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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.

This article by Laurie Grobman (also author of one of this week's article assignments from the course packet) describes the ways in which undergraduate participation in research and research publication contributes to increased authority and sense of authorship in undergraduate students. This authorship puts the students in discourse with their education and beyond, creating a purpose and identification with their course of study rather than making them passive receivers of it. This benefits their confidence and command of composition as well as putting them in the "driver seat", so to speak, of their participation in academia, and levels the playing field of student and "real" writing, erasing old and disadvantaging dichotomies.

I thought this article was a good fit on the path I, believe, I will be taking for my inquiry project ----- student efficacy within an English workshop. The article, written by James Williams and Seiji Takaku, covers the basis of workshops much like Rodby and Fox did in our packet article; however, the article instead of focusing on the structure of workshops focused on the students' efficacy and the effects it may have in order for a workshop to function as it was intended to - to help students better their composition skills in and outside of the English classroom. The article also mentions research done on students within "remedial" workshops and realized "...students had self-efficacy beliefs that did not match their writing performance .... their overestimated sense of efficacy was related to a lack of appropriate, correctional feedback in high school as well as to the tendency among high school teachers to praise and reward students for merely participating in the writing process rather than for producing good work" (3). I thought this statement was interesting because I find it to be true, especially in my experience with not only my internship at PVHS but also with my experience, this year, in Eng 30 workshops and my tutor sessions with second language learners. Sometimes educators focus on participation and the actual process of completing an assignment rather than making sure the student is adequately learning and putting into practice what is being taught/learned. The article also acknowledges the workshop characteristics that may affect students' self-efficacy in the first place. "In the U.S., the majority of writing centers rely on peer tutors" (4). "Some staff include graduate students, but only 3% of 4-year public universities employ professional tutors, that is, persons with an advanced degree" (4). This was a keynote since it reflects on the Casanave article from our class packet ---- to what degree can a peer be considered an actual peer

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.

I've decided to go in a different direction than the posts I have been submitting on diigo; however, where our research starts is certainly not where it finishes. I decided to approach the dynamics of voice and style and its relationship with "good writing." Moving along- This article directly engages in explaining "what makes good writing?" and how teachers view this complex question. Teachers alike analyze students' writing in very, very different ways and all hold their own literary interpretations in accordance to their curriculum. There is also much emphasis on "questioning a standardized writing style," "procedures and participants," and a variety of methodological approaches. There is also a list comprised of 31 perceptions on what establishes writing as "good." There is also much emphasis on the dynamics of structure, clarity, purpose, voice, and correctness. Near the end, there is an evaluation of controversy of a many statements revolving around "good writing", as well as "implications for the classroom." This is definitely a resourceful article for anyone endeavoring literary mentoring, and/or teaching of any kind. The diagrams are very concise and comprehensive, and above all, they are applicable to our instructive environments.

This article is about using ellipsis in writing and in creativity in classrooms and books. They start out with how it can leave an audience hanging or getting them to think cognitively about what is being asked on a certain thought. This is in opposition to the traditional teaching methods of lecturing and providing answers to facts. This also helps promote creativity in student and teacher learning in classrooms. The teacher can then also help promote scaffolding the students to the main topic. Using this style helps students to think about why and how they learn and write. The best thing that I got out of this was how this gets students involved personally in learning and helps students participate in classrooms and writing.

Ellipsis defined how?

The University of Austin Texas posted an article on their website talking about the innovative approach English professors John Rumrich and Coleman Hutichson created for teaching Milton's poem Paradise Lost. The two wanted to incorporate multimedia uses into the teaching of the poem in order to enhance the reading and listening experience, as well as actively engage students into incorporating their meaning of the texts. The website they created has the poem being read aloud be various voices while the text itself is highlighted on the screen. Each line or group of lines has links to them that a student can follow which provide images, websites, or comments from students and teachers expressing their interpretation of the lines or ideas and questions prompted from them. The website Rumrich and Hutichson created have had around 25,000 hits world wide, and have inspired similar projects dedicated to the poems Leaves of Grass and Song of Myself. If poetry were to be taught in high schools with technology in mind, students would be more likely to actively participate in reading and discussing poetry then if it were just read as any other text.

let's try to link more directly to writing/learning to write.

In this TED talk video Dave Eggers is talking enthusiastically about free tutoring centers where students receive one-on-one attention from either more experienced peers or teachers who volunteer to go to these centers at least two hours a week. He backs up the need of having individual help by research data (I would be interested to see the primary research) which say that 35-40 hours a year one-on-one attention students can get one grade level higher. The first center was opened to offer help in English and writing. Although there was an issue of trust at first to visit the center, with time and some advertising the center got packed with students. They even published their own writing in a form of a book, which is inspiring as it honors their work, hardship, creativity and thoughts. Now they have 1400 students in the center and they want to grow nationwide. Also, they have a website (http://www.onceuponaschool.org/) where there is somebody to show guidance to those who are interested in starting their own learning center in their town (for their public school students). To me, this is a great idea to inspire students and keep their motivation going in a particular subject. I wonder if they have done research and found out students of what achievement tend to go there, is it possible that those who are already into writing, science, languages, etc, are the ones visiting these centers. I also wonder if the volunteers who are there to help receive any kind training about certain methodology or ground rules.

I really liked the points this teacher made - many of the characteristics I've seen practiced within my workshop. Dr. Davis then explains certain aspects of his/her classroom that have helped shape the environment in a very productive way that has proven helpful for students and him/her. Many of the characteristics provided are very basic; however, they are sometimes not put into practice in this way making it difficult for students to be interested and/or continually participating within the group. Steps I found quite interesting: Step #1 (Introducing Writing) Sometimes students have the tendency of assuming the assignments have no further impact on their lives. But of course, that is not the case - writing assignments help students synchronize their thoughts and ideas about certain topics as well as help them communicate them in clear, understandable ways. > I like the idea of professors introducing the assignment in a way that students can quickly relate to their daily lives that way they aren't as hesitant about beginning the assignment. Step #4 (Model Writing) This concept may help students who are more visual than audible learners. Students are able to visually interpret the steps and structure of a good paper and what the professors are looking for in the assignment. I really liked how the professor provided steps and goals he/she has enforced and continually changed based on students' perspectives in order to maintain a level situated learning environment.

This article provides information on the use of WebQuests (a web-based program to help students learn in a variety of subjects) in the classroom. The authors determined that literacy should also encompass digital literacy since the job of a teacher is to teach and prepare the students for a successful and productive life. I was interested in this article because my paper is about using web-based media in the classroom, and while this article certainly covers that, there is a strong focus on students who are learning English. The article states that WebQuests make it easier for students learning English because these programs provide visuals and require participation because they're interactive.

The author of this article uses the critical perspectives of Mikhail Bakhtin's theory of language and Lev Vygotsky's theory of language learning to examine the polyphonic texture of writing workshops, the dialogic classroom, the teacher's role as writer and authority figure, and the student's search for voice and role. So, she decides to participate in and observe (two students in particular) an introductory composition class in order to explain the polyphonic texture of workshops. In the end, she concludes stating that "we must resist reductive descriptions of our students' development as writers. (…) each writing workshop will compose a different "polyphony" of disparate elements which each student will appropriate and reshape in different configurations" (171). Unfortunately, you will have to log in as a member to view this article. It can also be found in Chico State's e-library.