Simply put, The SimpleMath of WritingWell is a breakthrough in writing guides — and in twenty-seven years of teaching writing, I have tried many different strategies and texts. Students today need a new kind of instruction for the environment of technology in which they are immersed, and they need to know that we writing instructors can respond to that with a clear and proven method for the assignments they need to do. The SimpleMath of WritingWell accomplishes that by combining brief definitions with thorough explanations, followed by exercises that connect concept to practice very effectively. The equations, such as topic sentence + evidence = paragraph, are the kind of simple guide students can grasp while applying those equations to develop complex ideas. Technology has not only changed how students find information but also how they read and think. Dr. Harrop’s direct approach responds to that, and The SimpleMath is what a true writing handbook should be, connecting good writing instruction with the immediacy of application, generating a momentum that students can experience for a greater sense of their own writing agency. I’m recommending it to all our writing instructors.
85 the National Commission on Writing (2006), "Thinking on the screen" is as important as "thinking on paper" in the 21stcentury (p. 15). Video is regarded a composing tool that shares analogous features with print and involves the same stages: planning, drafting, editing and publishing. Bruce (2008a, p. 17) places emphasis on the commonalities that different composing tools have, and argues that video may be a “complimentary” rather than a “competing” writing tool that can be included in the writing instruction in what Leander (2009) terms as “parallel pedagogy”. Using print literacy as a thinking device and transferring their understanding and experiences about print composing through a different sign language system-video is the literacy strategy of “transmediation” (Albers, 2006, p.90). The concept was first introduced by Suhor (1984) who asserted that transferring knowledge across sign systems “stretches the receptive and productive capacities of the students” (p. 254). Transmediation can be a powerful tool for digital native learners who constantly move across sign systems while using new media literacies. Twenty first century learners use emoticons in their posts and text messages and express themselves by combining the format of Youtube videos with audio messages. It is a familiar practice for students to use smartphone or ipad apps such as wondershare or animoto video editor where they can create and edit video, photos and audio and use versatile text effects. Siegel (1995) supports that transmediation can used to shift the “verbocentric ideology. The graph below illustrates the research gap in the literature that drove the first Cycle of this action research project, which was based on the implementation of the “digital nosis model”.
In a qualitative study conducted by Al-Jarrah and Al-Ahmad (2013), they addressed the following challenges of writing instruction in Jordanian state and private schools: large class size, overloaded teaching schedules, lack of teacher professional development, multi-grade classrooms, and lack of integrating technology due to financial constraints. In a mixed-method design study, Rezaei and Jafari (2014) examined the levels, types, and causes of writing anxiety among Iranian EFL students. The results attributed the high level of writing anxiety to low self-confidence, students’ fear of teacher’s negative feedback, and poor linguistic knowledge. The results also indicated that judgmental and threatening classroom practices were also reasons beyond this deficit. In a similar study, Fareed, Ashraf, and Bilal (2016) investigated the factors that hinder Pakistani undergraduate ESL learners’ writing skills. The results revealed that the major problems were insufficient linguistic proficiency, lack of ideas, reliance on L1, writing anxiety, and weak structure organization. The researchers attributed these problems to certain factors including inadequate teacher training, outdated teaching methods, traditional exam system, inadequate classroom practices, large class size, and low motivation. In a case study design, Elachachi (2015) explored the effect of cultural barriers on the writing skills of Arab EFL learners. The findings suggested that the cultural experiences of Arab Algerian writers influence their writing. Thus, if the comparisons between L1 and FL writing structures are not made sufficiently clear, EFL teaching may not be effective. Likewise, Ahmed and Myhill (2016) have attempted to explore the impact of the socio- cultural context on EFL writing skills of Egyptian students. The results indicated that students’ ability to write was affected negatively by certain issues such as writing traditional topics, directing students’ thinking, the influence of L1, rote learning, lack of critical thinking skills, competitive learning, lack of reading skills, and the traditional examination system.
