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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.

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.

Exploring the Role of Reformulations and a Model Text in EFL Students' Writing Performance Yang, Luxin ; Zhang, Ling The article by Yang and Zhang shares the results from a study of a three-staged writing task by ESL students in a Beijing university. The three stages are composing, comparison (of the reformulation), and revising. The students were asked to study and compose, in English, a narrative of a short picture prompt. The short narratives were then reformulated by a native English speaker, but still maintained the student's original meaning. The students then compared the two to "notice" the differences. The article clearly explains the many types of differences between the two texts; mainly language-related episodes (LRE) and content-related episodes (CRE). The students were also asked to compare their narratives with a model narrative. Though the students tended to focus more on the lexical issues, they were able to more clearly relate their current stage of English language learning with that of a native English speaker. This helped them to "notice the gap". I would recommend this to anyone focusing their attention on ESL learners.

Thinking of invention in chapter two of our text lead me to think about the ways in which we write to express self. This article discusses how the world of texting, instant messaging, blogging and other such types of writing help to open our minds to our inner thoughts. We are free from the rules and regulations of a stereotypical classroom and are also allowed to share and respond to others writing. The internet and cell phones have opened up a huge new space for writing. Some think it's hindering and destroying language, while others believe its radically changing it for the better. I want to start my journey here and reach my own personal conclusion through further research and discussions.

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.

This article by Dr. Janette Hughes talks about the import role poetry plays in literacy development and how multi-media uses of poetry in the classroom can further enhance and engage a students learning process. For the sake of how in depth both of these subjects are, I'm only going to discuss what Dr. Hughes says about poetry and literacy development in this article. "Paying attention to the language and rhythms of poetry helps build oral language skills…..Children with well-developed oral language skills are more likely to have higher achievement in reading and writing" (Hughes). Poetry has an elitist stereotype to it, and tends to be something kept out of middle school and high school classrooms for the most part. Some English classes may briefly touch on some of the cannons of poetry, but only focus on a traditional notion of reading the context and finding the one single meaning. As Hughes states, "The dominant model of poetry teaching, particularly for older students, has been to teach poetry through print text and to focus on finding one meaning to be dissected. In contrast, poets emphasize the importance of hearing the poem read aloud, engaging with it, and probing for deeper meaning through discussion with others" (Hughes). I feel that engagement in poetry provides tools applicable to understanding every type of text. The brevity in poetry forces your mind to work in more analytical ways, and a facilitation of this analysis with other students provides a type of engaging learning experience that can be applied to any type of text for any class. This article really fascinated me, and left me with many more questions and ideas I would like to explore regarding poetry in the classroom.

In this excerpt of Oliver's book, Oliver discusses much of what Rose discussed on "how writer's block comes to be" in our text--therefore, I will not go over those points. My main agenda is to see what sort of techniques Oliver uses in his work to suggest how to move past writer's block. On pages 165-168 Oliver discusses the first approaches to writer's block and then three ways that can resolve writer's block. To approach writer's block, Oliver puts the responsibility on the teachers to figure out if their students with writer's block use too rigid rules when composing, and if so, encourage students repeatedly that "Writing is rewriting" and that editing should be done after writing is complete. These notions Oliver states are very close to "better said than done" tasks, since teachers can repeat such things over and over until they are blue in the face but that doesn't mean the students will take those words to heart and change their composing habits. Oliver then moves on to his three "resolutions" to writers block, strongly putting responsibility on the teacher initially. Oliver offers that teachers should have a 10-15minute discussion with their students, using probing questions to prompt ideas for writing. In turn, the students should jot down notes of the ideas that come to their minds. The point of this is to tap into relevant knowledge for their paper assignments. This sort of prompt questioning can then be used by students on their own time, alone or with friends--the teachers just lay the foundation of understanding for their students on how probe questioning can be useful when composing (shift in responsibility of overcoming writer's block from teacher to student after the excercise is learned and understood). Next, Oliver offers the excercise of freewriting to help open the flow of ideas. He recommends that teachers should give their students 10-15 minutes of non-stop freewriting on their writing topics. Students should refrain from pausing or editi

