117,493 research outputs found

    Exploring notions of genre in 'academic literacies' and 'writing across the curriculum': approaches across countries and contexts

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    The SIGET IV panel on genre in Writing Across the Curriculum (WAC) and “academic literacies” (ACLITS) has set rolling a discussion of the similarities and differences in the two traditions, the former originating in the US in the early 1970s, the latter originating in England in the early 1990s. This paper maps out some elements of each in relation to the other and to genre, which we hope will set in motion further discussions and cross-fertilization

    Becoming curious about cats: A collaborative writing project

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    Students’ interests and achievement in writing are often debated and located in theoretical and pedagogical arguments. These issues can polarise understandings of effective teaching practice. This article describes one teacher’s classroom practice in a New Zealand primary school. It outlines a collaborative project between a local teacher and a university lecturer. The two educators were concerned about political and educational changes and the influence this had on teachers’ writing pedagogy. They were concerned about the differences between the children’s reading and writing achievement evident in this year three classroom. As researchers they were keen to explore the ‘power of literature’ as a way of enriching children’s oral and written language experiences. The writers argue that by using quality literature in the classroom, with an explicit focus on authors’ literary techniques, students develop an awareness of how authors craft and construct texts. The young writers were apprenticed to experts and developed a metalanguage, which enhanced their own writing skills

    Exploring the Academic/Creative Writing Binary

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    I began to work on this study in my ENG 201: Writing in the Disciplines class during my junior year at Pace University. After being asked to write a paper on what writing looks like in my discipline, I realized that my perceptions of the kinds of writing done by faculty and students in a university English department were limited and constricting as a result of the binary way in which I viewed academic and creative forms of writing. For instance, I had trouble believing that my creative writing professor studied pre-med in undergrad. I continued my research on this topic by developing a study to discover how faculty and undergraduates think about writing in an English department. In conducting this research, I hoped to redefine and illustrate potential overlaps between academic and creative writing and to propose new (perhaps more fluid or capacious) ways of labeling and conveying the kind of writing students and faculty produce. Specifically, I wanted to explore whether these are terms or categories that either groups use, or whether faculty and students’ perceptions of academic and creative writing challenge these categories. I explored these concepts through a qualitative study. After obtaining IRB approval, I devoted one class of Meaghan Brewer’s English 201:Writing in the Discplines to a workshop where students in the class brought in samples of their own writing and then put them into categories and created labels. Students filled out a form giving a rationale for how they labeled different kinds of writing before having a class discussion. I repeated the same process in a composition faculty meeting in the English department. These activities are modeled on activities described in research by composition scholar Anne Ruggles Gere. This highly contextual, qualitative research is commonplace in composition studies and has been present in the majority of my initial literature review. In conducting this study, my largest obstacle was the small amount of time I had to analyze the results of my activities between drafts. However, the data collected exceeded my expectations in that, like in much of the research cited in this paper, I found students had binary views of academic and creative writing despite not using them often as labels. For the most part, they described academic as being constricting and reliant on structure whereas they saw creative as a freer style that allowed them to voice an opinion. On the contrary, faculty used these terms more frequently, but thought about them in less binary ways. After having a group discussion, both faculty and students appeared to have broadened the way they looked at writing which is what I was hoping to encourage with this study. My findings suggest that faculty members need to create curricula that encourage students to see genres in more complex ways. Future research might explore how expanding the approach to teaching genre could redefine student perceptions of college writing

    Imagined, prescribed and actual text trajectories: the ‘problem’ with case notes in contemporary social work

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    Drawing on a text-oriented action research ethnography of the writing practices of UK-based social workers, this paper focuses on a key but problematic aspect of everyday, professional textual practice – the production of “case notes.” Using data drawn from interviews, workshops, texts and observation, the paper locates case notes within social work everyday practice and explores the entextualization of three distinct case notes. The heuristic of imagined, prescribed and actual trajectories is used to track specific instances of entextualization and to illustrate why the production of case notes is a particularly complex activity. A key argument is that in the institutional imaginary, and reflected in the institutionally prescribed trajectory, case notes are construed as a comprehensive record of all actions, events and interactions, prior to and providing warrants for all other documentation. However, they are in actual practice produced as parts of clusters of a range of different text types which, together, provide accounts of, and for, actions and decisions. This finding explains why case notes are often viewed as incomplete and raises fundamental questions about how they should be evaluated. The complexity of case notes as an everyday professional practice is underscored in relation to professional voice, addressivity and textual temporality

    Scaffolding in Narrative Learning: Appraisal Analysis in Teachers' Talk

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    Engagement is one of appraisal dimensions introduced by Martin and White (2005) that is used to analyze the stances which a teacher takes, both in relation to the students and the visual-verbal components in texts and the way of the teacher align or dis-align the students. This paper explores the interaction between a teacher and thirty-two junior high school students in learning narrative texts. The focus of this study is on the stages of scaffolding to help the students to cope with narrative texts. This study employs classroom discourse analysis particularly appraisal analysis on engagement elements in teacher's talk. The findings of this study depict that in teaching the students, the teacher uses different kinds of engagement systems of heterogloss (contract and expand) to take particular stance to mediate the students with teaching materials. The heterogloss is also used to guide the students in exploring the learning materials. Practically, the result of the study is beneficial for the EFL teachers as a reference in teaching narrative texts

    Plug-in to fear: game biosensors and negative physiological responses to music

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    The games industry is beginning to embark on an ambitious journey into the world of biometric gaming in search of more exciting and immersive gaming experiences. Whether or not biometric game technologies hold the key to unlock the “ultimate gaming experience” hinges not only on technological advancements alone but also on the game industry’s understanding of physiological responses to stimuli of different kinds, and its ability to interpret physiological data in terms of indicative meaning. With reference to horror genre games and music in particular, this article reviews some of the scientific literature relating to specific physiological responses induced by “fearful” or “unpleasant” musical stimuli, and considers some of the challenges facing the games industry in its quest for the ultimate “plugged-in” experience

    The 'memoir problem', revisited.

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    The ‘memoir problem’ revisited “That you had parents and a childhood does not of itself qualify you to write a memoir”. Neil Gunzlinger, book reviewer for the New York Times, griped in a review of yet another confessional memoir. It’s true; suddenly everyone is writing memoir, even people who only ever wrote fiction, rock music or poetry, or never wrote before. I even find myself writing memoir, but mining some of my own fictional writing for triggers and nudges, delving into old poems for clues and lines of inquiry. After all, the memory does not always linger on. Now, since revisiting this autobiographical writing as a resource for chapters of my Creative Nonfiction PhD thesis, a food memoir, in this paper I’ll discuss attempts made to fictionalise the ‘true’ events of the stories, and the uses made of them, to revitalise memoir. I also reflect on the work of controversial memoirist Karl Ove Knausgaard, whose six-volume work, ‘My struggle’, has offended members of his extended family, critics and purists, or simply bored many readers with the impossibly detailed accounts of his life, to ask again of memoir, “Should it be artful or truthful?

    Profiling the educational value of computer games

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    There are currently a number of suggestions for educators to include computer games in formal teaching and learning contexts. Educational value is based on claims that games promote the development of complex learning. Very little research, however, has explored what features should be present in a computer game to make it valuable or conducive to learning. We present a list of required features for an educational game to be of value, informed by two studies, which integrated theories of Learning Environments and Learning Styles. A user survey showed that some requirements were typical of games in a particular genre, while other features were present across all genres. The paper concludes with a proposed framework of games and features within and across genres to assist in the design and selection of games for a given educational scenari
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