Transcript PowerPoint 프레젠테이션

Writing
Week 5 NJ Kang
Development of a Synchronous Collaborative
Writing Revision Instrument for Teaching English
• RQ: To see effect of a developed online synchronous
annotation system which can provide annotation marking and
knowledge sharing, on applying to error correction and error
feedback for collaborative writing revision in English writing
instruction.
• Finding: Research findings showed that students’ major
difficulty in error correction lies in their failure to detect
errors. Also, researchers proposed that error analysis can be
reinvented in the form of computer-aided error analysis, a
new type of computer corpus annotation.
Methods
• Collaborative corrective feedback and error correction with
asynchronous annotation systems have been developed by
researchers. It is suggested that collaborative teams can be
enhanced by applying collaboration in a synchronous
environment.
• However, few synchronous annotation systems are developed
for corrective
Method
• This study developed a web-based online synchronous collaborative
writing revision instrument for collaborative writing revision.
• With this system, users can collaboratively make corrective feedback
and error corrections on digitized documents in a synchronous
environment.
• It is implemented on the general web browser such as Microsoft
Internet Explorer, with online annotations in the same way as the
traditional paper-based correction approach.
• Another innovative functionality developed in this system is that the
user can freely switch between the annotation mode and the review
mode to neatly review the “right” article after correction without
showing the correction marks to reduce the problem of cognitive
overload.
Findings
• Researches showed that students’ major difficulty in error
correction lies in their failure to detect errors.
• Researchers proposed that error analysis can be reinvented in
the form of computer-aided error analysis, a new type of
computer corpus annotation.
• Annotations on digital documents can be easily shared
among groups of people, making them valuable for a wide
variety of tasks, including providing feedback.
Literature review
• Collaborative writing, one of the methodological innovations for language
teaching, is “the social act of creating a single, coordinate document with
two or more participants”.
• In collaborative writing, students work together to achieve shared learning
goals [Nunan, 1993], and language acquisition is facilitated by students
interacting in the target language [Larsen-Freeman, 2000].
• Collaborative writing also accommodates the principles of social
constructivism as proposed by [Vygotsky, 1978]. According to Vygostsky’s
zone of proximal development, individual learning is mediated through
either adult guidance or collaboration with a more capable peer.
• Collaborative writing is consistent with communicative language learning
and assumption of second language acquisition made by [. Krashen, 1985],
which emphasize that while learning a second language, learners need to
actively interact with the external environment, and such a learning
environment is worth investigating.
Comprehensible Input Hypothesis
1. Access to comprehensible input is characteristics of all cases
of successful language acquisition, in both first and second
language acquisition
2. Greater quantities of comprehensible input seem to result
in better L2 acquisition
3. Lack of access to comprehensible input results in little or no
acquisition.
• As [Nagelhout, 1999] advocated, one of the most important benefits of
collaborative writing is that it makes students aware that writing is a
recursive process, allowing them to focus on each phase of the
writing process.
• The process of writing builds on the action-reaction responses.
Through this evolving communicative process, unskilled writers are
pushed to achieve higher levels of writing as they learn from others,
and skilled writers have the opportunity to exchange ideas and think
critically about their writing before a teacher evaluates it.
• In the situation of collaborative technical writing, “…students
demonstrate a tendency toward scaffolding” [Semones, 2000]. That is,
each member of the group contributes a particular skill in his or her
area of expertise to help complete a task. In this way, students simplify
the task and keep one another motivated and in constant pursuit of a
goal.
• A synchronous environment is a real-time communication
environment, wherein team members can meet anywhere at the
same time. In the age of information, chat and teleconferencing
are considered as “real-time” synchronous environments.
• Corrective feedback is a technique to help learners correct errors
by providing them with some kind of prompting. As defined by
[Ellis, 2007], corrective feedback takes the form of responses to
text or utterances containing an error.
• Annotations are the notes a reader makes to himself/herself, such
as students make when reading texts or researchers create when
noting references they plan to search [Wolfe, 2002].
• Annotations are a natural way to record comments and ideas in
specific contexts within a document.
Time-honoured circle writing activity.
• One student writes a line, then passes it on to another who writes the next line and so on. I have to admit that I
am not actually very keen on this activity. It can have some amusing outcomes, but I wonder what exactly the
students are learning, as the process rarely produces a coherent or cohesive outcome.
Genre Circle Writing,
• This works beautifully with more advanced learners who have been learning about the features of different genres.
