FOSTIN

by E. Ciprianová

De Greef, L., Post, G., Vink, Ch., Wenting, L.: Designing Interdisciplinary Education: A Practical Handbook for University Teachers. Amsterdam University Press, 2017. 180 pp. ISBN 978 94 6298 476 9

Since the 1990s  interdisciplinarity has been at the centre of interest of educationalists, teachers and curriculum developers across various academic backgrounds. The handbook under review significantly contributes to the promotion and development of an interdisciplinary mindset of teachers and students at university level of education. It comprises eleven chapters in which the team of four experts presents the reader with their ideas on interdisciplinary teaching and learning based on twenty years of experience at the Institute of Interdisciplinary Studies at the University of Amsterdam. 

In Chapter 1 “Introduction”, the authors provide the rationale for interdisciplinarity in university education. So, what is an interdisciplinary approach all about? According to the authors, it appears as a response to an increasingly complex and interconnected modern world. Many contemporary global challenges concern all of us and require new workforce. Therefore, there is the need for raising university students as  “integrative thinkers“  (p.10) with developed “interdisciplinary thinking skills” (p.12). Interdisciplinarity arises from the necessity to find solutions to complex, real-life problems by combining insights, concepts and methods from diverse disciplines. The proposed curriculum design is based on John Biggs constructive alignment (CA), an outcomes-based approach to teaching in which students take active roles in constructing meanings connecting new knowledge with their previous experience. The handbook is primarily intended for university teachers and curriculum developers who are interested in developing and implementing an interdisciplinary approach in their classrooms. Indeed, the following ten chapters in the handbook clearly and persuasively fulfil the objectives the authors state in the Introduction.

Chapter 2 “An overview of the development stages” describes major steps in the curriculum design process, which always has to start with the creation of an interdisciplinary team of academic staff members who are willing to cooperate and cross the departmental boundaries. Their communication and collaboration skills, flexibility, creativity, empathy, and commitment constitute the foundation for success. In this chapter, the authors offer a five-staged cyclical plan involving: the analysis stage (clarifying the impact and scope of the interdisciplinary programme), the design stage (formulating the learning outcomes), the development stage (defining teaching philosophy, didactic and assessment methods), the implementation stage (interdisciplinary teaching), and the evaluation stage (evaluating and adjusting the programme).

The definition of the notion of interdisciplinarity, in comparison to the related terms “multidisciplinarity” and “transdisciplinarity”, is the starting point of Chapter 3 “Unravelling interdisciplinary understanding”. The key characteristics of interdisciplinary education are the integration of insights and methodologies from several, often disparate, disciplines to explore the same subject.  The clarification of the central concept is vital for educators to precisely formulate learning outcomes of an interdisciplinary programme or course. Above all, the understanding of the essence of interdisciplinarity serves as a precondition for putting the theoretical ideas into practice, which necessarily involves building three major skills: critical thinking, collaboration and reflection.

The next chapter, Chapter 4 “Developing the raw sketch” sets the framework for drafting an interdisciplinary programme and provides numerous examples, factors and questions to be considered by the development team. At this initial stage, the choice of a theme or a problem  relevant to the newly-designed programme takes a particular significance.

Chapter 5 “Formulating interdisciplinary outcomes” makes the concept of interdisciplinarity in university education even more tangible. Basically, in this chapter the reader will find answers to two fundamental questions regarding the skills, attitudes and knowledge an ideal graduate should possess upon the completion of the programme and how these can be turned into measurable learning outcomes of individual courses. At the course level design, the selection of content, sequencing and specific learning activities all have to be carefully taken into account to identify what will be taught and how. 

Chapter 6 “Embedding integration in the programme design” addresses the complexities of interdisciplinary curriculum development. In fact, the teams can face many challenges posed by the depth and breath of knowledge to be incorporated into teaching. This view is particularly important, and it is obvious that the authors do not try to create a false impression by presenting the synthesis of various perspectives during programme development as an easy task. On the positive side, they show the ways to cope with a variety of options and provide illustrative education formats to reach the balance between disciplinary knowledge and interdisciplinary training, and thus facilitate a successful integration and decision-making within teachersʼ teams.

