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Nature writing This particular article deals with a post-composition era that still resides in the university. Writing is depicted as a means of a disconnection between different experiences that students often times find themselves bewildered. This goes along with the argument against writing from the stimulation of reading: writing, for example, a response to a piece of reading in an anthology might be interesting, but it does not provide the original experience for the writer. By the time something is put into words, it makes a specific connection, or a specific rhetorical stance towards that thing. Reading, then, becomes a re-interpretation of a text, not the original experience wherewith the text is from. What this paper argues, then, is to take students through the original experience of actually confronting the scene of nature itself: what is there, what is constituted, and what can be written. Traditional texts in nature writing include the following: Aldo Leopold's A Sand County Almanac, Loren Eiseley's The Immense Journey, Joseph Krutch's The Desert Year. The course would include times dedicated to the reading of what is emphasised on style of writing, technique of writing and different elements of style. By then, not only would the students learn the value made by the originality of experience, they also learn the value that writers put into writing. It is not an exaggerating thing to say that such is the writing experienced by a writer. Peer critique is one of the crucial aspects of the course where students will give feedbacks on "perception, emotion, evaluation that includes both efferent and aesthetic considerations". At the end of the course, the value(s) in perception will be a lifelong skill, which in time develops into a tradition.

I first encountered this article when taking 470 course, and this week I have looked it through thoroughly, as it seems to me that it contains some significant information concerning the nature of bilingual writing. Losey affirms that written codeswitching is significant for bilingual students as it provides opportunity for them to fully express themselves. According to the author, the writing identity of a bilingual is constructed by the constant correlation of the two language worlds; therefore, it is not only natural but also necessary for him / her to codeswitch in order to express his / her individuality. This idea correlates with the article "Heritage Language Literacy: Theory and Practice" by Chevalier, where the author considers that bilinguals do not possess the whole range of written registers because they codeswitch in the situation when monolinguals change their writing style. However, Losey does not see codeswitching as disadvantage like Chevalier does. His point of view is closer to another article "Writing back and forth: the interplay of form and situation in heritage learners' composition" that I reviewed during the previous week. The author of that article explains that the productive writing in bilingual schools implies shifts between two cultures and languages in order to create a new non-standard way of expressing one's thoughts. Losey goes even further. He does not only considers codeswitching possible in the classroom settings ("an unsurpassed opportunity for bilinguals", "a successful strategy for enhancing communication, promoting natural literacy acquisition in both languages, valuing students' cultural and linguistic backgrounds", though "its use in the classroom runs counter to linguistic and cultural norms and must be guided by an informed and sensitive instructor"), but, after analyzing writing patterns of the 47 personal letters exchanged between young individuals, he also determines the form and functions of the written codeswitching

This article continues the idea of my previous posts - about codeswitching and language transfer in the writing of bilinguals and heritage learners. It is based upon the experiment investigating formal and informal writing samples of students who possess three languages - Basque, Spanish and English. The authors'purpose has been to explain that although traditional teaching is turned towards monolinguals and native speakers' writing as a model, the perspective of bi- and multilingual writers is different. The authors - Cenoz and Gorter -explore the nature of transfer from one language into another, codemixing and codeswitching, and come to the conclusion that these three factors characterizing bilingual students are not to be treated as separate obstacles but rather as three parts of the one whole that benefits writing while enabling students to widely use resources of different languages. The authors use the term "translanguaging" denoting by it "combination of two or more languages in a systematic way within the same learning activity", and argue that translanguaging contributes to developing and strengthening writing in both languages. The authors propose a new approach to teaching writing to the bi- and multilinguals - "focus on multilingualism" that allows "looking at the different languages of the multilingual at the same time instead of separately". Cenoz and Gorter identify the relationships between languages as complex, yet beneficial for developing writing skills. According to their point of view, multilinguals use the same strategies when writing essay or informal social network posts, yet they incorporate in their writing the elements of three languages not because of limited lexical resources, but for conveying their communicative intent, which they think is better done in a particular language out of three that they possess. That means that multilinguals and bilinguals choose language resources in dependence on communicative purposes in their writing (