Start by brainstorming different types of narrative genres, such as news article, romance, conversation, fairytale, scifi. Ask each student to choose a genre they would like to write in and ask them to think about the features of their
genre, e.g. typical vocabulary and fixed expressions, register, word and sentence length.
• Put the students into groups of 5-6, then ask each of the to write the first paragraph of a narrative in their genre.
After an agreed time limit they pass the papers clockwise, read the new story and write the next paragraph, but in
their own genre, rather than following the original genre. Continue until the story reaches its originator, who writes
the concluding paragraph. Some of the stories can then be read aloud and the students listening have to say what
genre they think each paragraph is. These texts won’t be any more coherent than the usual circle writing texts, but
they are really good for raising awareness of genre.
Jigsaw writing
• This works well with picture stories or cartoon strips. Put students into small groups and give each group one or
two pictures from the sequence. They have to write a paragraph describing what is happening or happened in their
picture(s), and should have a copy each. [Incidentally, make sure everyone is using the same tense. ]Then regroup
the students into larger groups so that there is someone in each group who has written about each of the pictures,
and ask them to decide on the correct order of the pictures and make any changes necessary to turn their
paragraphs into a coherent whole. Students can then read and compare the different versions.
• If students are quite used to working together, and don’t need quite so much structure, adding an element of
competition can provide some fun and motivation. This activity also comes from Learner-based Teaching. Ask the
class to choose a current event or issue. Then put them into small groups (3-4) and ask them to write a short
article about it together. They should try to make the article as informative as possible. Once the groups have
finished the articles are passed around. Each group should look for pieces of information or facts which their group
did not remember. Students can then vote for the most informative (and best written) text
Elementary Teachers’ Views on the
Creative Writing Process: An Evaluation
• RQ: The aim of this study is to identify 4th and 5th grade teachers’
views on, knowledge of, and experiences with the creative writing
process with answers to the following research questions sought:
• 1. What do teachers know about the creative writing process in
general?
• 2. How often do teachers use creative writing practices in their
classes?
• 3. What do teachers know about the advantages or disadvantages
of creative writing?
• 4. What do teachers know about creative writing techniques?
• 5. Do teachers participate in in-service training courses related to
creative writing?
Subjects
• 69 teachers (female=42, male=27) from eighteen schools with
medium socioeconomic level in different parts of Izmir, Turkey.
• Methods
A semi-structured interview form developed by the researchers was
used to identify the sample teachers’ knowledge about, experiences
with, and views on the creative writing process.
A total of 7 easy to understand, open-ended questions focusing on
the creative writing process were developed.
A survey including open-ended questions and closed-end questions
used to gauge participants’ characteristics.
Literature Review
• Creative writing activities reach children’s inner worlds, make
them express their feelings and opinions anytime, anywhere,
and to anyone freely, without any pressure or fear of being
judged and criticized.
• Creative writing includes being extraordinary without
attacking commonly accepted values, offering different ideas
by using one’s imagination, being unique, writing for pleasure,
and thinking beyond clichés (Küçük, 2007, p. 11).
“Creative writing is
• considered to be any writing, fiction, poetry, or non-fiction,
that goes outside the bounds of normal professional,
journalistic, academic, and technical forms of literature. Works
which fall into this category include novels, epics, short
stories, and poems. Writing for the screen and stage,
screenwriting and playwriting respectively, typically have their
own programs of study, but fit under the creative writing
category as well.
• http://kidstardustliteraryblog.com/2013/04/09/28-creativewriting-exercises-and-prompts/
• 1) Literary Telephone: Have each student write a brief descriptive paragraph, then pass it to
the person on their left. Have that person translate the paragraph into boring, nondescriptive
language, and fold the sheet down to cover the original paragraph. Pass to left; have the
person fill in the descriptions. Wash, rinse, repeat, etc until it’s gone around the entire circle
and is back to the original author. Have them read the first paragraph and the last one, and
see how things have changed.
• 2) Mixing Up Metaphors: As a class, put every overused metaphor or simile you can think of
on the board (quick as a fox, strong as an ox, cold as ice, swift as a river, etc). Then, erase the
last word and replace it with something unexpected (quick as an ER waiting room, strong as a
diamond, cold as a doctor’s hands, etc). It’s a fun exercise and teaches students to avoid cliches.
• 3) Raising Voices: Write down a character’s name, age, and occupation; give a character to
each student. Have them write a first-person monologue in the voice of that person. (Example:
Lisa Topaz, 46, Green Peace Organizer; what does this character sound like? What about Susie
Johnson, 4, preschooler, or Jonathan Miller, 63, preacher?)