Chapter 7 “Hiring and engaging faculty” leads the reader further into the process of developing interdisciplinarity in real classroom settings. Teachers are central to the effectiveness and success of any educational endeavour. In a similar vein, the authors claim that teachers “are the most important pillars of the programme” (p.92). The chapter focuses on the selection of interdisciplinary team members: highly motivated, knowledgeable professionals who possess not only knowledge of their fields but also courage to shift from their expert roles to become co-learners in the classroom environment. Other qualities, such as collaboration, enthusiasm, tolerance, and mutual respect, are indispensable in all interdisciplinary initiatives.

Chapter 8 entitled “Exploring the teaching philosophy and didactic methods” presents a statement of shared beliefs and practices as common ground for the clarification of  “what the teaching team considers as good teaching” (p.110). In order to achieve interdisciplinary understanding, priority is given to pedagogical strategies promoting authentic experience, such as collaborative and problem based-learning (PBL), for example, case studies or community service projects with the potential to create connections  among academia, science, and society. 

Following the detailed  account of designing and development of interdisciplinary curriculum, Chapter 9 discusses “Assessment of interdisciplinary learning outcomes”. In addition to outlining general criteria, the authors present four assessment forms (portfolio assessment, assessment of group work, assessment of interdisciplinary work from multiple perspectives, and student-centred assessment) which they consider most significant for evaluating the effectiveness of interdisciplinary teaching. Each of these forms merits and is given proper focus.

As the title indicates, Chapter 10 “Interdisciplinary teaching in practice” bridges the gap between curriculum design and the actual teaching of interdisciplinary classes. This chapter equips the reader with well-defined suggestions on how to create a safe learning environment and which techniques to use for enhancing interdisciplinary skills. Specifically, it focuses on reflective functioning (studentsʼ ability to reflect on their knowledge, needs and feelings), collaboration (studentsʼ ability to collaborate and communicate effectively within teams) and critical thinking. 

Having discussed the implementation, the final Chapter 11 “Programme assessment and adjustment” calls attention to the evaluation of the programme. The assessment procedures, either formal or informal, serve two main purposes: to discover whether the intended learning outcomes have been achieved and to get feedback from teachers and students revealing whether their expectations have been met. Conducting the evaluation also provides opportunities for refining, adjusting and improving the quality of the interdisciplinary programme.

In sum, the handbook succeeds in its stated mission as all chapters in a logical progression demonstrate how “interdisciplinarity lies at the heart of academic practice” (p.8). The authors tacitly assume that the reader is not a complete novice to the field of educational design, but they offer very transparent step-by-step guidance and practical advice for university educators on how to implement an interdisciplinary approach in their teaching. A concise, easy-to-follow presentation of theoretical insights and best practices is the major handbookʼs strength. It contains as many as 27 different case studies. The reader will certainly benefit from frequent checking questions for reflection, brainstorming activities accompanying individual sections, and other interactive tasks attached to the chapters. The reader-friendly approach adopted by the authors is further supported by the visual organization, the overall layout of the handbook, and the inclusion of colourful tables and diagrams. To conclude, the reviewed handbook encourages teachers, regardless of their specialties or experience, to overcome the existing individualistic, isolated, silo mentality and replace the established frameworks with collaborative efforts that are equally important for both teachers and students.

During my recent visit to the Leonardo da Vinci Museum in Venice, I was deeply inspired by the genius of this Renaissance master. As a History and English teacher, walking through the exhibits, surrounded by Leonardo’s ingenious inventions and sketches, I felt an urge to bring his creative spirit into my classroom. 
The moment I spotted the large-scale Vitruvian Man on the wall, an idea sparked — what if my students could step into Leonardo’s shoes? I immediately visualised and designed a lesson where students recreate his inventions on a smaller scale using cardboard, plaster, or textile or they trace the silhouette of a classmate to imitate the Vitruvian Man on a large piece of paper, blending art, science, and history. This hands-on activity will not only help them appreciate Leonardo’s genius but also connect historical innovation with their own creativity — a perfect way to make history come alive through language, imagination, and discovery. I left the museum determined to bring Leonardo’s inventive spirit into my classroom. His blend of art, science, and imagination sparked an idea for a creative lesson plan. Here it is: 

At the beginning of November 2025, I realised the Age of Exploration Dinner Party lesson with my third-grade students at the our bilingual grammar school. The activity was inspired by the interdisciplinary Fostin Erasmus project and adapted from its innovative textbook. Although the original lesson was designed for a 90-minute session, we worked within a 45-minute period. The main focus was on cooperation within small groups, encouraging students to combine their ideas, apply critical thinking, and use their geographical knowledge and skills creatively. The classroom quickly turned into a lively workspace where every student took responsibility for their role.