CC9-10WH/SS/S/TS2b Develop the topic with well-chosen, relevant, and sufficient facts, extended definitions, concrete details, quotations, or other information and examples appropriate to the audience's knowledge of the topic. CC11-12WH/SS/S/TS1b Develop claim(s) and counterclaims fairly and thoroughly, supplying the most relevant data and evidence for each while pointing out the strengths and limitations of both claim(s) and counterclaims in a
Colonial Present”, and the submissions for this postgraduate award were many, and of a very high quality which made judging the prize a particular challenge. This year the prize is shared between two excellent papers that address the conference theme: Benjamin Miller’s article on David Unaipon and Jo Jones’s article on Gould’s Book of Fish. We congratulate them both and take great pleasure in publishing their work here in JASAL. The publication of articles by postgraduate students is a priority for the ASAL organisation and as such, ASAL 07 hosted a special postgraduate lunch seminar, featuring Drusilla Modjeska, who discussed her ARC-funded “From Thesis to Book Project”. Modjeska shared her practical tips and considerable wisdom gained from this manuscript-development partnership between the University of Sydney and Pan Macmillan Australia, as well as from her own career as a writer and academic. Rowanne Couch, recipient of the project-funded 2005 scholarship, also shared with postgraduate students her insights into the changing book market for literary non-fiction in Australia. Her talk raised the issue of publishing opportunities outside traditional academic outlets which postgraduates at ASAL were encouraged to explore.
one: Articulate the new models of composing developing right in front of our eyes. Through research documenting these new models, we can create the theory that has too often been absent from composition historically, and we can de- fine composition not as a part of a test or its primary vehicle, but apart from testing. In creating these new models, we want to include a hitherto neglected dimension: the role of writing for the public. As Doug Hesse has argued, the public is perhaps the most important audience today, and it’s an audience that people have written for throughout history. If this is so, we need to find a place for it both in our models of writing and in our teaching of writing.
In 1995, Daresh and Playko composed the accompanying about" instructional initiative". Notwithstanding the measure of talk about, and also bolster for, the idea of instructional initiative, little has been done to characterize the idea operationally. We presently perceive that individual other than principals may participate in instructional initiative practices. Douglas Reeves, in the learning Leader (2006), offers a structure of "administration for learning" to support the individuals who are disheartened on the grounds that it gives particular direction to the most troublesome school, and it will test careless schools to various between being successful and being fortunate. The meaning of administration in writing has been extremely differing. For the most part, administration is characterized regarding characteristics, practices, jobs, and procedures. "Analysts as a rule characterize administration as per their individual points of view and the parts of the wonder of most enthusiasm to them" blends of definitions, "mirror the supposition that includes procedure whereby deliberate impact is applied by one individual over other individuals to guide, structure and encourage exercises and connections in a gathering or association" Said in another way attest that "authority ought to be characterized extensively as a social procedure in which an individual from a gathering or association impacts the elucidation of inward and outside occasions, the selection of objectives or wanted results, association of work exercises, singular inspiration and capacities, control relations, and shared introductions".
In both cases, Pan Heh-ven intentionally lives up to stereotypes of the Chinese, both with Mrs. Manners and the British vice-consul. In the former, however, he does it in a way that constitutes a returning of hospitality; in return for Mrs. Manners’ invitation to her social circle and her hospitality, he tries to behave in accordance with his hostess’s expectations in a way that would give her and her guests pleasure, even as he is aware that they are shaped by cultural stereotypes. When Heh-ven tires of performing ‘Chineseness’ for Mrs. Manners and his guests, he simply stops showing up to gatherings and events, thus rejecting both the hospitality he is offered and that which he would feel a sense of obligation to offer in return as a guest. In the latter case, in which Heh-ven finds himself faced with a (rather tone-deaf) government representative seeking to extract information about ‘the Chinese’, Heh-ven employs a clever sleight-of-hand in which he both fulfils the vice-consul’s expectations as well as subverts his ‘statesmanlike book’ project, which will supposedly present English readers with authoritative, insightful observations on topics such as the ‘Chinese mentality’. Without confronting or offending his English interlocutor, Heh-ven nevertheless refuses to co-operate. Perhaps most importantly, we see that Pan/Shao subtly ridicules the very notion of any individual being able to ‘represent’ the entire Chinese nation — an inavoidable ludicrousness which lies at the core of all state or national-level diplomacy.
