or for Thoreau himself. In Walden , he writes:
…not until we are completely lost, or turned round,--for a man needs only be turned round once with his eyes shut in this world to be lost,--do we appreciate the vastness and strangeness of Nature. Every man has to learn the points of compass again as often as he awakes, whether from sleep or any abstraction. Not till we are lost, in other words, not till we have lost the world, do we begin to find ourselves, and realize where we are and the infinite extent of our relations. (171)
15 I could explicate this passage at length, but that's not really my purpose here. I read this as a celebration of salutary disorientation, of the potential to be lost in such a way as to deepen one's ability to pay attention to oneself and one's surroundings, natural and otherwise. If travel is to a great degree an experience uniquely capable of triggering attentiveness to our own physical and psychological condition, to other cultures and the minds and needs of other people, and to a million small details of our environment that we might take for granted at home but that accrue special significance when we're away, I would argue that much of this attentiveness is owed to the sense of being lost, even the fear of being lost, that often happens when we leave our normal habitat.
16 So in my class I try to help my students "get lost" in a positive way. Here in Moscow, the major local landmark is a place called Moscow Mountain, a forested ridge of land just north of town, running approximately twenty kilometers to the east of the city. Moscow "Mountain" does not really have a single, distinctive peak like a typical mountain—it is, as I say, more of a ridge than a pinnacle. When I began contemplating this class on Thoreauvian travel writing, the central concepts I had in mind were Thoreau's notion of traveling a good deal in Concord and also the idea of looking at a specific place from many different angles. The latter idea is not only Thoreauvian, but perhaps well captured in the eighteen-century Japanese artist Katsushika Hokusai's series of woodblock prints known as 36 Views of Mt. Fuji , which offers an array of different angles on the mountain itself and on other landscape features (lakes, the sea, forests, clouds, trees, wind) and human behavior which is represented in many of the prints, often with Mt. Fuji in the distant background or off to the side. In fact, I imagine Hokusai's approach to representing Mt. Fuji as so important to the concept of this travel writing class that I call the class "36 Views of Moscow Mountain," symbolizing the multiple approaches I'll be asking my students to take in contemplating and describing not only Moscow Mountain itself, but the culture and landscape and the essential experience of Moscow the town. The idea of using Hokusai's series of prints as a focal point of this class came to me, in part, from reading American studies scholar Cathy Davidson's 36 Views of Mount Fuji: On Finding Myself in Japan , a memoir that offers sixteen short essays about different facets of her life as a visiting professor in that island nation.
17 The first of five brief essays my students will prepare for the class is what I'm calling a "Moscow Mountain descriptive essay," building upon the small descriptive journal entries they've written recently. In this case, though, I am asking the students to describe the shapes and colors of the Moscow Mountain ridge, while also telling a brief story or two about their observations of the mountain, either by visiting the mountain itself to take a walk or a bike ride or by explaining how they glimpse portions of the darkly forested ridge in the distance while walking around the University of Idaho campus or doing things in town. In preparation for the Moscow Mountain essays, we read several essays or book chapters that emphasize "organizing principles" in writing, often the use of particular landscape features, such as trees or mountains, as a literary focal point. For instance, in David Gessner's "Soaring with Castro," from his 2007 book Soaring with Fidel: An Osprey Odyssey from Cape Cod to Cuba and Beyond , he not only refers to La Gran Piedra (a small mountain in southeastern Cuba) as a narrative focal point, but to the osprey, or fish eagle, itself and its migratory journey as an organizing principle for his literary project (203). Likewise, in his essay "I Climb a Tree and Become Dissatisfied with My Lot," Chicago author Leonard Dubkin writes about his decision, as a newly fired journalist, to climb up a tree in Chicago's Lincoln Park to observe and listen to the birds that gather in the green branches in the evening, despite the fact that most adults would consider this a strange and inappropriate activity. We also looked at several of Hokusai's woodblock prints and analyzed these together in class, trying to determine how the mountain served as an organizing principle for each print or whether there were other key features of the prints—clouds, ocean waves, hats and pieces of paper floating in the wind, humans bent over in labor—that dominate the images, with Fuji looking on in the distance.