It was a truly student-centred experience—learners organised themselves efficiently and demonstrated that joy and motivation in learning naturally arise when they are given autonomy and trust. The only drawback was the lack of time for group presentations at the end. I would definitely recommend implementing this lesson in a full 90-minute block to allow for deeper discussion and sharing of outcomes. Overall, it was an inspiring and energising teaching experience.

Recently I had a wonderful seminar on Blues poetry and music baded on my project LP and the students' feedback was amazing.

I would like to share with you the experience I had when trying my lesson plan. I used it on an English lesson with the first-year students of bilingual studies. The lesson plan combines the subjects of English, History, Literature and Art and Culture in a very engaging and practical way through which students can learn a lot about the English-speaking country they are assigned as well as the countries their classmates present. Moreover, they learn a lot about geography and tourist attractions of the place, practice their speaking skills and enhance their creativity and teamwork. I also interconnected the activity with the practise of describing a place, which forms part of the English curriculum.

The objective of the lesson was to create a leaflet that would offer information about an English-speaking country that would serve for potential tourists to learn more about the place they are going to visit and in terms of the rising concept of responsible tourism, they would be better prepared for their journey.

The students were divided into the groups of three / four students, each group receiving one of the following countries: the USA, Canada, the UK: Wales, Scotland, England, Northern Ireland; Ireland, New Zealand and Australia. They represented a travel agency that would focus on organizing and promoting holidays of that particular destination and create an information leaflet / brochure / poster about it, containing the following information:

1)     Contact information of your travel agency and its name

2)     Brief history of the country

3)     The most interesting examples of culture and art

4)     Examples of the most famous literary works and writers

5)     Tourist attractions and places to see

6)     Things to do there

In my instructions for students, I combined possible results of both an in-person and online lesson, therefore students were free to create a leaflet on a paper or online using different platforms, for instance, Canva. I adjust pictures demonstrating my students’ hard work and creativity.

The Roaring Twenties — a decade of jazz, rebellion, and glittering illusion — continues to fascinate readers and learners alike. In literature, it’s more than just a historical backdrop; it’s a living, breathing force that shapes the mood, the atmosphere, and even the characters themselves. This wonderful lesson plan from our Erasmus colleague Bökös Borbála invites students to step into the rhythm of the 1920s and explore how writers of the period used its energy and contradictions to shape unforgettable stories.

The 1920s were marked by transformation — post-war optimism, rapid industrial growth, and a cultural revolution that saw traditional values collide with modern ambitions. In novels like The Great Gatsby, the era itself becomes a character. The glitter of parties, the rhythm of jazz, and the restless pursuit of pleasure all create an atmosphere of both excitement and emptiness.

Students began by identifying key elements of the Roaring Twenties such as social change, economic boom, cultural vibrancy, moral ambiguity, and the pursuit of the American Dream

Through these elements, learners examined how writers use setting, imagery, and tone to build a distinctive mood — one that swings between dazzling vitality and deep melancholy.

Through close reading, discussion, and creative analysis, students considered how language choices evoke emotion: the rhythm of sentences, the symbolism of light and shadow, and the contrast between wealth and isolation.

Students then proceeded to create mood boards which reflected their undertanding of the period and helped them feel the 1920s rather than simply study it.

By the end, students didn’t just understand the period — they experienced how atmosphere shapes identity and emotion in literature.

In a world where advertising shapes much of what we see, buy, and even believe, commercial campaigns have tremendous power. They can reinforce outdated norms — or challenge them. Today, more brands are realizing that their influence can go beyond selling products; they can help redefine what equality looks like. Planning a campaign to challenge gender stereotypes is not just good ethics — it’s good business.

Traditional advertising has long portrayed men as strong, decisive, and career-driven, while women are often shown as nurturing, emotional, or confined to domestic spaces. Such portrayals subtly dictate what society expects from each gender. 

Breaking these stereotypes means recognizing how they limit real people. When a campaign highlights men as caregivers or women as leaders, it challenges assumptions and encourages inclusion.

Challenging gender stereotypes in advertising is not about being politically correct — it’s about being human. Campaigns that promote equality and inclusivity don’t just reshape public perception; they build stronger brands. Advertising has the power to reflect a more equal, diverse, and inspiring world.

