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After reading our Homework assignment I was truly interested in the true "America Style" of writing. According to this article some styles of the American writing include directness, audience,clear examples, and the uses of sources. I've witnessed many non-native speakers of English struggle in their writing due to their cultural writing expectations. In this article it shows that for those students they offer tutoring one on one, workshops, help sheets and multilingual readers. This made me wonder as to what techniques are the most beneficial for American students struggling in writing and what techniques help native speakers the most. There are different modes of writing as well and each will change depending on the class subject.

Kimberly De Vries writes about the differences in writing between Chinese students and American students and the expectations of Western academic institutions. She compares Western writing to "mathematical plainness" and argues that there is a cultural bias that exists. De Vries writes, "My experience with American writing practice has led me to conclude that in America, clarity depends not so much on using a particular form, but rather using the form expected by the reader. Thus clarity is entirely dependent on cultural expectations..." (1). This article was interesting to me because I have several Asian students in my workshop. I'm trying to understand the motives behind some of the errors they make while writing. It's difficult because much of the research deals with wether they're using their L1 to help organize their thoughts and simply translating them into L2 (which usually results in a complete lack of clarity. In fact, at times I didn't know what whole sentences meant) or writing by using L2 only. De Vries also relies on research by Robert Kaplan who has documented the effects of culture on writing practices. De Vries writes, "Kaplan contended that writing teachers needed to understand that culture produces different styles of argument, rather than flawed thinking. If we are not looking for it, we may miss an unfamiliar pattern of argument just as we may miss an unfamiliar sound in a foreign language" (3). De Vries believes that American scholars value a certain "style" of academic writing -- a style that represents only a small part of all the writing that goes on in the world today. "As this work goes on, we now begin to see that many characteristics of 'good' writing that were once perceived as universally true, are actually very much influenced by culture" (6).

This post discusses how to write in your true voice, but online, not in academic writing. I thought it was interesting though, because it addresses avoiding "corporate speak" and suggests using first person to get a personal message across. In academic writing, I think "corporate speak" could actually be proper grammar and certain styles. Do they take our voice out of writing? It's not always an option to take out a style from writing. And in academic writing, it's rarely an option to use first person.

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.

I ran across this article last year while browsing through journals in the library and thought it was humorous. I thought of it again when we read Bartholomae. In this article by Philip Eubanks and John D. Schaeffer, the authors first set out to define what bullshit is, then discuss the ways in which bullshit is an aspect of academic rhetoric. The humorous (and most likely intended) irony is that all the while they are writing in a very traditional academic style which is, in and of itself, often associated with the very claims of bullshit they are examining. The main idea is that it matters not whether the content of the bullshit itself is true or false, but that bullshitters misrepresent themselves and their intentions (375). Eubanks and Schaeffer examine various types and purposes of bullshit, as well as various reasons one might engage in bullshitting, including representing a 'constructed self', gamesmanship, pleasure, reputation and superiority. "To sum up, prototypical bullshit has to do with a purposeful misrepresentation of self, has the quality of gamesmanship, and . . . is at least potentially a lie"(380). In the second half of the article, the authors examine academic writing, determining what features make it prototypical and how those features might be construed to be bullshit. One important aspect is the use of jargon, which seems to many non-academic readers to merely confuse for the purpose of elevating the author's status. "Often academic writers could be clearer but prefer to serve up something that sounds like bullshit" (382). They point out that students imitate this style in their own writing, and are rewarded for it. In addressing the issue of audience, the authors make a statement that is very reminiscent of Lave and Wenger's communities of practice in Situated Learning: "much academic publication, especially by young scholars, aims to qualify the author for membership in a group of specialists" (382). As we discu

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.

After much searching, I was able to find a book that was written by an educator from England about her varying experiences with excellent writers that had a difficult time adapting their writing style to the expectations the West. Helen Fox, author of "Listening to the World: Cultural Issues in Academic Writing, analyzes the effects of culture and the problems this cultural influence causes when students try to adapt their writing styles and personas to that of Western academia. Problems include; focusing on a group instead of emphasis on self, a mindset geared toward a focus on the past instead of a focus on the future and a circular approach to writing instead of a linear approach. Fox investigates these issues and other cultural effects on the writing process.

The title of the article, Understanding the College First-year Experience, basically explains the focus of the article. Kirk Kidwell summarizes the typical first year development of a freshman student as a time of purgatory. Successful students are able to go through four phases; dualism, multiplicity, relativism, and commitment to relativism. Through the phases, students lean to change from a passive style of learning to an active style of learning, as well as learn the "game: of college academia. In the game of college writing, Kidwell believes if students pass through the "academic hazing" or purgatory of the first year, they will learn the following two lessons. First, "College is not high school; one cannot just coast through" (Kidwell 253). Second, "The successful college student takes responsibility for his or her education" (Kidwell 254). These lessons are a good idea, but I feel they are too simple. Of course college is not high school. Stating such an obvious observation seems condescending towards freshmen students, regardless if they do or do not realize the fact. Also, the article summarizes the first year well, but it leaves out the more intricate parts of changing the issues freshmen students face. The missing issues include; how can teachers make the freshmen year less of a purgatory, is it possible to prepare high school students better through a change of curriculum, how do we help students to stay in college instead of dropping out, and how can we create awareness of college "is not high school"? These are crucial points that are completely missing from the article, thus the article is better for a basic understanding of what freshmen endure their first year of college.

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

Hypermedia Authoring as Critical Literacy Jamie Myers Richard Beach This article talks about the benefits of implementing hypermedia into literacy education. Hypermedia or hypertext is a web tool that allows students to access school texts via the Internet and actively engage in annotating those texts or providing links to relating websites, pictures, or videos. Students don't have to just link either, they can create their own webpage geared towards whatever it is their doing. A student could make a webpage featuring a paper they wrote, with links to videos and pictures that the creator feels relates to the paper. It's a type of personalization that would motivate a student and make them view their writing differently. Free writing is a useful tool for helping a writer find their voice or develop their own style. Hypertext allows students to free write with freedom and creativity about particular texts, and puts their writing into conversation with other student's responses. Similar to the way we use dijgo, but with a focus on the inquires made into a certain school text. Discussion of the various posts can be made in class, to create a literal conversation on inquires and interpretations of a text.

This article discusses the differences between the passive and active literary voice, choosing an appropriate tone, and effective usage of verbiage; however, it is written in a very instructively, concise manner and is easy to comprehend. There are recommendations for when to appropriately use the passive or active voice, as well as recognizing the certain challenges each voice contains. In total there are 16 steps to "improve your voice" and each step consists of sub-steps. There is also advice for establishing concise, precise, and simplistically, effective writing for your reader to grasp and enjoy. Although the article is rather short, it is very instructive and can be utilized as a beneficial source to enhance not only our writing, but also the students we are helping. It would make a great source to share and/or even post on blackboard learn under the ENGL 130 forum (for those of us in the workshop); or those mentoring anywhere else on campus.

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?