• 4) Bait and Switch: Write a flash fiction piece about an argument between a mother and a
daughter. Almost every time, students will write about it from the viewpoint of the
daughter. Then, have them re-write it from the viewpoint of the mother.
• 5) Life is Not Like a Box of Chocolates: Replace “chocolates” with something they do think life
is like, and write about why.
• 6) Red Bicycles, Blue Seas: Pick a color and write about a memory associated with that color.
• 7) Triptych: Choose three physical objects you own, and write a flash piece about why each one
is important to you. Don’t try to connect the flash pieces to one another.
Write what the man would say in this
picture.
•
8) Found Poetry: Have students bring their cameras to school and spend a class period walking around the campus (or surrounding
town, if possible), taking pictures of signs, labels, notes, etc that they come across. Compile the words and phrases into a list, and
have them construct poems using nothing but those words and phrases. For an extra challenge, give them a topic their poem has
to be about (love, the environment, passing of time, loss, etc). Also optional: Creating a collage from the pictures they took that
tells the poem.
•
9) Four-Sense Food Sonnets: Blindfold each student and hand them a plastic sandwich baggie with food in it. (I used kiwi slices,
peanuts, chocolate-covered raisin, pickles, and stuff like that– be sure to check for food allergies and restrictions first.) For five
minutes, they should taste, smell, feel, listen to their food items without knowing what they look like. After five minutes, they can
take off the blindfolds and write sonnets about their foods, being as descriptive as possible but without including a physical
description.
•
10) No-Send Letters: Write a letter (or letters) to someone (or someones) that you know you’ll never send.
•
11) In Transit: Write about a time you (or a character) were walking, flying, running, or biking somewhere, why it was important, and
what you (or the character) were feeling as you moved.
•
12) This I Believe: Write an essay, fiction piece, or poem based on the NPR series.
•
13) Fill in the Blanks: “I think the world needs more of _____________” or “I think the world needs less of __________________”. You can
take the serious route (more love, patience, compassion), the absurd (more air fresheners, hamsters, pencil sharpeners), devil’s
advocate (serial killers, discrimination, etc), or anything else. Use your answer as the first line of an essay, fiction piece, or poem.
•
14) Dr. Farsnworth, A Chiropodist….: Print off copies of the poem “Dr. Farnsworth, A Chiropodist, Who Lived in Ohio, Where He
Wrote Only the First Lines of Poems” by Tom Andrews (available in his collection Random Symmetries, or online, although I don’t
think I can provide the link here for legal reasons). Take one of the first lines, and continue it into a story or poem; if you get bored
with that one, choose another.
•
15) Something Beautiful, Something Ugly: This one takes about three class periods. For the first one, freewrite on what you think
makes something beautiful and what you think makes something ugly (half the class period for each). For the second one, let loose
in the school or go outside, and turn on your “macro” lenses to look at as many tiny details as possible, taking extensive notes as
you do so. For the third, focus on the objects you took notes on and write two creative responses, one on something beautiful and
one on something ugly that you found.
•
16) Write About Names: Where yours came from, or where you wish it came from. Who you’re named after. Who your father,
mother, neighbor is named after. Odd names. Nicknames. Street names. Family names. What you wished you were named. Why
they’re important, why they’re not important. Write about names.
•
17) Have them write a creative response to this:
The findings
1. What do teachers know about the creative writing process in
general?
• Teachers had general knowledge of creative writing.
Fourteen teachers described the creative writing process as
“completing stories which are not finished.”
Considering the number of such teachers, it shows that
reasonable amount of teachers perceive creative writing as
merely completing stories
2. How often do teachers use creative writing practices in their classes?
• they include creative writing techniques in their classes, these teachers avoided stating
clear descriptions as to which techniques they used.
3. What do teachers know about the advantages or disadvantages of creative writing?
• the teachers listed almost all the advantages of the creative writing process. In
particular, they emphasized that creative writing “develops the imagination, helps
uncover abilities, increases selfconfidence, develops writing ability, encourages one to
think and move beyond clichés etc.”
4. What do teachers know about creative writing techniques?
• With respect to the fourth research question of the study, the teachers had the most
amount of knowledge about the following two techniques that may be used during
creative writing: “completing a story that is not finished” and “composition, story,
game, novel writing.”
5. Do teachers participate in in-service training courses related to creative writing?
• According to the fifth research question of the study, it was found that the number of
teachers participating in creative writing practices is quite low. Based on the findings,
although most of teachers had not previously attended creative writing practices, they
stated that they would like to. In general, it can be argued that the teachers possess a
preliminary knowledge of creative writing techniques.