The Salem witch trials of 1692 remain one of the darkest chapters in early American history — a time when fear eclipsed reason, and hysteria was weaponized against the vulnerable. Yet, the deeper tragedy of Salem isn’t only about superstition or religious zeal. It’s about how societies, past and present, create systems that justify persecution in the name of purity, safety, or order.

🕯️ The Salem Witch Trials: Fear as a Social Weapon

In colonial Massachusetts, over 200 people were accused of witchcraft, and 20 were executed. These events were fueled by paranoia, misogyny, and a rigid Puritan belief system that saw deviation as danger. Women, especially those who were outspoken, independent, or poor, were disproportionately targeted. Their persecution wasn’t random — it was systematic, reflecting deep-seated fears about power, gender, and control.

The witch trials ended, but their legacy didn’t. Salem revealed how easily a community can turn on itself when authority, fear, and moral panic converge.

📱 Modern-Day Witch Hunts

The witch hunts of the 17th century may have ended, but their digital descendants thrive. Today, social media trials can destroy reputations overnight. Cancel culture, misinformation campaigns, and moral outrage cycles mirror the same psychological mechanisms as Salem — fear, conformity, and the rush to judgment.

What if The Great Gatsby characters lived in the 21st century? How would they express their desires, secrets, and illusions online?
In this creative classroom project, students bring F. Scott Fitzgerald’s timeless characters to life by designing fictional social media profiles that reflect their personalities, relationships, and moral complexities.

This activity deepens analytical reading skills, encourages creative writing, and strengthens digital literacy—all while making classic literature come alive.

💡 The Project at a Glance

Students analyzed The Great Gatsby through a modern lens.
Each group created a social media profile for a chosen character—complete with bios, posts, images, hashtags, and interactions with other characters.

The goal?
To understand each character’s motivations, relationships, and contradictions by imagining how they’d present themselves online.

By stepping into the digital shoes of Fitzgerald’s characters, students discover how timeless themes—wealth, love, illusion, and morality—can be expressed in today’s virtual world.

As students scroll through Gatsby’s glamorous posts and Daisy’s filtered melancholy, they see that beneath the hashtags and glitz lies the same question Fitzgerald posed a century ago:

What is the cost of chasing the American Dream?

In The Great Gatsby, every character performs a version of themselves—carefully constructed, polished, and projected outward to be admired. Through this project, students begin to recognize that these performances aren’t confined to the 1920s. The way Gatsby hosts parties to be noticed isn’t so different from how modern influencers post for validation. By transforming these literary characters into digital personas, students are challenged to think critically about appearance versus reality, authenticity versus performance, and the illusion of connection. The social media profiles become more than creative assignments—they’re mirrors reflecting how identity is shaped, edited, and consumed, both then and now.

In today’s globally connected world, literature gives us a powerful way to step into someone else’s shoes and experience life from a new perspective. 

The students began an exciting journey into cross-cultural literature — exploring how stories, poems, and voices from different corners of the world reveal the beauty and diversity of human experience.

The lesson began with an introduction to the concept of cross-cultural literature. Students discussed how authors express their cultural identity through language, imagery, and themes — and how literature can both preserve tradition and challenge cultural norms. From ancient folktales to modern verse, the class explored how stories act as bridges between people and places, inviting readers to see the world through fresh eyes.

Exploring Cultural Voices

African Folklore:
We began our exploration with the African folktale “Why the Sun and the Moon Live in the Sky.” Students listened as the story unfolded, learning how traditional African storytelling uses myth to explain natural phenomena and convey moral lessons. The tale sparked discussion about the importance of oral traditions and how myths connect communities through shared understanding.

Japanese Haiku:
Next, we traveled to Japan through the delicate words of Matsuo Bashō’s haikus. Students examined how these short, nature-inspired poems capture fleeting moments of beauty and emotion. The class discussed the role of simplicity and silence in Japanese art and how haikus encourage mindfulness — an appreciation for the present moment.

Latin American Magical Realism:
Finally, we entered the vivid world of Gabriel García Márquez’s One Hundred Years of Solitude. Students read an excerpt that illustrated magical realism, where the extraordinary and the everyday coexist naturally. Through this style, Latin American writers reveal deep truths about political struggles, social change, and the blending of myth and reality in their cultural heritage.

This lesson plan encourages students to think critically about how culture shapes storytelling and how, despite our differences, literature connects us through shared humanity.