This article contains a variety of helpful recommendations in assisting others with essays, and beneficial of extensive methods in establishing coherence. There are also intriguing statistics about illiteracy and each section, as well as the subcategory within is very specific and unified. Essentially, the article revolves around the diversified nature of everyone's unique interpretation of writing and is magnified towards all students. There's also information such as: informing others, consulting others, approaching the students, entertaining them, acquiring the knowledge of their materials, appropriately responding, and using moderate persuasion. All in all, there are a total of seven recommendations with very concise explanations of writing instruction, analytical approaches, and assessing the quality of literary works. This article is applicable to our instructive endeavors within our micro, or macro, aggregates of situated learning. The content within this particular article will elucidate the path to molding students into strategic writers, capturing and sustaining motivation, and substantiating an enjoyable environment. So please give it a read! I'm sure you'll find it quite pertinent to our weekly scenarios of peripheral participation and consultative interactions.

In this article, there are 21 steps to assist the literary councilor in teaching writing. Although it is a fairly short article, there is fairly useful information that can be extrapolated and applied to the multiplicity of situated learning that exist. A number of the steps actually have sub sections that pertain to the objective that is listed; furthermore, illustrating pragmatic, as well as feasibly applicable, instructive literary algorithms for assisting others in enhancing their writing skills. Truthfully, these steps contain information that isn't always brought to mind during our workshops; and I veraciously admit to relearning things in which I overlooked and/or have forgotten. Quintessentially, these steps can be applied to out workshop environment, and provide us with a helpful literary approach-instead of accidently sending the wrong idea, or running out of intellectual things to say (it happens to us all from time to time). Before we enhance our workshop surroundings, we should all endeavor to enhance our understandings of the procedural nature of excelling in writing, while simultaneously assisting others. In my opinion, teaching is one of the best, if not the best, ways to teach ourselves; instructing others reveals the hidden connecting points that we subconsciously always knew were there.

This is a website that breaks down the various stages of development students undergo whilst learning to write. It talks about each of the stages, what constitutes them, and how they shift and change. I found this website pertinent for a number of reasons, but chiefly because it relates directly to teaching writing.

In this article, there are 21 steps to assist the literary councilor in teaching writing. Although it is a fairly short article, there is fairly useful information that can be extrapolated and applied to the multiplicity of situated learning that exist. A number of the steps actually have sub sections that pertain to the objective that is listed; furthermore, illustrating pragmatic, as well as feasibly applicable, instructive literary algorithms for assisting others in enhancing their writing skills. Truthfully, these steps contain information that isn't always brought to mind during our workshops; and I veraciously admit to relearning things in which I overlooked and/or have forgotten. Quintessentially, these steps can be applied to out workshop environment, and provide us with a helpful literary approach-instead of accidently sending the wrong idea, or running out of intellectual things to say (it happens to us all from time to time). Before we enhance our workshop surroundings, we should all endeavor to enhance our understandings of the procedural nature of excelling in writing, while simultaneously assisting others. In my opinion, teaching is one of the best, if not the best, ways to teach ourselves; instructing others reveals the hidden connecting points that we subconsciously always knew were there.

It's very strange, i went to read your article and all it show me was computer stuff, like C++ stuff. This is not about you wrote. It is not about applied multiplicity of situated learning.....maybe i got the web site wrong, can you post your website again?

Thank you very much for pointing that out to me Khou. I must have cut off a fraction of the URL when I pasted it~ I re-posted the article, please check it out! Here's the link if you don't feel like searching for it- it's kind of monotonous digging through postings http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=6&cts=1331526916842&ved=0CGoQFjAF&url=http%3A%2F%2Fmembers.shaw.ca%2Fenglishtour%2Fway_correct_essay.pdf&ei=_3xdT72nO6OPiAKOrIizCw&usg=AFQjCNFFk0ZVEBkpvxpMk6dA-RAZ4ClavQ

This is an RSA animation of a lecture given by Sir Ken Robinson, a proponent of creativity and innovation in education (see http://sirkenrobinson.com/skr/who for more information about him). This is an interesting and often humorous look at some general trends in modern public education. Though there is nothing that directly relates to teaching writing, there is much here that may contribute to the topic of failure, and to the importance of learning in social contexts. Robinson concludes that collaboration is the stuff of growth, it is our natural learning environment.