Making the familiar strange and the strange
familiar: a project for teaching critical
reading and writing
• RQ
• teaching critical literacy in the context of Singapore. It begins with a
conceptualization of critical literacy as a stance oriented to questioning
and challenging the often taken-for-granted meanings and assumptions
found in ‘everyday’ texts.
• It then discusses how this stance can be cultivated in students through
a critical reading and writing project aimed at encouraging students to
question the underlying motivations of seemingly unremarkable texts
(‘making the familiar strange’) and produce alternative texts that
challenge and destabilize the normative structures of society (‘making
the strange familiar’).
• The article concludes with a brief discussion of the issues and
challenges faced by teachers in developing a critical disposition in
students that will help them negotiate the information-saturated and
text-mediated world of the twenty-first century.
Subjects
• a group of high-ability Year 10 students in Singapore
• mainly boys, came from a mix of socioeconomic backgrounds.
• The aim of the project was to gauge the participants’
receptivity and responsiveness to a reading and writing
program designed to raise their critical awareness of
ideological meanings embedded in ‘everyday texts’ (Vasquez
2007).
Methods
• The two-week intensive program was conceived as a threestage design that
• (1) exposes students to the ideological meanings and
assumptions in everyday texts,
• (2) encourages students to intervene in these texts and
• (3) to reflect on their (changed) worldviews.
Literature Review
• Freire and Macedo (1987) proposed that worlds and words are
socially and historically situated. As such, to be able to challenge
and change their worlds, individuals need to start reading the
discourses of their worlds in order to identify and recognize the
issues oppressing them. Being ‘literate’ is, therefore, not only
about possessing the skills to read the word but to read the world.
• This view of being ‘critical’ departs somewhat from the liberalhumanist philosophical tradition that values logical thinking skills
like distinguishing between fact and opinion, detecting logical
fallacies and evaluating the validity of claims.
• This tradition of criticality is rooted in a rationalist view of the
world which believes that knowledge of the world can be attained
through careful deduction and systematic reasoning.
The critical competence
• that forms the subject of this article stems from a much more
recent development in critical social theory and critical pedagogy
which sees texts and talk as socially situated practices that are
invariably intertwined with issues of power, privilege and
dominance (Fairclough 1989; van Dijk 1998).
• Thus, while one sees critical reading as a process of searching for
a ‘correct’ and verifiable knowledge in a text, the other sees
critical reading as looking for alternative but plausible
interpretations of a text. One is aimed at cultivating a ‘learned’
mind, the other is dedicated to raising one’s consciousness of
social inequalities and injustices. One sees knowledge as
universal and unproblematic, the other sees knowledge as socially
and culturally situated, and hence contestable (Cervetti, Damico,
and Pardeles 2001).
• This coalesces with the view that being critical entails an
‘epistemological Othering’ or ‘dissociation’ from the explanatory
texts and discourses we are familiar with, a process of ‘making the
familiar strange’ (Luke 2004, 2627).
• Indeed, critical reading can be seen as a process of ‘making the
familiar strange’ by probing into the underlying motivations of
seemingly unremarkable and innocuous texts and deconstructing
the linguistic structures that support this impression.
• One way of demonstrating critical reading competence, therefore,
is to create alternative texts, to recast a text in a different light to
show up its otherwise opaque assumptions and ideologies about
the world.
Stage 1:Exposure: making the familiar
strange
• advertisements/publicity materials drawn from YouTube and other Web sources were chosen
due to their intrinsic interest value to adolescents.
• The aim was to get the participants to think more analytically about the semiotic resources that
advertisers exploit to purvey their goods and services and the language and imagery through
which stereotyping is encoded and perpetuated.
• Focusing on the linguistic and semiotic means through which meaning is created also meant
remaining faithful to the basic aim of this being a reading program.
• To stimulate students’ thinking, a list of questions aimed at focusing their critical attention on
certain aspects of the text production and consumption process was provided:
• (1) Who is the target reader of the text? Is it written for mainly male or female readers, youths
or more mature readers, middle- or high-income people, Singaporeans or a more international
audience, etc.? How can you tell?
• (2) Whose perspective is the text written from? A friend, expert or official authority, a
Singaporean/Asian or ‘Other’ perspective, etc.? Whose voice/perspective is represented in the
text and whose is not? How do you know?
• (3) What do you think the text is trying to make target readers think or believe? Whose
interests are being served by the text, and whose are not? Who benefits from such texts and
who does not?
