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Conditions for Teaching Writing: Exploring Two Cases of Seventh Grade Expository Writing Instruction
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Student interview for Place-Based WAC/WID writing instruction in Upper Divison English, clip 2 of 14
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Student interview for Place-Based WAC/WID writing instruction in Nursing, clip 2 of 13
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Creating vocabulary awareness and promoting its use through prewriting graphic organizers in writers workshop
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| 7 |
Adventures in Paragraph Writing: The Development and Refinement of Scalable and Effective Writing Exercises for Large-enrollment Engineering Courses
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In: IMPACT Publications (2014)
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| 8 |
Wie sollte ein erfolgreiches Material für Kinder mit LRS aussehen? Theoretische Grundlagen und ein praktisches Beispiel: "Das schaffe ich!"
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In: Hellmich, Frank [Hrsg.]; Siekmann, Katja [Hrsg.]: Sprechen, Lesen und Schreiben lernen. Erfolgreiche Konzepte der Sprachförderung. Berlin : Deutsche Gesellschaft für Lesen und Schreiben 2013, S. 200-214. - (DGLS-Beiträge; 15) (2013)
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| 9 |
Wie sollte ein erfolgreiches Material für Kinder mit LRS aussehen? Theoretische Grundlagen und ein praktisches Beispiel: "Das schaffe ich!" ...
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Student Voices, Students' Right: Language Use in the Composition Classroom and "Students' Right to Their Own Language"
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| 11 |
Teaching summary writing through direct instruction to improve test comprehension for students in ESL/EFL classroom
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Teaching process writing for intermediate/advanced learners in South Korea
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| 13 |
Exploring Success in Tutoring the Non-Native English Speaker at University Writing Centers
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In: ETD Archive (2010)
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| 14 |
The story of writing Macao : a pedagogy for creative writing in a non-native context
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Abstract:
The title of this thesis requires what some may find an unusual style of introduction; one elaborating its deictics. This is a pedagogy for Creative Writing in a non-native context. The two indefinite articles in the foregoing sentence ought to dispel any suspicion of a universalist agenda. The objective of this portfolio is not to tell anyone how something in general ought to be done; it’s to provide a particular example of how something has been done and is being done and in a particular set of circumstances. The hope is that the work will be exemplary; and so worth transmitting on that basis. The ethical underpinning of the relational deictics suggested is the straightforward Freirean pedagogic proposition that the student is the starting point and that liberation is the goal (Freire, 1972, passim). For the sake of a convenient mnemonic, one might frame that with the crusty old teacher’s adage: ‘you can’t teach anybody anything’. In other words, it’s the encounter that counts where learning is the goal. The notion of dialogue which Freire develops for his classroom has strong affinities with Mikhail Bakhtin's notion of ‘the word shaped in dialogic interaction’ (1994, p. 76) and with the dialogic imagination Bakhtin proposes as characteristic of the heteroglot novel. For an heuristic of writing, the action Freire proposes perhaps entails something akin to Bakhtin's conception of ‘inner speech’: ‘A word in the mouth of a particular individual is a product of the living interaction of social forces’ (1994, p. 58). One might point as well to Raymond Williams’ ‘militant particularism’1 (1989, p. 249) to account for what I term a ‘place-based’ aesthetic in the work I describe below. In the case of this particular pedagogy, for Creative Writing in a non-native context, the student’s thematic universe is the starting point for a process which is necessarily dialogic and necessarily cross-cultural. The pedagogic work with which I deal in this portfolio concerns a series of dialogic processes or encounters centered on the creative work (especially the fiction and poetry) of my students. To give that centering some physical reality, please picture time spent listening to people’s stories, time spent editing stories together at the computer screen, and time devoted to e-mail and telephone interactions along these lines. To bring the particulars into focus – the practical problem have I faced (as a native speaking teacher of English) was to offer non-English native students (studying English at a university in Macao2, in south China) a more motivating way (a better reason) to be interested in the literature of my culture (i.e. the literature of the western world and especially of the English language). My goal was to get past the ‘read-only’ version of literature as something already canonized and complete and ready to pour into the student cum empty vessel; my hope was to get beyond the idea that the teacher’s knowledge was the necessary starting point for a dissemination of knowledge. I wanted to motivate students to live more of their lives in English (and so improve their English) by showing them that literature in English was something they could make themselves; by showing them that culture (even of another language) was a living, a dynamic, process in which they could participate, and in which they could possibly make a mark themselves. I needed to show them that it was necessary to study and to understand literature in order to produce one’s own, but that if one were prepared to make that commitment then it would not be necessary to pledge oneself to literature as some pure end in itself (more cynically, as the pure acquisition of cultural capital); rather a knowledge of literature could become a means of serving ends the student – as writer – might decide. In short, developing literary skills could help the student to express herself in the world language (i.e. English) and thus open up a potentially unbounded and life transforming conversation, a conversation of the cosmopolitan kind. I needed to sell all or enough of this rationale to the institution employing me (the University of Macau), in order to make possible the goals I’ve suggested above. The consistent selling point has been I think that giving people the opportunity to find their own voices and to tell their own stories in English is motivating. It motivates the people in question to spend more of their lives in English and it motivates them to find resources for the task (of expressing themselves) which closely approximate the tools required for the purposes of improving one’s general proficiency in the language. This particular pedagogy for Creative Writing in this particular non-native context has helped people to improve their English, so that they might use it, now and in the future, for whatever purposes they might wish. While I believe that the differences made in terms of general proficiency have been marked (and so measurable) I have personally made no effort to undertake such a measurement; I think however that this would be a fruitful research undertaking for a disinterested third party. My own work for this portfolio is at the intersection of Literary Studies and Creative Writing, in the particular context of a non-native pedagogy; an ‘area’ if I may call it such, with many and varied interdisciplinary investments.
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Keyword:
composition and exercises; creative writing; Doctor of Education (Ed.D.); English language; foreign speakers; study and teaching
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URL: http://handle.uws.edu.au:8081/1959.7/41476
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| 15 |
Effects of Online, Collaborative Discourse on Secondary Student Writing: A Case Study of the History and Ecology of an Electronic Exchange
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In: Electronic Theses and Dissertations (2008)
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| 16 |
Teaching the Neglected "R": Rethinking Writing Instruction in Secondary Classrooms
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In: Faculty and Staff Monograph Publications (2007)
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| 18 |
Monitoring understanding in elementary hands -on science through short writing exercises.
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| 19 |
Developing the writing skills of second language students through the activity of writing to a real reader.
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In: Doctoral Dissertations 1896 - February 2014 (2001)
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Teacher comments and students' risk-taking : native and non-native speakers of American English in basic writing
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In: Virtual Press (1999)
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