18 I asked my students to think of Hokusai's representations of Mt. Fuji as aesthetic models, or metaphors, for what they might try to do in their brief (2-3 pages) literary essays about Moscow Mountain. What I soon discovered was that many of my students, even students who have spent their entire lives in Moscow, either were not aware of Moscow Mountain at all or had never actually set foot on the mountain. So we spent half an hour during one class session, walking to a vantage point on the university campus, where I could point out where the mountain is and we could discuss how one might begin to write about such a landscape feature in a literary essay. Although I had thought of the essay describing the mountain as a way of encouraging the students to think about a familiar landscape as an orienting device, I quickly learned that this will be a rather challenging exercise for many of the students, as it will force them to think about an object or a place that is easily visible during their ordinary lives, but that they typically ignore. Paying attention to the mountain, the ridge, will compel them to reorient themselves in this city and think about a background landscape feature that they've been taking for granted until now. I think of this as an act of disorientation or being lost—a process of rethinking their own presence in this town that has a nearby mountain that most of them seldom think about. I believe Thoreau would consider this a good, healthy experience, a way of being present anew in a familiar place.
36 Views—Or, When You Invert Your Head
19 Another key aspect of Hokusai's visual project and Thoreau's literary project is the idea of changing perspective. One can view Mt. Fuji from 36 different points of views, or from thousands of different perspectives, and it is never quite the same place—every perspective is original, fresh, mind-expanding. The impulse to shift perspective in pursuit of mindfulness is also ever-present in Thoreau's work, particularly in his personal journal and in Walden . This idea is particularly evident, to me, in the chapter of Walden titled "The Ponds," where he writes:
Standing on the smooth sandy beach at the east end of the pond, in a calm September afternoon, when a slight haze makes the opposite shore line indistinct, I have seen whence came the expression, "the glassy surface of a lake." When you invert your head, it looks like a thread of finest gossamer stretched across the valley, and gleaming against the distinct pine woods, separating one stratum of the atmosphere from another. (186)
20 Elsewhere in the chapter, Thoreau describes the view of the pond from the top of nearby hills and the shapes and colors of pebbles in the water when viewed from close up. He chances physical perspective again and again throughout the chapter, but it is in the act of looking upside down, actually suggesting that one might invert one's head, that he most vividly conveys the idea of looking at the world in different ways in order to be lost and awakened, just as the traveler to a distant land might feel lost and invigorated by such exposure to an unknown place.
21 After asking students to write their first essay about Moscow Mountain, I give them four additional short essays to write, each two to four pages long. We read short examples of place-based essays, some of them explicitly related to travel, and then the students work on their own essays on similar topics. The second short essay is about food—I call this the "Moscow Meal" essay. We read the final chapter of Michael Pollan's The Omnivore's Dilemma (2006), "The Perfect Meal," and Anthony Bourdain's chapter "Where Cooks Come From" in the book A Cook's Tour (2001) are two of the works we study in preparation for the food essay. The three remaining short essays including a "Moscow People" essay (exploring local characters are important facets of the place), a more philosophical essay about "the concept of Moscow," and a final "Moscow Encounter" essay that tells the story of a dramatic moment of interaction with a person, an animal, a memorable thing to eat or drink, a sunset, or something else. Along the way, we read the work of Wendell Berry, Joan Didion, Barbara Kingsolver, Kim Stafford, Paul Theroux, and other authors. Before each small essay is due, we spend a class session holding small-group workshops, allowing the students to discuss their essays-in-progress with each other and share portions of their manuscripts. The idea is that they will learn about writing even by talking with each other about their essays. In addition to writing about Moscow from various angles, they will learn about additional points of view by considering the angles of insight developed by their fellow students. All of this is the writerly equivalent of "inverting [their] heads."