Advertisement
• http://cargocollective.com/search/swatch
• sumo wrestlers in pink tutus dancing
• a convention-defying, rule-bending attitude
Publicity poster produced by the Singapore Health Promotion
Board aimed at raising awareness of the dangers of AIDS
among women in Singapore
• The poster features an image of a half-naked man being cradled by a
young woman in a rapturous embrace with the text: ‘She allowed him
to do nothing for himself. Her strong arms cradled him, as he laid back
in panicked excitement, helpless in rapture’.
• ‘There’s no such thing as a weaker sex. Take charge and protect yourself
from HIV/AIDS and Sexually Transmitted Infection (STIs) by abstaining
from casual sex, being faithful to one partner and practicing correct and
consistent use of condom’.
• challenge stereotypes by reversing the traditional roles of males and
females, by depicting a female on top of a male in a visual image
reminiscent of the cover pages of romance fiction.
• The text at the top reinforces the dominance and agency of the female
(‘Her strong arms cradled him’) in contrast to the submissive and
helpless male (‘he laid back in panicked excitement, helpless in rapture’).
• While many of these texts tend to appeal by injecting an
element of humor or surprise, participants were encouraged
to explain how and why the ads succeed in capturing
audience interest, thereby uncovering the inherent
stereotypes/assumptions about people and cultures that are
drawn upon and perpetuated through such texts.
Stage 2Intervention: making the strange
familiar
• r At the ‘Intervention’ stage, participants were encouraged to rewrite some of the texts
they deconstructed in order to lay bare their inherent stereotypes and assumptions.
Guiding questions included:
• (1) How would you change the language and imagery of an advertisement if it
targeted at different consumers like businessmen, housewives, students, affluent senior
citizens, teenaged girls, etc.?
• (2) How would you change the focus and content of a text if it written from a
different perspective? For instance, what would a zoo brochure be like if it is written
by the animals, or a History textbook on World War 2 if it is written by prisoners ofwar?
• (3) How would you change the focus and language of a text if it is transmitted via a
different mode? For instance, how would you rewrite a newspaper report into a script
for a news broadcast? How would you change the headline of a news report if it
appears in an online ‘tabloid’ rather than a mainstream print edition? Why?
• (4) Why do writers select and draw on different genres to achieve what effects? For
instance, why do some ads appear as a news report and vice versa? What happens if
you rewrite a news report as a fairy tale or vice versa?
A particularly successful text
• The 86 year-old grandmother of Little Red Riding Hood, star
of recent horror flicks like ‘Child’s Play’, ‘Scream 5’ and ‘The
Beast’, was savagely killed by a wolf early yesterday morning
in her hut where she lived alone. The pretty star herself had a
narrow escape when a passing woodcutter heard her screams
and came in time to chase away the killer-wolf.
Stage 3Reflection
• In the final ‘Reflection’ stage, the participants were asked to record in
journals, which they kept for the duration of the course, their thoughts,
ideas, reflections and questions that arose from the various tasks during
the ‘Exposure’ and ‘Intervention’ stages. To guide them in their
reflections, the following questions were offered:
• (1) What have you learnt about the role that words and images play in
shaping or framing our expectations and interpretations of the meaning
in texts?
• (2) To what extent has the way you look at ‘everyday texts’ changed as
a result of this program?
• (3) To what extent do you now understand the comment that ‘no text is
neutral’? Can this be applied even to the textbooks you use in school?
Why or why not?
a schema
• describes an organized pattern of thought or behavior that organizes categories of
information and the relationships among them.[1]
• It can also be described as a mental structure of preconceived ideas, a framework
representing some aspect of the world, or a system of organizing and perceiving new
information.[2]
• Schemata influence attention and the absorption of new knowledge: people are more
likely to notice things that fit into their schema, while re-interpreting contradictions to
the schema as exceptions or distorting them to fit.
• Schemata have a tendency to remain unchanged, even in the face of contradictory
information. Schemata can help in understanding the world and the rapidly changing
environment.[3] People can organize new perceptions into schemata quickly as most
situations do not require complex thought when using schema, since automatic
thought is all that is required.[3]
• People use schemata to organize current knowledge and provide a framework for
future understanding. Examples of schemata include academic rubrics, social schemas,
stereotypes, social roles, scripts, worldviews, and archetypes. In Piaget's theory of
development, children construct a series of schemata to understand the world.
Homework
• Read and summarize the articles. Need more detail
description about the main literature and methods used.
• Application of the learned methods and theories in one’s own
context.