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An ethnographic study described a successful educational environment for students from low-income families and examined what it is about those environments that makes them successful. The subject class was a combined fourth and fifth grade class at Taft Elementary School in a predominantly African American working class community two miles from the downtown of a western city. The teacher, a white, middle-class woman, structured her class around the daily practice of writing and said that she used a "whole language" approach. Reading and writing instruction were videotaped for 8 continuous days at the beginning of the school year, and for 5 days in February, and 2 days in May. Students were interviewed in February and May. Results indicated the existence of a highly coherent and inclusive social system--a social system characterized by clearly defined and valued practices in which all students are invited and expected to participate, and an overriding consistency of messages communicated through participation in routines and through language. There were overarching values implicit in everything that took place, so that all activity was purposeful. (Contains 18 references.) (RS)

231 pages ; 22 cm

231 pages ; 22 cm

Many teachers around the world employ several academic materials in class that are selected taking into consideration aspects, such as levels, population, curriculum, and objectives. In the field of teaching English to speakers of other languages (TESOL), there are several resources that allow any student to start or improve a learning process that needs the guidance and support of the entire community. In the United States, foreign students who need to learn and use the English language in their daily lives face challenges that regular American students might not; communicative effectiveness, socio-cultural adaptation, and academic concentration are a few extra-elements foreign students deal with inside and outside the school environment. This paper presents a content-based reading and writing activities handbook for English language students that can be utilized as a productive academic resource to reinforce literacy skills in the target language for these types of students.

Many teachers around the world employ several academic materials in class that are selected taking into consideration aspects, such as levels, population, curriculum, and objectives. In the field of teaching English to speakers of other languages (TESOL), there are several resources that allow any student to start or improve a learning process that needs the guidance and support of the entire community. In the United States, foreign students who need to learn and use the English language in their daily lives face challenges that regular American students might not; communicative effectiveness, socio-cultural adaptation, and academic concentration are a few extra-elements foreign students deal with inside and outside the school environment. This paper presents a content-based reading and writing activities handbook for English language students that can be utilized as a productive academic resource to reinforce literacy skills in the target language for these types of students.

Many teachers around the world employ several academic materials in class that are selected taking into consideration aspects, such as levels, population, curriculum, and objectives. In the field of teaching English to speakers of other languages (TESOL), there are several resources that allow any student to start or improve a learning process that needs the guidance and support of the entire community. In the United States, foreign students who need to learn and use the English language in their daily lives face challenges that regular American students might not; communicative effectiveness, socio-cultural adaptation, and academic concentration are a few extra-elements foreign students deal with inside and outside the school environment. This paper presents a content-based reading and writing activities handbook for English language students that can be utilized as a productive academic resource to reinforce literacy skills in the target language for these types of students.

Many teachers around the world employ several academic materials in class that are selected taking into consideration aspects, such as levels, population, curriculum, and objectives. In the field of teaching English to speakers of other languages (TESOL), there are several resources that allow any student to start or improve a learning process that needs the guidance and support of the entire community. In the United States, foreign students who need to learn and use the English language in their daily lives face challenges that regular American students might not; communicative effectiveness, socio-cultural adaptation, and academic concentration are a few extra-elements foreign students deal with inside and outside the school environment. This paper presents a content-based reading and writing activities handbook for English language students that can be utilized as a productive academic resource to reinforce literacy skills in the target language for these types of students.

Many teachers around the world employ several academic materials in class that are selected taking into consideration aspects, such as levels, population, curriculum, and objectives. In the field of teaching English to speakers of other languages (TESOL), there are several resources that allow any student to start or improve a learning process that needs the guidance and support of the entire community. In the United States, foreign students who need to learn and use the English language in their daily lives face challenges that regular American students might not; communicative effectiveness, socio-cultural adaptation, and academic concentration are a few extra-elements foreign students deal with inside and outside the school environment. This paper presents a content-based reading and writing activities handbook for English language students that can be utilized as a productive academic resource to reinforce literacy skills in the target language for these types of students.

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Abdulrazak Gurnah is an Afro-British diaspora writer who won the Nobel Prize for Literature in 2021. His works, which center on issues like identity, racial tensions, and historical writing, mostly depict the living conditions of colonial peoples, refugees, and immigrants. Admiring Silence is a novel written by Gurnah in 1996. It tells the story of a Zanzibar refugee who, after 20 years of diaspora in Britain, is able to return home, but then has to choose to return to Britain immediately. This article takes spatial migration and diaspora under post-colonialism as the background for studying refugees and applies cultural memory theory and identity theory to analyze the memory and identity construction issues in Admiring Silence. Finally, it attempts to explain the reasons for the memory and identity dilemma of diaspora groups from the perspectives of colonialism and racism in the suzerain country, as well as the failed acculturation of diaspora refugees themselves.