Beneath the Smooth Skin of Place
22 Aside from Thoreau's writing and Hokusai's images, perhaps the most important writer to provide inspiration for this class is Indiana-based essayist Scott Russell Sanders. Shortly after introducing the students to Thoreau's key ideas in Walden and to the richness of his descriptive writing in the journal, I ask them to read his essay "Buckeye," which first appeared in Sanders's Writing from the Center (1995). "Buckeye" demonstrates the elegant braiding together of descriptive, narrative, and expository/reflective prose, and it also offers a strong argument about the importance of creating literature and art about place—what he refers to as "shared lore" (5)—as a way of articulating the meaning of a place and potentially saving places that would otherwise be exploited for resources, flooded behind dams, or otherwise neglected or damaged. The essay uses many of the essential literary devices, ranging from dialogue to narrative scenes, that I hope my students will practice in their own essays, while also offering a vivid argument in support of the kind of place-based writing the students are working on.
23 Another vital aspect of our work together in this class is the effort to capture the wonderful idiosyncrasies of this place, akin to the idiosyncrasies of any place that we examine closely enough to reveal its unique personality. Sanders's essay "Beneath the Smooth Skin of America," which we study together in Week 9 of the course, addresses this topic poignantly. The author challenges readers to learn the "durable realities" of the places where they live, the details of "watershed, biome, habitat, food-chain, climate, topography, ecosystem and the areas defined by these natural features they call bioregions" (17). "The earth," he writes, "needs fewer tourists and more inhabitants" (16). By Week 9 of the semester, the students have written about Moscow Mountain, about local food, and about local characters, and they are ready at this point to reflect on some of the more philosophical dimensions of living in a small academic village surrounded by farmland and beyond that surrounded by the Cascade mountain range to the West and the Rockies to the East. "We need a richer vocabulary of place" (18), urges Sanders. By this point in the semester, by reading various examples of place-based writing and by practicing their own powers of observation and expression, my students will, I hope, have developed a somewhat richer vocabulary to describe their own experiences in this specific place, a place they've been trying to explore with "open minds and notebooks." Sanders argues that
if we pay attention, we begin to notice patterns in the local landscape. Perceiving those patterns, acquiring names and theories and stories for them, we cease to be tourists and become inhabitants. The bioregional consciousness I am talking about means bearing your place in mind, keeping track of its condition and needs, committing yourself to its care. (18)
24 Many of my students will spend only four or five years in Moscow, long enough to earn a degree before moving back to their hometowns or journeying out into the world in pursuit of jobs or further education. Moscow will be a waystation for some of these student writers, not a permanent home. Yet I am hoping that this semester-long experiment in Thoreauvian attentiveness and place-based writing will infect these young people with both the bioregional consciousness Sanders describes and a broader fascination with place, including the cultural (yes, the human ) dimensions of this and any other place. I feel such a mindfulness will enrich the lives of my students, whether they remain here or move to any other location on the planet or many such locations in succession.
25 Toward the end of "Beneath the Smooth Skin of America," Sanders tells the story of encountering a father with two young daughters near a city park in Bloomington, Indiana, where he lives. Sanders is "grazing" on wild mulberries from a neighborhood tree, and the girls are keen to join him in savoring the local fruit. But their father pulls them away, stating, "Thank you very much, but we never eat anything that grows wild. Never ever." To this Sanders responds: "If you hold by that rule, you will not get sick from eating poison berries, but neither will you be nourished from eating sweet ones. Why not learn to distinguish one from the other? Why feed belly and mind only from packages?" (19-20). By looking at Moscow Mountain—and at Moscow, Idaho, more broadly—from numerous points of view, my students, I hope, will nourish their own bellies and minds with the wild fruit and ideas of this place. I say this while chewing a tart, juicy, and, yes, slightly sweet plum that I pulled from a feral tree in my own Moscow neighborhood yesterday, an emblem of engagement, of being here.
BUELL, Lawrence, The Environmental Imagination: Thoreau, Nature Writing, and the Formation of American Culture , Harvard University Press, 1995.
DAVIDSON, Cathy, 36 Views of Mount Fuji: On Finding Myself in Japan , Duke University Press, 2006.