Treating these women, nineteenth-century doctors argued, was often more “art” than science—a claim they defended by opposing the two terms, and that was supported by the nature of the system they had themselves constructed: when morality and physicality were linked so intimately, health could sometimes not be ascertained through generic measurement. Rather, doctors asserted that each individual possessed a unique balance that could only be reached by personal intervention—a practice rendered impossible by the “scientific” standardization of treatment. Whereas today, standard treatments are offered for standard illnesses located in individual body parts, the typical nineteenth-century doctor attended to the body’s economy and took into consideration the moral particulars of a person’s case as well as his or her physiological symptoms. As Rosenberg notes, the term “empiric” was pejorative during this period in medical history, denoting “the blind cut and try practices which regular physicians liked to think characterized their quackish contemporaries” (7). Although some researchers influenced by European ideas had, in the years following the Civil War, turned toward empiricism, many doctors – in part because of the inadequacy of medical training and in part because of their need to keep patients in an increasingly competitive environment –
While there were strong similarities between the vision and work of Simiand, Bloch and Febvre, the latter accomplished much more than the former. Bloch and Febvre’s dissenting views may not have been genuinely new, yet Annales was undoubtedly one of the most successful attempts to change scholarship in French history, and arguably French social science. This contrast confirms Novick’s views that recurrent debates were not uniformly influential in the history of the discipline: only some of them had effects on the general course of research and activity. Simiand’s methodological pronouncements had little, if no direct effect, while the Annales created a movement that enjoyed phenomenal success throughout the better part of the 20th century. Indeed, as we see on the time line (Figure 5.1) within a few years of the creation of their journal, Bloch and Febvre were called back to Paris and appointed to extremely prestigious jobs. In 1933, Febvre was given a chair at the Collège de France, where he taught economic and social history, with a growing emphasis on religious and cultural trends. Bloch returned to Paris in 1936, to take over the Sorbonne chair in Economic History (Figure 5.1). Both these posts were held by Annales scholars for decades to come (Febvre’s successor was Fernand Braudel; while Bloch’s post-WWII successor was Ernest Labrousse), and the movement grew stronger from year to year – as more and more scholars came to identify with the movement.
The Secondary Education Certification Preparation Program in English (Grades 7 -12) is available to English Literature Majors seeking Pennsylva- nia Department of Education (PDE) Certification. The Program integrates educational theory and practice with field experiences that include practicum and student teaching, as well as opportunities to develop teaching competence through innovative and effective ap- proaches to the educational process with focus on students at the Secondary Level. Students interested in the Co-Major/Minor should contact the Coordinator of Undergraduate Education at 215.248.7129.
Music students of the 21stcentury need specific competencies and attributes to prosper and survive in a world and a time that are constantly changing and developing. Students’ success in meeting life’s demands depends on their ability to adapt to new situations and environments. To deal with the requirements of today’s workplace, music graduates should demonstrate 21st-century skills that reflect advanced higher-order thinking skills and cognitive developments (Greiff, Niepel & Wüstenberg, 2015:1). Researchers, business leaders and education specialists are collaborating to develop structures to support life and career skills that outline 21st-century learning outcomes such as information and communication technology (ICT) literacy, creativity, critical thinking and problem solving. These role-players place much emphasis on defining the skills and knowledge that are needed for lifelong learning (Kaufman, 2013:78; Watanabe-Crocket, 2016).