This source details the author's experience of teaching a course called 'Experimental Writing' to college seniors. Using several chapters from the book Free Play by Steven Nachmanovitch, the instructor introduces the topic of play as an important element of the course. Having read the book myself I think that it is a worthy read, and it has influenced my approach to academic projects by widening my perception of my action as not just reactionary study toward a grade, but play within a field offered by the instructor where success and failure are accepted as process and there is no fixed upper limit to achievement. In other words the writing is can be thought of as a kind of 'funktionslust' a pleasure of doing, not simply an action toward an objective. To create motivation within students requires that they let go of the dire seriousness that school is associated with; school is something to be completed out of necessity not something that can offer individuals new insight to themselves, or the aspects of themselves that have been suppressed by conformity and fear. The author does not entirely endorse the use of Nachmanovitch's text in 'traditional writing classes' because the text discourages many of the elements that are at hand in the traditional approach to teaching (like writing for a letter grade). I chose to be an English major because I felt the most freedom of expression within my English classes; I was offered a choice of what topics to engage with. But increasingly specific expectations from teachers handcuffed my raw creativity. Even so, I think that an increased degree of freedom within writing classes would boost student enthusiasm. The question then is how do we increase the freedom of expression for students of basic writing, where there are necessary modes of measure for the articulation of the chosen subjects (other than simply allowing them to choose their subjects)? To what degree does the rubric shape student identity by for

Andrea Lunsford's Standford study shows that technology is not hurting literacy--it is creating a revolution. "Before the Internet came along, most Americans never wrote anything, ever, that wasn't a school assignment. Unless they got a job that required producing text (like in law, advertising, or media), they'd leave school and virtually never construct a paragraph again." Today's generation, however, writes every day, often all day long thanks to things like twitter and facebook and texting.

This is a handbook for understanding and developing authentic materials suitable for adults published by the National Center for the Study of Adult Learning and Literacy (NCSALL), which ran out of money and funding sources about four years ago. I've already been sold on the value of authentic materials and tasks, but with this handbook, NCSALL takes that extra step I've been looking for, it gives me some guidelines to create tasks for my own potential classroom. The underlying theme of this text seems to be facilitating students' connections with their own literacy.

When reading student work, I often come across misspellings like "u", "cuz" or the annoying lower case i. It's crossed my mind a few times that these mistakes are because of an increasingly technology dependent world. This article discusses the links between the digital age of writing and the academic world of writing. Can one exist with the other? The author suggests that students use things like texting as another form of writing they must learn how to do, just like creative writing or science writing.

This article is looking at the differences in Non-Native speaker (NNS) and Native speaker (NS) in their writing discourse. The main focus is on the usage of tense, aspect, and active/passive voice in their writing. The subjects include NS, and NNS Chinese, Japanese, Korean, Indonesian, Vietnamese, and Arabic. They were given a class periods to answer one out of three questions. The result is very interesting for it shows the difference between the different groups of NNS and the overall differences of NNS and NS. At the conclusion of the finding, it says that NNS are less likely to use passive voice in their writing. I reflected it back to professor Wyrick's question about passive tense in Hmong. I notice that the reason we never pay attention to passive voice because we rarely use it in everyday communication that when I translated to my parents they said it's possible but it's hard to make sense out of it. I also tried to translate some transition words and found it to be very disturbing to the flow of the sentence.

This study occurs over a period of eight years and follows 55 secondary teachers as they take part in professional development in cognitive strategies approach to reading and writing and then implement those strategies in their classrooms. The cognitive strategies approach, an intervention program developed by the UCI Writing Project, focuses on how readers and writers construct meaning from and with texts. This approach suggests that teachers provide systematic and explicit guidance in the cognitive strategies that are utilized by effective readers and writers. The authors state that the "aim of the project was to help students develop the academic literacy necessary to succeed in advanced educational settings," (275). Students were placed into two groups, the "Pathway students" who received cognitive strategies interventions and the control group. According to the study "pathway students not only grew more from pre- to post-test, but also wrote better essays on the post-test and received higher scores than their counterparts in the control classes," (289). http://www.evernote.com/shard/s88/sh/ebcc6b46-f96b-4912-adfe-880d00e4c81e/2b3ed2a99dda281a4071c0fc3d20b990