DUBKIN, Leonard, "I Climb a Tree and Become Dissatisfied with My Lot." Enchanted Streets: The Unlikely Adventures of an Urban Nature Lover , Little, Brown and Company, 1947, 34-42.
GESSNER, David, Soaring with Fidel: An Osprey Odyssey from Cape Cod to Cuba and Beyond , Beacon, 2007.
ISAKSON, Elizabeth, "Journals." Assignment for 36 Views of Moscow Mountain (English 208), University of Idaho, Fall 2018.
SANDERS, Scott Russell, "Buckeye" and "Beneath the Smooth Skin of America." Writing from the Center , Indiana University Press, 1995, pp. 1-8, 9-21.
SLOVIC, Scott, "Teaching with Wolves", Western American Literature 52.3 (Fall 2017): 323-31.
THOREAU, Henry David, "October 1-20, 1853", Being in the World: An Environmental Reader for Writers , edited by Scott H. Slovic and Terrell F. Dixon, Macmillan, 1993, 371-75.
THOREAU, Henry David, Walden . 1854. Princeton University Press, 1971.
Scott Slovic , “ 36 Views of Moscow Mountain: Teaching Travel Writing and Mindfulness in the Tradition of Hokusai and Thoreau ” , Caliban , 59 | 2018, 41-54.
Scott Slovic , “ 36 Views of Moscow Mountain: Teaching Travel Writing and Mindfulness in the Tradition of Hokusai and Thoreau ” , Caliban [Online], 59 | 2018, Online since 01 June 2018 , connection on 28 September 2023 . URL : http://journals.openedition.org/caliban/3688; DOI : https://doi.org/10.4000/caliban.3688
About the author
University of Idaho Scott Slovic is University Distinguished Professor of Environmental Humanities at the University of Idaho, USA. The author and editor of many books and articles, he edited the journal ISLE: Interdisciplinary Studies in Literature and Environment from 1995 to 2020. His latest coedited book is The Routledge Handbook of Ecocriticism and Environmental Communication (2019).
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102 English teachers are available for private English lessons in Moscow, in-person or online English classes. + Read more TUTOROO now works with 102 private English tutors available for in-person or for online private English classes. You can browse through the tutor profiles below to contact your preferred private tutor. We will introduce you to another private English teacher in the event the tutor you've inquired for is not available or cannot accommodate your needs. Pick your private English tutor and start learning English today! - Read less
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I am a lawyer and businessman. I am married and have a grown up daughter. I majored in English and Economic History at University for my BA degree and then completed the LLB degree in law. I have subsequently completed courses through Global TEFL. I have their Master's Course in Teaching English as a foreign language and also a course in teaching Business English. I have been teaching Russian Businessmen for more than two years now. We meet weekly and have general discussions about work and life. World affairs, local affairs, families and life in general. I correct pronunciation and grammar. I have mentored many students on everything from marketing to budgeting. I am particularly skilled in Business Etiquette from running meetings to the correct table etiquette for a formal dinner.
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** ONLINE ONLY ** Hello, my name is Simon, I was born in New Zealand but spent half of my life in England. I speak with a mixture of British English and New Zealand English accents, but most people think I'm from the UK. I have been an English teacher since 2005, studying at St Giles college in Brighton, receiving the Cambridge CELTA certificate in Teaching English. I have taught English in a number of different countries and have spent the last three years teaching English online. I specialize in helping my students prepare for exams such as IELTS, TOEFL, TOEIC, MSU, and other international proficiency-level exams. I like to help my student become more confident with their speaking skills and improve their writing skills to get the best results in their exams. I like to make learning fun, so we can work on improving our written and spoken answers together. Please note, I am only offering lessons online, but we can work out which platform suits us best :)
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My name is Robier, I am an Egyptian living in Moscow for studying my Master's degree in Social sciences, I am passionate about teaching English, especially to Russians, as I know that not so many Russians can speak English well and are always afraid to speak this language, so I would like to help in improving the English language level for them. I volunteered in an English teaching project before in Omsk, and I conducted English lessons for students in schools and for kids in a camp there.