Abdulrazak Gurnah is an Afro-British diaspora writer who won the Nobel Prize for Literature in 2021. His works, which center on issues like identity, racial tensions, and historical writing, mostly depict the living conditions of colonial peoples, refugees, and immigrants. Admiring Silence is a novel written by Gurnah in 1996. It tells the story of a Zanzibar refugee who, after 20 years of diaspora in Britain, is able to return home, but then has to choose to return to Britain immediately. This article takes spatial migration and diaspora under post-colonialism as the background for studying refugees and applies cultural memory theory and identity theory to analyze the memory and identity construction issues in Admiring Silence. Finally, it attempts to explain the reasons for the memory and identity dilemma of diaspora groups from the perspectives of colonialism and racism in the suzerain country, as well as the failed acculturation of diaspora refugees themselves.

Abdulrazak Gurnah is an Afro-British diaspora writer who won the Nobel Prize for Literature in 2021. His works, which center on issues like identity, racial tensions, and historical writing, mostly depict the living conditions of colonial peoples, refugees, and immigrants. Admiring Silence is a novel written by Gurnah in 1996. It tells the story of a Zanzibar refugee who, after 20 years of diaspora in Britain, is able to return home, but then has to choose to return to Britain immediately. This article takes spatial migration and diaspora under post-colonialism as the background for studying refugees and applies cultural memory theory and identity theory to analyze the memory and identity construction issues in Admiring Silence. Finally, it attempts to explain the reasons for the memory and identity dilemma of diaspora groups from the perspectives of colonialism and racism in the suzerain country, as well as the failed acculturation of diaspora refugees themselves.

Abdulrazak Gurnah is an Afro-British diaspora writer who won the Nobel Prize for Literature in 2021. His works, which center on issues like identity, racial tensions, and historical writing, mostly depict the living conditions of colonial peoples, refugees, and immigrants. Admiring Silence is a novel written by Gurnah in 1996. It tells the story of a Zanzibar refugee who, after 20 years of diaspora in Britain, is able to return home, but then has to choose to return to Britain immediately. This article takes spatial migration and diaspora under post-colonialism as the background for studying refugees and applies cultural memory theory and identity theory to analyze the memory and identity construction issues in Admiring Silence. Finally, it attempts to explain the reasons for the memory and identity dilemma of diaspora groups from the perspectives of colonialism and racism in the suzerain country, as well as the failed acculturation of diaspora refugees themselves.

Abdulrazak Gurnah is an Afro-British diaspora writer who won the Nobel Prize for Literature in 2021. His works, which center on issues like identity, racial tensions, and historical writing, mostly depict the living conditions of colonial peoples, refugees, and immigrants. Admiring Silence is a novel written by Gurnah in 1996. It tells the story of a Zanzibar refugee who, after 20 years of diaspora in Britain, is able to return home, but then has to choose to return to Britain immediately. This article takes spatial migration and diaspora under post-colonialism as the background for studying refugees and applies cultural memory theory and identity theory to analyze the memory and identity construction issues in Admiring Silence. Finally, it attempts to explain the reasons for the memory and identity dilemma of diaspora groups from the perspectives of colonialism and racism in the suzerain country, as well as the failed acculturation of diaspora refugees themselves.

Abdulrazak Gurnah is an Afro-British diaspora writer who won the Nobel Prize for Literature in 2021. His works, which center on issues like identity, racial tensions, and historical writing, mostly depict the living conditions of colonial peoples, refugees, and immigrants. Admiring Silence is a novel written by Gurnah in 1996. It tells the story of a Zanzibar refugee who, after 20 years of diaspora in Britain, is able to return home, but then has to choose to return to Britain immediately. This article takes spatial migration and diaspora under post-colonialism as the background for studying refugees and applies cultural memory theory and identity theory to analyze the memory and identity construction issues in Admiring Silence. Finally, it attempts to explain the reasons for the memory and identity dilemma of diaspora groups from the perspectives of colonialism and racism in the suzerain country, as well as the failed acculturation of diaspora refugees themselves.

At the 2024 Hudson Valley Ideas Festival, Carly Reilly interviews novelist Stephen Marche to explore his journey in writing political thrillers like \"The Last Election\" and \"The Next Civil War,\" reflecting on American politics' inner workings and the profound impact of money on campaigns and the behavior of politicians. He also delves into his collaboration with AI in literature, which raises deep questions about creativity, meaning, and identity. The conversation highlights the challenges and insights gained from integrating AI in writing, emphasizing its technical demands and the evolving nature of storytelling in the digital age.Watch the full episode on YouTube: https://youtu.be/w6lTjOihJWACheck out \"The Last Election\": https://www.amazon.com/Last-Election-Andrew-Yang/dp/1636141501----Follow Stephen Marche: https://stephenmarche.com | https://x.com/StephenMarcheFollow Carly Reilly: https://x.com/carlypreilly | https://www.linkedin.com/in/carly-reilly-606ab166/Follow Andrew Yang: https://andrewyang.com | https://x.com/andrewyangGet 50% off Factor at https://factormeals.com/yang50Get an extra 3 months free at https://expressvpn.com/yangGet 20% off + 2 free pillows at https://helixsleep.com/yang code helixpartner20Get 20% off your first order at https://ashanderie.com/ code yang----Subscribe to Forward:Apple - https://podcasts.apple.com/podcast/id1508035243Spotify - https://open.spotify.com/show/25cFfnG3lGuypTerKDxKiaTo learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policyLearn more about your ad choices. Visit https://podcastchoices.com/adchoices