This video is a very entertaining whiteboard animation of a talk given at RSA (described on their website, http://www.thersa.org, as "an enlightenment organisation committed to finding innovative practical solutions to today's social challenges") by author Dan Pink (for more, see http://www.danpink.com/about). The question he poses, is "what motivates us?" The common belief that people will work harder for a bigger reward is found to be true only when the work involves simple, mechanical skills. When the work requires even rudimentary cognitive skills, a surprising reversal occurs: the larger the reward, the poorer the performance. Pink states that engagement requires three factors: autonomy, mastery, and purpose. Though his presentation is addressed to the business world, I think that he's really addressing fundamental aspects of human nature that can be applied in education as well. For example, his claim that crappy products are the result when profit is separated from purpose, can be applied to education as well, when grades are separated from meaningful learning.

Great video and surpassingly simple. We do better work, when we are doing work towards something that interests us and that we are voluntarily invested in. That's not to say that we are invested in it voluntarily from the beginning, but that as we invest ourselves the reward is more personally gratifying. We are made happy by getting better at a task and mastering that task, we are made happy by engaging in abstract cognitive ideas that interest us. Money can not buy happiness, it can only buy a lack of cognitive effort.

Unfortunately, I got this article from the library's research portal, so you will have to log in to view it. -------------------------------------------------------------------------- Investigating the Role of Identity in Writing Using Electronic Bulletin Boards Valia Spiliotopoulos & Stephen Carey This paper details the findings of a study on the effectiveness of using online bulletin boards, in this case WebCT, in a university writing class for ESL students. The study finds that the asynchronous nature of posting online allows students to participate more fully and in ways which may not be possible in traditional class interaction. The authors also argue that the process of forming an online community of English language learners affords the students the opportunity to develop a greater sense of identity as an English speaker and as part of a community of English speakers.

In this article, L. Brent Igo researches the differences of both the competence and the beliefs views (two views which constitute self-efficacy) across three educational levels (high school juniors, college freshmen, and college juniors). He explores the idea of motivation for students to adequately learn. "Students who are confident in their ability to be successful on a specific task are likely to be motivated to engage in the task." Students are less likely to be engaged and interested in fulfilling an assignment when they lack confidence in that what they know is actually useful to completing such a given task. The nature of the task as well as an individual's prior experiences can determine one's self-efficacy within the classroom. --- this could be because of past experiences within previous classrooms and/or the lack of proper teaching/feedback from previous teachers. A teachers' feedback could also affect a student's perceived competence - the way in which the feedback is structured or what it focuses on could explain why students don't pick up on certain areas of composition as much as others.

Patrick Hartwell discusses the value of teaching formal grammar by reviewing its history as a fundamental building block to the development of good writing. By determining a set of definitions for grammar Hartwell shows that the process of absorbing correct grammar usage occurs within native speakers naturally by exposure to the language; even young children are able to use complex grammatical structures with skill. Yet when sorted through the scientific lens and broken down into categories and labels the study of grammar cannot explain how learning the component rules of language will prove valuable to overall writing ability. Instead Hartwell suggests and I agree that "one learns to control the language of print by manipulating language in meaningful contexts, not by learning about language in isolation, as by the study of formal grammar" (125). Language, Hartwell says is "verbal clay, to be molded and probed, shaped and reshaped, and, above all, enjoyed" (125). So language is play dough; it is supposed to be fun; it should not be something you do because you have to, but because you want to; you do it because you like to do it; it is about process not product. What can tutors/teachers do that can encourage students to view writing not as a means to an end, but as a valuable tool of expression, a concrete manifestation of focused energy that is representative of an individual's attempt to express? This need to express is at work on us all of the time; our survival depends on it. That is not an exaggeration; a closed mouth does not get fed. By funneling our thoughts into words, even if the result is an approximation of the truth of our energetic pursuits, there is still a result. Words do work on people because people feel. Maybe some of the frustration that freshman feel is a result of the heaviness of the rulebook; certain grammar rules affect student grades, certain constraints are imposed by the teachers rubric and the teacher as well a