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ONLINE LESSONS ONLY - Hello, I'm Rick from Sheffield in England. I have a university degree and a TEFL certificate. I am an enthusiastic and friendly English teacher with over 10 years of experience. I have experience teaching in Russia, Italy and the UK. I teach general and business English but my main speciality is preparing students for IELTS, FCE & CAE exams. I always try to encourage my students to speak as much as possible as I believe this is a fundamental step in learning a language. After all, if you can't speak, you can't communicate. If you want an interesting approach to teaching then I'm the teacher for you. *currently available for online lessons*
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4 years of experience in teaching English to Russians and other foreign students in Moscow. I'm an extrovert with high communication and listening skills. I'm pursuing master's degree in psychology at Russian State Social University, hence my profession itself would define my approach to all my clients. If you or your child, your friend or acquaintances would like to learn English quickly but effectively, then I'm your best choice and I'm not boasting, it's just honesty.
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Improve your English with a native tutor
Teacher joined in June 2020
Good day, I’m Patrik, a 24-year-old native speaker with a TEFL teaching certification with over 2.5 years of experience teaching. I'm also a graduate of Высшая школа экономикиwho with a masters degree in international business. Teaching experience as a private tutor for families (No schools): 2.5 years (Currently) English from scratch (preparing to go to England) – 8-year-old Breaking the language barrier – 11 years old (3 kids) Cambridge English program level 6 –11-year-old Cambridge English program level 4 – 8-year-old Kindergarten – 6-year-old Business English - 28- 33-year-old (Company workers) (Past) Assist Russian singer with lyrics and vocabulary Assist Russian Businessmen with business presentations for a German business trip I've worked with a wide range of students here in Moscow. Regardless of your level and needs, I'm very sure I can help you achieve it. I can provide recommendation letters and contacts
English teacher in Moscow near you
Teacher joined in August 2019
I am a native English speaker and I have a Master's degree from the Skolkovo Institute of Science and Technology (Skoltech), Moscow, Russia. I am an experienced teacher with the ability to deliver dynamic and fun lessons to both adults and kids. Engage students in active learning with excellent control. I am purposeful, responsible with a positive attitude towards my job and sociable with my colleagues at work and to my students as well. Feel free to contact me!
Learn English with a private course
Teacher joined in November 2019
I have a 150 hours TEFL/TESOL certificate from London Global Training and currently enrolled for my Master Degree in Mechanical Engineering at Moscow State Technical University Of Civil Aviation.I am a Native English Speaker and i have over 2 years class room teaching experience.
Private English classes in Moscow
Hello, I am Omkar and I can help you speak English fluently with confidence. As my previous job as a corporate trainer, I have trained over 1200 individuals in developing superior communication and presentation skills. Being a published poet myself, I can help you express yourself with grace and poise. I have had 3 years of teaching experience and have been winning many competitions in the domain of public speaking and elocutions. If you wish to develop a good accent and unlock opportunities with superior english speaking, get in touch with me!
Improve your English with private lessons
Teacher joined in February 2020
I make the English language present to you in the most natural way possible and I guarantee for results within 1 month of joining my classes or else I refund you the money which you have paid for the classes.
English tutor in Moscow near you
Hi! I'm Hamza and I'm "IELTS" QUALIFIED. I have been studying throughout in English and after teaching English for the last 8 years In different Organizations as well as private lessons. And making English learning easier in unique techniques.
Learn English with a private teacher
I am Isak, an experienced South African ESL teacher. I have taught the Cambridge program in English, Maths and Science to primary school students in China. I was also prepping high school students in China for IELTS and TOEFL tests. I gained most of my experience in a public school in China.
Private English course in Moscow
I'm Indian by origin, Born and raised In Botswana. Currently studying in Moscow. Have completed English as a First language in Cambridge IGCSE Examinations (UK). Would be delighted to help you Improve and Practice English. I enjoy teaching in more of a friendly manner rather then a professional setup to make you feel comfortable and more open. A few on my skills include: Leadership and Teamwork, Social Media Platforms, Creativity, Communication Skills, Patience ,Active Listening, Creative Problem Solving, Motivated Attitude.