The study reported in this paper explores issues of motivation and learners' identity in English as a Foreign Language (EFL) writing classroom in Vietnam from the perspectives of the learners. It was conducted with thirty English-major students at a university in central Vietnam. While relevant literature appears to place much emphasis on students' extrinsic motivations related to institutional needs, their linguistic need, and social needs in learning EFL writing, students are not only concerned with these but more significantly, with their intrinsic motivations such as their interest, passion and inspiration, which are linked to their personal and cultural needs in writing. Students in this study show their potential to write independently, creatively and passionately if they are really motivated. This reflects an image of students who are able and ready to write with a sense of authorship in a foreign language, which is different from how they appear to be in the routine described with writing as imitating the model and developing some preconceived ideas. The research also suggests that decisions about appropriate methods and materials for teaching writing in the study context need to be based on a comprehensive interpretation not only of visible signs or visible needs (mainly shaped by institutional requirements and social expectations) but also of what is deep inside students' act of writing in a foreign language, involving their own cognitive and affective process embedded in their unrecognized needs. (Contains 2 footnotes.)

The study reported in this paper explores issues of motivation and learners' identity in English as a Foreign Language (EFL) writing classroom in Vietnam from the perspectives of the learners. It was conducted with thirty English-major students at a university in central Vietnam. While relevant literature appears to place much emphasis on students' extrinsic motivations related to institutional needs, their linguistic need, and social needs in learning EFL writing, students are not only concerned with these but more significantly, with their intrinsic motivations such as their interest, passion and inspiration, which are linked to their personal and cultural needs in writing. Students in this study show their potential to write independently, creatively and passionately if they are really motivated. This reflects an image of students who are able and ready to write with a sense of authorship in a foreign language, which is different from how they appear to be in the routine described with writing as imitating the model and developing some preconceived ideas. The research also suggests that decisions about appropriate methods and materials for teaching writing in the study context need to be based on a comprehensive interpretation not only of visible signs or visible needs (mainly shaped by institutional requirements and social expectations) but also of what is deep inside students' act of writing in a foreign language, involving their own cognitive and affective process embedded in their unrecognized needs. (Contains 2 footnotes.)

The study reported in this paper explores issues of motivation and learners' identity in English as a Foreign Language (EFL) writing classroom in Vietnam from the perspectives of the learners. It was conducted with thirty English-major students at a university in central Vietnam. While relevant literature appears to place much emphasis on students' extrinsic motivations related to institutional needs, their linguistic need, and social needs in learning EFL writing, students are not only concerned with these but more significantly, with their intrinsic motivations such as their interest, passion and inspiration, which are linked to their personal and cultural needs in writing. Students in this study show their potential to write independently, creatively and passionately if they are really motivated. This reflects an image of students who are able and ready to write with a sense of authorship in a foreign language, which is different from how they appear to be in the routine described with writing as imitating the model and developing some preconceived ideas. The research also suggests that decisions about appropriate methods and materials for teaching writing in the study context need to be based on a comprehensive interpretation not only of visible signs or visible needs (mainly shaped by institutional requirements and social expectations) but also of what is deep inside students' act of writing in a foreign language, involving their own cognitive and affective process embedded in their unrecognized needs. (Contains 2 footnotes.)

The study reported in this paper explores issues of motivation and learners' identity in English as a Foreign Language (EFL) writing classroom in Vietnam from the perspectives of the learners. It was conducted with thirty English-major students at a university in central Vietnam. While relevant literature appears to place much emphasis on students' extrinsic motivations related to institutional needs, their linguistic need, and social needs in learning EFL writing, students are not only concerned with these but more significantly, with their intrinsic motivations such as their interest, passion and inspiration, which are linked to their personal and cultural needs in writing. Students in this study show their potential to write independently, creatively and passionately if they are really motivated. This reflects an image of students who are able and ready to write with a sense of authorship in a foreign language, which is different from how they appear to be in the routine described with writing as imitating the model and developing some preconceived ideas. The research also suggests that decisions about appropriate methods and materials for teaching writing in the study context need to be based on a comprehensive interpretation not only of visible signs or visible needs (mainly shaped by institutional requirements and social expectations) but also of what is deep inside students' act of writing in a foreign language, involving their own cognitive and affective process embedded in their unrecognized needs. (Contains 2 footnotes.)