In the 20th century, the approach to education was to focus on ‘learning- about’ and to build stocks of knowledge and some cognitive skills in the student to be deployed later in appropriate situations. This approach to education worked well in a relatively stable, slowly changing world where students could expect to learn one set of skills and use them throughout their lives. Careers often lasted a lifetime. But the 21stcentury is quite different. The world is continuously changing at an increasing pace. Skills learned today are apt to be out-of-date all too soon. When technical jobs change, we can no longer expect to send a person back to school to be re-trained or to learn a new profession. By the time that happens, the domain of inquiry is likely to have morphed yet again.
Let’s consider a situation where you were thinking about writing— there will be a day when something is due and either you’re not happy with what you’ve brought to class, or your teacher sees your work as incomplete, or both. But since writing is a process filled with successes and failures, those days when drafts are due or some kind of writing deadline has arrived, I try to make space for a workshop that can help everyone in the room, from those with nothing to show to those with too much. We circle up, one circle inside another, a set of ten to fifteen workshop partners. You get five minutes to explain what you wrote, what you were trying to do, and how this meets the demands of the assignment. And you need to prompt some feedback from your part- ner—What do you think? Does it make sense? What’s your favorite part of my writing? What would you like to see developed in my next revision? What question do I make you think of with my writing? Ten minutes and an exchange later, we switch partners and repeat until class time is over. Very simple setup, and it doesn’t matter if you have confusion, an unwritten idea, or something of a draft. After one of these speed- back sessions (where feedback meets speed-dating), and regardless of whether you started with less or more, you will have likely clarified your goals and learned about how your peers are trying to meet theirs.
Some writing assignments focus on one simple task at a time: “Summarize the following . . .” “Compare the readings . . .” “ana- lyze,” or “argue.” When you write a simple five-paragraph essay, your mode rarely changes—you can write an introduction, thesis, body, and conclusion without explaining too many shifts in what the pa- per is “doing.” Writing at the college level and beyond often has to “do” a few things in the same text. Most involved writing assignments expect you to do at least two things. You may need to summarize/ report and respond, or (more likely) you’ll need to summarize/report, synthesize, and respond. A good introduction, as you’ve learned, needs to anticipate all of it so the reader knows what to expect. Anticipating the structure of a complex argument in I-less mode is tricky. Often, it comes out as a summary of the document that follows and is redun- dant. First person can clear that problem right up. Consider the intro- duction to this article; when I come to the part where I need to tell you what I’m going to do, I just . . . tell you what I’m going to do! My writing students usually find this rhetorical trick (or is it an un-trick?) refreshing and liberating. The same concept can be applied to transi- tions between sections and ideas: “Now that I’ve done this thing, I’d like to move into this other part of my argument . . .” I’ll use this type of transition, myself, when I move into the section of this text called, “When, and When not?”
• Investigate background information on the film you are writing about, such as the film’s historical, cultural, and stylistic contexts, or production history. This kind of background material can prove to be useful in your written analysis, critique, evaluation, and general understanding of the film because even if your assignment does not ask you, for example, to explicitly write about the film in relation to the era in which it was made, knowing that history will deepen your critical awareness of other aspects of the film, such as the iconography of propagandistic imagery in the films made during World War II. Examining the film as a process that has been shaped by different types of events— historical, contemporary, and individual—can guide you to ideas of your own about the film.
From August 2011 to April 2012, we conducted more than 100 semi-‐structured interviews with WPAs, writing teachers, graduate and undergraduate veteran students, veteran services providers, academic advisors, psychological counselors, senior institutional administrators, and others. In addition to hearing comments similar to those collected on the survey (e.g., veteran students tend to be mature, serious students who seek frank guidance as they develop as writers; not all veterans self-‐identify to professors; veterans may initially be reluctant to seek additional help; veteran students may have some difficulty relating to classmates, but often serve as role models or attain leadership roles in class; veteran students tend to be “mission-‐oriented” in their approach to assignments, etc.), we quickly discovered several patterns worth noting:
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the complexities of the issue, consider opposing or alternate points of view, use his/her unique experiences or view of the world as a basis for writing, or connect ideas in interesting ways. The writer develops the essay in a manner that demonstrates a thorough understanding of the persuasive writing task.