Improve your English with private classes
I am a TESOL certified English teacher with more than 3 yeaars of teaching experience. I am an Experienced Teacher with a demonstrative history of teaching. I am Skilled in Publick Speaking, Research, Teamwork, Leadership and Event Management. I have a strong information technology background with a Bachelor's degree focused on the system engineering from Moscow University for Industry and Finance. I strive to meet my students' demands and need by employing different methodologies and approaches depending on their English levels to ensure effectiveness and tangible results. My teaching methodology among others includes but not limited to: Gaming, picturing, debate, group discussion, visual and audio gadgets.
English lessons in Moscow near you
Teacher joined in April 2020
My name is Robert. I live in Moscow. I am a native English teacher who has 4 years experience of teaching and tutoring individuals of all ages. I have been teaching English since 2016, delivering face-to-face lessons, Skype lessons and group lessons. I also prepare my students to IELTS, TOEFL Cambridge and etc. I have worked in language schools, kindergartens , summer schools and summer camps as an English teacher.
Learn English with a private tutor
I am friendly, enthusiastic and respectful, responsible for ensuring that students learn proper grammar, writing, and reading comprehension.I have 5 years experience and have been teaching in Russia for 3 years now, work with adults and teens. Have the experience to help students to prepare for English exams.I first get to Know my Learners and Create Conditions for Language Learning. I monitor and assess student language development. Paying attention to my students in order to help them develop is my objective.
Private English teacher in Moscow
lam called KABASWEKA DAPHINE, a female Ugandan by nationality aged 26yrs and am a nurse by profession with a qualification of a certificate. In my home country I started learning English language together with literature ifrom kindergarten till university and so am Veri fluent in English language with good communication skills to help a student learn easily. Iam currently living in moscow city in russia whea I work at an official residence of a Ugandan diplomat whea I have schedules therefore I have time to teach english language to my students. I will be grateful when you consider my request.
Improve your English with a private course
Teacher joined in March 2021
I am patient, friendly, and helpful. I help out students of different levels (from beginners to intermediate) with speaking English fluently, improve their communication and listening skills. I use different methods of teaching, which can be pictures, audio, and short videos depending on the level of the student. I guide them to building their confidence as well. I prefer my students talking more than me during the lesson because it improves their speaking skills.
Learn English online or offline with the best private English tutors . Private English lessons will be held by TUTOROO tutors directly and custom-made for your private learning needs. Learn English effectively with the help of a native speaking English tutor. Have fun learning a new language!
Find your private English tutor
TUTOROO is a website that connects you with private, in-person language tutors. We now work with 165,000 tutors in more than 150 cities. We match genuine native speakers with people who want to enhance their conversational skills in any language at their preferred place and time.
Start learning English together
The most difficult part in learning a foreign language is the practice, which can be acquired only by conversing with a native speaker. For people willing to practice foreign languages, it is difficult to find a private language tutor who lives or works in their city. TUTOROO has been designed to provide a frictionless experience while connecting tutors to students, for private in-person language lessons.
"I've studied with a native tutor for two months because I'm traveling this week. These classes helped me a lot! I loved TUTOROO and am already recommending it to my friends."
- Mark Bariche
"I found the perfect tutor for me, I became able to speak in another language and enjoyed meeting new people from other cultures. I've improved my language skills, without traveling abroad. Thanks TUTOROO!"
"Speaking in another language is no longer difficult with the help of a teacher. Getting corrections for your mistakes helps you continue to improve in each lesson."
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TUTOROO works with a community of over 4,500 private English teachers in more than 150 cities. Our English tutors help their students improve their English skills by providing them with personalised online and in-person lessons. The internet is full of helpful resources for non-native English speakers to learn English, with materials for all levels in order to improve one's vocabulary or English grammar. So why would you need to hire a private English teacher to learn English?
First, private English tutors are able to meet specific English learning needs that static online resources may not always provide. With one-on-one English lessons , you can easily progress towards English language fluency. Students can choose to focus their lessons on grammar exercises, vocabulary, pronunciation, writing, reading comprehension, speaking practice, and more.