The study reported in this paper explores issues of motivation and learners' identity in English as a Foreign Language (EFL) writing classroom in Vietnam from the perspectives of the learners. It was conducted with thirty English-major students at a university in central Vietnam. While relevant literature appears to place much emphasis on students' extrinsic motivations related to institutional needs, their linguistic need, and social needs in learning EFL writing, students are not only concerned with these but more significantly, with their intrinsic motivations such as their interest, passion and inspiration, which are linked to their personal and cultural needs in writing. Students in this study show their potential to write independently, creatively and passionately if they are really motivated. This reflects an image of students who are able and ready to write with a sense of authorship in a foreign language, which is different from how they appear to be in the routine described with writing as imitating the model and developing some preconceived ideas. The research also suggests that decisions about appropriate methods and materials for teaching writing in the study context need to be based on a comprehensive interpretation not only of visible signs or visible needs (mainly shaped by institutional requirements and social expectations) but also of what is deep inside students' act of writing in a foreign language, involving their own cognitive and affective process embedded in their unrecognized needs. (Contains 2 footnotes.)

The study reported in this paper explores issues of motivation and learners' identity in English as a Foreign Language (EFL) writing classroom in Vietnam from the perspectives of the learners. It was conducted with thirty English-major students at a university in central Vietnam. While relevant literature appears to place much emphasis on students' extrinsic motivations related to institutional needs, their linguistic need, and social needs in learning EFL writing, students are not only concerned with these but more significantly, with their intrinsic motivations such as their interest, passion and inspiration, which are linked to their personal and cultural needs in writing. Students in this study show their potential to write independently, creatively and passionately if they are really motivated. This reflects an image of students who are able and ready to write with a sense of authorship in a foreign language, which is different from how they appear to be in the routine described with writing as imitating the model and developing some preconceived ideas. The research also suggests that decisions about appropriate methods and materials for teaching writing in the study context need to be based on a comprehensive interpretation not only of visible signs or visible needs (mainly shaped by institutional requirements and social expectations) but also of what is deep inside students' act of writing in a foreign language, involving their own cognitive and affective process embedded in their unrecognized needs. (Contains 2 footnotes.)

The study reported in this paper explores issues of motivation and learners' identity in English as a Foreign Language (EFL) writing classroom in Vietnam from the perspectives of the learners. It was conducted with thirty English-major students at a university in central Vietnam. While relevant literature appears to place much emphasis on students' extrinsic motivations related to institutional needs, their linguistic need, and social needs in learning EFL writing, students are not only concerned with these but more significantly, with their intrinsic motivations such as their interest, passion and inspiration, which are linked to their personal and cultural needs in writing. Students in this study show their potential to write independently, creatively and passionately if they are really motivated. This reflects an image of students who are able and ready to write with a sense of authorship in a foreign language, which is different from how they appear to be in the routine described with writing as imitating the model and developing some preconceived ideas. The research also suggests that decisions about appropriate methods and materials for teaching writing in the study context need to be based on a comprehensive interpretation not only of visible signs or visible needs (mainly shaped by institutional requirements and social expectations) but also of what is deep inside students' act of writing in a foreign language, involving their own cognitive and affective process embedded in their unrecognized needs. (Contains 2 footnotes.)

The study reported in this paper explores issues of motivation and learners' identity in English as a Foreign Language (EFL) writing classroom in Vietnam from the perspectives of the learners. It was conducted with thirty English-major students at a university in central Vietnam. While relevant literature appears to place much emphasis on students' extrinsic motivations related to institutional needs, their linguistic need, and social needs in learning EFL writing, students are not only concerned with these but more significantly, with their intrinsic motivations such as their interest, passion and inspiration, which are linked to their personal and cultural needs in writing. Students in this study show their potential to write independently, creatively and passionately if they are really motivated. This reflects an image of students who are able and ready to write with a sense of authorship in a foreign language, which is different from how they appear to be in the routine described with writing as imitating the model and developing some preconceived ideas. The research also suggests that decisions about appropriate methods and materials for teaching writing in the study context need to be based on a comprehensive interpretation not only of visible signs or visible needs (mainly shaped by institutional requirements and social expectations) but also of what is deep inside students' act of writing in a foreign language, involving their own cognitive and affective process embedded in their unrecognized needs. (Contains 2 footnotes.)

The study reported in this paper explores issues of motivation and learners' identity in English as a Foreign Language (EFL) writing classroom in Vietnam from the perspectives of the learners. It was conducted with thirty English-major students at a university in central Vietnam. While relevant literature appears to place much emphasis on students' extrinsic motivations related to institutional needs, their linguistic need, and social needs in learning EFL writing, students are not only concerned with these but more significantly, with their intrinsic motivations such as their interest, passion and inspiration, which are linked to their personal and cultural needs in writing. Students in this study show their potential to write independently, creatively and passionately if they are really motivated. This reflects an image of students who are able and ready to write with a sense of authorship in a foreign language, which is different from how they appear to be in the routine described with writing as imitating the model and developing some preconceived ideas. The research also suggests that decisions about appropriate methods and materials for teaching writing in the study context need to be based on a comprehensive interpretation not only of visible signs or visible needs (mainly shaped by institutional requirements and social expectations) but also of what is deep inside students' act of writing in a foreign language, involving their own cognitive and affective process embedded in their unrecognized needs. (Contains 2 footnotes.)

The world has become more connected with different cultures nowadays. This has caused an increase in the number of the diversity adults ESL learners present in the educational centers. The present paper is focused on how teachers can integrate collaborative learning activities to promote active learning in the adult ESL learners. It explains how important the collaborative work in the school system is. It explains how the practice of collaborative work can provide a tremendous change in the adult ESL learners. Additionally, it provides an overview of how the teachers can learn about the collaborative work and create strategies that help them to give all the tools the adult ESL learners need. It proposes a series of workshops for teachers that include concepts and strategies that can be implemented to apply the collaborative work in their lesson plans. Teachers can participate in practical activities to learn about the theory and ask questions about it. The expectation is that they can implement this information with their actual and future adult ESL learners.

A lesbian teacher, recently returned from four years in Japan and teaching an intermediate ESL class in a public community college in New York City, struggles with addressing the issue of her own sexual orientation while using a novel with a protagonist who is questioning his sexual identity. The evolution of gay/lesbian and/or queer theory mirrors the progress of the writer's life as she confronts her own internalized homophobia and the heteronormativity of her culture.

A lesbian teacher, recently returned from four years in Japan and teaching an intermediate ESL class in a public community college in New York City, struggles with addressing the issue of her own sexual orientation while using a novel with a protagonist who is questioning his sexual identity. The evolution of gay/lesbian and/or queer theory mirrors the progress of the writer's life as she confronts her own internalized homophobia and the heteronormativity of her culture.

A lesbian teacher, recently returned from four years in Japan and teaching an intermediate ESL class in a public community college in New York City, struggles with addressing the issue of her own sexual orientation while using a novel with a protagonist who is questioning his sexual identity. The evolution of gay/lesbian and/or queer theory mirrors the progress of the writer's life as she confronts her own internalized homophobia and the heteronormativity of her culture.

Building on the work developed by Morrell (2003) on critical textual production, this paper provides a glimpse into a critical text produced by a student during a summer research seminar at a West Coast University. This paper highlights the process of critical textual production, the writing that resulted from this method and how a critical literacy framework provided a way for students to create high-quality writing and subvert mainstream discourses in pursuit of illuminating the racial and social inequalities in their schools.

Building on the work developed by Morrell (2003) on critical textual production, this paper provides a glimpse into a critical text produced by a student during a summer research seminar at a West Coast University. This paper highlights the process of critical textual production, the writing that resulted from this method and how a critical literacy framework provided a way for students to create high-quality writing and subvert mainstream discourses in pursuit of illuminating the racial and social inequalities in their schools.

Building on the work developed by Morrell (2003) on critical textual production, this paper provides a glimpse into a critical text produced by a student during a summer research seminar at a West Coast University. This paper highlights the process of critical textual production, the writing that resulted from this method and how a critical literacy framework provided a way for students to create high-quality writing and subvert mainstream discourses in pursuit of illuminating the racial and social inequalities in their schools.

Building on the work developed by Morrell (2003) on critical textual production, this paper provides a glimpse into a critical text produced by a student during a summer research seminar at a West Coast University. This paper highlights the process of critical textual production, the writing that resulted from this method and how a critical literacy framework provided a way for students to create high-quality writing and subvert mainstream discourses in pursuit of illuminating the racial and social inequalities in their schools.

In 1927, upon his arrival in Berlin, D. Natsagdorj, one of approximately 45 young Mongolian students who participated in an educational program in Germany and France, composed a long travel poem, “Notes on the Trip to Berlin.” Not only does this poem serve as an early example of Natsagdorj’s writing, it emphasizes Natsagdorj’s role as a didactic writer for the early Mongolian People’s Republic, in particular in conveying the values of the cosmopolitan socialist, a modern subjectivity that quite consciously separated itself from the previous aristocratic, Buddhist, and pastoral identities of pre-revolutionary Mongolia. “Notes on the Trip to Berlin” provides a geographical orientation of the new economic and cultural flows from Mongolia to Western Europe through the Soviet Union. Natsagdorj’s poem is also significant because it is one of the few examples of Mongolian travel literature and enables Natsagdorj to actively resist the image of Mongolians perpetuated by Western travel writers. From the perspective of Natsagdorj’s Mongolian readers, “Notes on the Trip to Berlin” teaches them the process of navigating socialist and pre-revolutionary identities as Natsagdorj grapples with socialist and pre-revolutionary literary forms and language.