Below are some of the benefits of learning English with an English teacher with TUTOROO:
1. Best English Tutors for Kids, Teens and Adults
One-on-one English tuition with a private English teacher allows you to have the undivided attention you deserve. Private English classes are customised to your learning goals and your rhythm. Perhaps you are interested specifically in business English, conversational English, or private lessons for your kids - an English tutor can customise your English lessons to meet your needs and help you improve your skills thanks to real-world lessons from a native speaker.
When you learn English with a TUTOROO tutor, you get direct answers to all of your questions, this helps you improve your language skills faster in areas you struggle with, from pronunciation and vocabulary to other grammar issues. A private English teacher can immediately identify your mistakes and correct your inaccuracies. You get to ask direct questions when things aren't clear and obtain immediate answers from them.
For example, for non-native English speakers, the English language can sometimes be contradictory. For example, the 'ch' in 'chair' is pronounced differently from the 'ch' in 'chiffon'. The 'th' in 'thumb' is pronounced differently from the 'th' in 'that'. A private English teacher can help you avoid these common pitfalls to achieve English language success and gain strong English communication skills.
In a nutshell, learning English with a TUTOROO tutor is much more fun and interesting than just watching online videos or learning online through tutorials. You may now improve your English skills with our online and in-person private tutors. We actually help students from around the world improve their English skills.
Get started today and start improving your English language skills with a private English teacher now!
2. Learning English From Scratch
Everyone learns a new language at a different pace and some even start learning from scratch and have no previous knowledge of the new language they wish to learn. One may be great at English grammar but be struggling over pronunciation, or at the contrary excel in conversational English but struggle with reading and writing. In a group class, the tutor will move on if the majority of the class understands. With one-on-one private English courses , your English teacher works at the pace you are comfortable with, and can also adapt their teaching methods for you.
3. Working Around Your Schedule
Unusual scheduling needs? Preparing for an English proficiency test? Need intensive English classes ? No problem, you can work with your TUTOROO English teacher to find a timing and frequency that suits you for your English tuition. With a private tutor, you can take classes according to your schedule. Improve your English skills by learning from native speakers. This way, you're 100% flexible.
When you learn English with a teacher, you get flexibility, customised lessons and you get to meet a bright and interesting person: your new private tutor!
Why Learning English?
English is one of the most widely spoken languages in the world, it is also used as a second language by millions of people around the globe. English has been used as an international language since the 17th century.
The English Language is recognised as the official language in about 67 different countries. Additionally, more than 27 non-sovereign entities regularly use English as an administrative or conversational language. It is the official language of many world institutions like NATO, the European Union and the United Nations. Close to a third of the world's population (some 2 billion people) now use English, giving it the position of a global lingua franca.
With TUTOROO you may now learn English with a private English teacher in the following locations:
Is English a Difficult Language to Learn?
The English Language is regarded as one of the most difficult languages to learn for non-native English speakers. Its grammatical rules are often broken, spelling and pronunciation irregularities can even confuse native speakers. With the help of a private English teacher, you can overcome the difficulties of the English language and achieve full English language fluency. Improve your English skills now with an English tutor .
What are the Most Popular English Tests?
As a non-native English speaker, many higher education schools or universities where English is the standard language of teaching will require you to take an English proficiency test. This test is proof of your English language ability and ensures you have the necessary oral, aural and writing skills to complete your course. Don't let a language barrier stop you from achieving your dreams. Hire a private English language teacher to help you prepare for your English proficiency test.
The two most common tests are the TOEFL or IELTS :
IELTS (The International English Language Testing System) is another widely recognised English proficiency test. The test has two versions which are the academic version and the general training version. Most employers and universities worldwide accept the academic version, while the general training version is accepted by government institutions and used for immigration.