In 1927, upon his arrival in Berlin, D. Natsagdorj, one of approximately 45 young Mongolian students who participated in an educational program in Germany and France, composed a long travel poem, “Notes on the Trip to Berlin.” Not only does this poem serve as an early example of Natsagdorj’s writing, it emphasizes Natsagdorj’s role as a didactic writer for the early Mongolian People’s Republic, in particular in conveying the values of the cosmopolitan socialist, a modern subjectivity that quite consciously separated itself from the previous aristocratic, Buddhist, and pastoral identities of pre-revolutionary Mongolia. “Notes on the Trip to Berlin” provides a geographical orientation of the new economic and cultural flows from Mongolia to Western Europe through the Soviet Union. Natsagdorj’s poem is also significant because it is one of the few examples of Mongolian travel literature and enables Natsagdorj to actively resist the image of Mongolians perpetuated by Western travel writers. From the perspective of Natsagdorj’s Mongolian readers, “Notes on the Trip to Berlin” teaches them the process of navigating socialist and pre-revolutionary identities as Natsagdorj grapples with socialist and pre-revolutionary literary forms and language.

In 1927, upon his arrival in Berlin, D. Natsagdorj, one of approximately 45 young Mongolian students who participated in an educational program in Germany and France, composed a long travel poem, “Notes on the Trip to Berlin.” Not only does this poem serve as an early example of Natsagdorj’s writing, it emphasizes Natsagdorj’s role as a didactic writer for the early Mongolian People’s Republic, in particular in conveying the values of the cosmopolitan socialist, a modern subjectivity that quite consciously separated itself from the previous aristocratic, Buddhist, and pastoral identities of pre-revolutionary Mongolia. “Notes on the Trip to Berlin” provides a geographical orientation of the new economic and cultural flows from Mongolia to Western Europe through the Soviet Union. Natsagdorj’s poem is also significant because it is one of the few examples of Mongolian travel literature and enables Natsagdorj to actively resist the image of Mongolians perpetuated by Western travel writers. From the perspective of Natsagdorj’s Mongolian readers, “Notes on the Trip to Berlin” teaches them the process of navigating socialist and pre-revolutionary identities as Natsagdorj grapples with socialist and pre-revolutionary literary forms and language.

This open access book brings together storytelling and self-narrative, creative writing and narrative enquiry to explore a variety of topics in migration from an experiential lens. The volume is hybrid and multi-genre as it contains both scholarly chapters grounded in academic perspectives, as well as personal essays and creative non-fiction. In addition to critical reflections on key migration topics and concepts – like, identity and diversity, integration and agency, transnationalism and return – the scholarly chapters also propose a particular methodology for ‘workshopping’ migration narratives, and writing about (personal) lived experiences through iterations of scientific reflection, narrative enquiry, and creative imagination. The book explores the potential of a new conceptual paradigm and methodological process to learn more, and also `differently,’ about the migration experience. Finally, this volume asks a bigger question too – how do we define the boundaries of research; is it possible to entirely separate the spatial, temporal and methodological parameters in which projects are developed and pursued; and how can the specifics of these multiple contexts contribute to shaping the knowledge being produced?

English-as-a-Second-Language (ESL) student writers are often labeled as having poor language proficiency skills, poor writing skills, and poor organizational skills. These labels can negatively affect teachers and students. They have become yardsticks for guiding teachers' instruction and measuring students' performance. Often, ESL writing teachers and researchers accept these labels without question, reflecting a lack of understanding about the characteristics of writing. These labels are the product of judging ESL writing by one measure only. This paper reveals a different identity for ESL student writers, looking at student English proficiency and student writing skills separately. It examines three curriculum designs (the grammar-translation method, audiolingual approach, and communicative approach), then it discusses the process oriented approach (also called the integrated or whole language approach), which treats all language activities holistically. This approach is rooted in cognitive psychology. By focusing on the process of writing rather than the product, ESL teachers and researchers can better understand their students' needs. (Contains 28 references.) (SM)

English-as-a-Second-Language (ESL) student writers are often labeled as having poor language proficiency skills, poor writing skills, and poor organizational skills. These labels can negatively affect teachers and students. They have become yardsticks for guiding teachers' instruction and measuring students' performance. Often, ESL writing teachers and researchers accept these labels without question, reflecting a lack of understanding about the characteristics of writing. These labels are the product of judging ESL writing by one measure only. This paper reveals a different identity for ESL student writers, looking at student English proficiency and student writing skills separately. It examines three curriculum designs (the grammar-translation method, audiolingual approach, and communicative approach), then it discusses the process oriented approach (also called the integrated or whole language approach), which treats all language activities holistically. This approach is rooted in cognitive psychology. By focusing on the process of writing rather than the product, ESL teachers and researchers can better understand their students' needs. (Contains 28 references.) (SM)

In this episode:Lauca started writing in 2018 and enjoyed it so much she decided she wanted to become a published author.She started with micro stories, which are short stories up to between 400 and 600 words, and the main reason for her doing this was to establish a writing practice.Because writing was new to her, Lauca knew she needed to find a way of normalising it and making the practice part of her weekly life.We talk about how she fits her writing in around her job and social life, and for Lauca it's all about scheduling. Every Sunday evening, she looks at the week ahead, puts in all the things that she knows are happening, and schedules her writing around existing obligations.That way she's in charge of her time. When it's time to write, she sits down and does the work. This is the most important bit. You must show up for yourself if you want to finish the novel.If Lauca doesn't hit her goal, she doesn't despair. She knows she can make up for it at her next writing session.For example, she schedules nothing on the weekends, so can use a spare hour or so for her writing.When it comes to starting a new habit, Lauca suggests giving yourself a baseline. If you ultimately want to write for 3 hours a month, start with something small, like 30 minutes.The next month, write for 60 minutes, and keep building up the time so it feels comfortable.This gives you the opportunity to be successful, rather than set yourself up for a fall by being too ambitious right out of the gate.[I have a free cheat sheet to help you schedule your time, which you can get here]Lauca tells me about the inspiration behind her first novel, Returning East. She was surfing the web and came across a French passenger cruise liner that travelled regularly between Europe and the Far East. Given that \"China is my jam\" this was the perfect starting point for Lauca's historical novel.I asked why she wrote from a male point of view, and Lauca explained that she didn't want to put herself in the book or for it to be autobiographical. By using a male protagonist, she could distance herself from the novel and let her protagonist tell his story.Lauca explains that being a European writer, as opposed to an Italian writer, enables her to use the many and varied experiences she's had as an adult.She has travelled much of the world, moving countries, and sometimes continents, every three years.This gives her a much more global view of life and she can reflect this in her choice of story, the language she uses and the outlook of her protagonists.We finish our conversation talking about Lauca's self publishing experience and what she's learnt from it. She says it was a steep learning curve and had its challenges, some of which she shares in our conversation.This week's episode is perfect for you if you are a traveller who wants to incorporate those experiences in your writing.Connect with Lauca:Welcome - LaucaLauca (@lauca_eu) •The Proffitt PodcastThe podcast that shows you tips & strategies to create content with confidence!Listen on: Apple Podcasts   SpotifyBuzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

In this episode:Lauca started writing in 2018 and enjoyed it so much she decided she wanted to become a published author.She started with micro stories, which are short stories up to between 400 and 600 words, and the main reason for her doing this was to establish a writing practice.Because writing was new to her, Lauca knew she needed to find a way of normalising it and making the practice part of her weekly life.We talk about how she fits her writing in around her job and social life, and for Lauca it's all about scheduling. Every Sunday evening, she looks at the week ahead, puts in all the things that she knows are happening, and schedules her writing around existing obligations.That way she's in charge of her time. When it's time to write, she sits down and does the work. This is the most important bit. You must show up for yourself if you want to finish the novel.If Lauca doesn't hit her goal, she doesn't despair. She knows she can make up for it at her next writing session.For example, she schedules nothing on the weekends, so can use a spare hour or so for her writing.When it comes to starting a new habit, Lauca suggests giving yourself a baseline. If you ultimately want to write for 3 hours a month, start with something small, like 30 minutes.The next month, write for 60 minutes, and keep building up the time so it feels comfortable.This gives you the opportunity to be successful, rather than set yourself up for a fall by being too ambitious right out of the gate.[I have a free cheat sheet to help you schedule your time, which you can get here]Lauca tells me about the inspiration behind her first novel, Returning East. She was surfing the web and came across a French passenger cruise liner that travelled regularly between Europe and the Far East. Given that \"China is my jam\" this was the perfect starting point for Lauca's historical novel.I asked why she wrote from a male point of view, and Lauca explained that she didn't want to put herself in the book or for it to be autobiographical. By using a male protagonist, she could distance herself from the novel and let her protagonist tell his story.Lauca explains that being a European writer, as opposed to an Italian writer, enables her to use the many and varied experiences she's had as an adult.She has travelled much of the world, moving countries, and sometimes continents, every three years.This gives her a much more global view of life and she can reflect this in her choice of story, the language she uses and the outlook of her protagonists.We finish our conversation talking about Lauca's self publishing experience and what she's learnt from it. She says it was a steep learning curve and had its challenges, some of which she shares in our conversation.This week's episode is perfect for you if you are a traveller who wants to incorporate those experiences in your writing.Connect with Lauca:Welcome - LaucaLauca (@lauca_eu) •The Proffitt PodcastThe podcast that shows you tips & strategies to create content with confidence!Listen on: Apple Podcasts   SpotifyBuzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