The first 3 sections of the IELTS - listening, reading and writing - lasts 2 hours 40 mins. The last component is a speaking test done in the presence of an examiner. IELTS scores range between 1 and 9 with universities requiring a minimum of 6 or 7. The minimum score is equivalent to C1 and B2 proficiency levels. You can get your IELTS results 13 days after the test and the result is valid for two years.
Although not as common as IELTS or TOEFL, CAE (Cambridge Certificate of Advanced English) and CPE (Cambridge Certificate of Proficiency in English) are often an admission requirement for UK universities. Usually, only people at an advanced English level can take CAE and CPE. They are in-depth, high-level qualifications that demonstrate an English proficiency level of C1 - 7 to 8 in IELTS or 110 to 120 in TOEFL. You can take CAE and CPE either on your computer or in person. Like the other tests, the CAE and CPE tests reading, writing, listening and speaking. The speaking section of the test will be done with another candidate to test fluency in face-to-face situations. Unlike TOEFL and IELTS, CAE and CPE certificates don't expire. The highest grade is an A and the lowest score in CAE and CPE is C, with most universities requiring a minimum of B for admission.
Can My English Tutor Prepare Me For English Proficiency Tests?
TUTOROO works with many English tutors who are available and specialised in training for some of these tests. By browsing our English private tutor profiles , you will be able to find tutors who specialise in test preparation for English proficiency tests. You are also able to contact the tutor directly with any queries and choose the private English tutor that best fits your needs.
TUTOROO only hires tutors that get the work done. By this, we mean that learners and students pass their English proficiency test after being coached by a TUTOROO private tutor.
How Soon Can I Become Fluent In English?
This must be our most popular question! With the help of a teacher and with private English lessons , learning English is much easier, quicker and more enjoyable. Of course, being motivated and focused comes in handy when learning a new language. With both online or face-to-face lessons and if you have the motivation to study a couple of hours every day, a private English teacher will help you become fluent in English in as little as 6 months!
Be patient, fluency in English is not something anyone acquires overnight. The process takes time and requires enthusiasm, that's why hiring a private tutor that can customise your English lessons to your interests and needs is important. Furthermore, face-to-face and online English lessons give you an opportunity to converse and practise your newly acquired English language skills.
Being motivated and focused comes in handy when you're learning a new language. If you have enough time to study English with a private tutor, you can become fluent in just around six months as long as you study it a couple hours a day.
In addition to studying with a TUTOROO tutor, you may want to try to get fully immersed as well once you start speaking English fluently. Being around native English speakers allows you to practise language skills you've learnt. You can also read English books, watch English speaking movies and listen to the news in English.
How Many People in the World Speak English?
Interestingly, the English language isn't the most spoken one in the world, although there are over 400 million native English speakers around the planet. English is the third most spoken language - right behind Spanish and Mandarin Chinese.
Speaking English has many advantages:
- English is a recognised language worldwide;
- English is used in many industries and speaking English fluently does increase your chances in getting a job in sectors such as aviation, science, tech, tourism and diplomacy;
- English is one of the most important languages in the corporate/business world;
- Learning English allows you to connect with people all over the world;
- Almost half of the content there is on the internet is written in English;
- Being proficient in English gives you an edge in the global job market.
Now let's find the right Private English Tutor!
How Can I Become a Private English Tutor with TUTOROO?
First and foremost, to become a TUTOROO English tutor , you have to be proficient in the English language. You must be a native English speaker or an advanced English speaker if you're a non-native speaker. While we don't require certifications from the tutors, prospective teachers are carefully vetted by our team.
Successful candidates will have their profiles set up on our website. If you are available and passionate about teaching English to non-native speakers, you can make private tutoring on TUTOROO a steady source of income. Top tutors on TUTOROO earn as much as $8,000 monthly thanks to the students we introduce them to.
Although in-person classes are more common on TUTOROO, you also have the option of tutoring online. Or it can be a mix of both, depending on what works for you and your students. The beauty of our platform is in the flexibility we offer. To address the questions prospective tutors ask, we created a FAQ section on how to become a language teacher with TUTOROO
If you feel you're a good match for the role, sign up to be a TUTOROO tutor here . You can expect to receive a response from our team within three working days.
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