In this episode:Lauca started writing in 2018 and enjoyed it so much she decided she wanted to become a published author.She started with micro stories, which are short stories up to between 400 and 600 words, and the main reason for her doing this was to establish a writing practice.Because writing was new to her, Lauca knew she needed to find a way of normalising it and making the practice part of her weekly life.We talk about how she fits her writing in around her job and social life, and for Lauca it's all about scheduling. Every Sunday evening, she looks at the week ahead, puts in all the things that she knows are happening, and schedules her writing around existing obligations.That way she's in charge of her time. When it's time to write, she sits down and does the work. This is the most important bit. You must show up for yourself if you want to finish the novel.If Lauca doesn't hit her goal, she doesn't despair. She knows she can make up for it at her next writing session.For example, she schedules nothing on the weekends, so can use a spare hour or so for her writing.When it comes to starting a new habit, Lauca suggests giving yourself a baseline. If you ultimately want to write for 3 hours a month, start with something small, like 30 minutes.The next month, write for 60 minutes, and keep building up the time so it feels comfortable.This gives you the opportunity to be successful, rather than set yourself up for a fall by being too ambitious right out of the gate.[I have a free cheat sheet to help you schedule your time, which you can get here]Lauca tells me about the inspiration behind her first novel, Returning East. She was surfing the web and came across a French passenger cruise liner that travelled regularly between Europe and the Far East. Given that \"China is my jam\" this was the perfect starting point for Lauca's historical novel.I asked why she wrote from a male point of view, and Lauca explained that she didn't want to put herself in the book or for it to be autobiographical. By using a male protagonist, she could distance herself from the novel and let her protagonist tell his story.Lauca explains that being a European writer, as opposed to an Italian writer, enables her to use the many and varied experiences she's had as an adult.She has travelled much of the world, moving countries, and sometimes continents, every three years.This gives her a much more global view of life and she can reflect this in her choice of story, the language she uses and the outlook of her protagonists.We finish our conversation talking about Lauca's self publishing experience and what she's learnt from it. She says it was a steep learning curve and had its challenges, some of which she shares in our conversation.This week's episode is perfect for you if you are a traveller who wants to incorporate those experiences in your writing.Connect with Lauca:Welcome - LaucaLauca (@lauca_eu) •The Proffitt PodcastThe podcast that shows you tips & strategies to create content with confidence!Listen on: Apple Podcasts   SpotifyBuzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

In this episode:Lauca started writing in 2018 and enjoyed it so much she decided she wanted to become a published author.She started with micro stories, which are short stories up to between 400 and 600 words, and the main reason for her doing this was to establish a writing practice.Because writing was new to her, Lauca knew she needed to find a way of normalising it and making the practice part of her weekly life.We talk about how she fits her writing in around her job and social life, and for Lauca it's all about scheduling. Every Sunday evening, she looks at the week ahead, puts in all the things that she knows are happening, and schedules her writing around existing obligations.That way she's in charge of her time. When it's time to write, she sits down and does the work. This is the most important bit. You must show up for yourself if you want to finish the novel.If Lauca doesn't hit her goal, she doesn't despair. She knows she can make up for it at her next writing session.For example, she schedules nothing on the weekends, so can use a spare hour or so for her writing.When it comes to starting a new habit, Lauca suggests giving yourself a baseline. If you ultimately want to write for 3 hours a month, start with something small, like 30 minutes.The next month, write for 60 minutes, and keep building up the time so it feels comfortable.This gives you the opportunity to be successful, rather than set yourself up for a fall by being too ambitious right out of the gate.[I have a free cheat sheet to help you schedule your time, which you can get here]Lauca tells me about the inspiration behind her first novel, Returning East. She was surfing the web and came across a French passenger cruise liner that travelled regularly between Europe and the Far East. Given that \"China is my jam\" this was the perfect starting point for Lauca's historical novel.I asked why she wrote from a male point of view, and Lauca explained that she didn't want to put herself in the book or for it to be autobiographical. By using a male protagonist, she could distance herself from the novel and let her protagonist tell his story.Lauca explains that being a European writer, as opposed to an Italian writer, enables her to use the many and varied experiences she's had as an adult.She has travelled much of the world, moving countries, and sometimes continents, every three years.This gives her a much more global view of life and she can reflect this in her choice of story, the language she uses and the outlook of her protagonists.We finish our conversation talking about Lauca's self publishing experience and what she's learnt from it. She says it was a steep learning curve and had its challenges, some of which she shares in our conversation.This week's episode is perfect for you if you are a traveller who wants to incorporate those experiences in your writing.Connect with Lauca:Welcome - LaucaLauca (@lauca_eu) •The Proffitt PodcastThe podcast that shows you tips & strategies to create content with confidence!Listen on: Apple Podcasts   SpotifyBuzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

In this episode:Lauca started writing in 2018 and enjoyed it so much she decided she wanted to become a published author.She started with micro stories, which are short stories up to between 400 and 600 words, and the main reason for her doing this was to establish a writing practice.Because writing was new to her, Lauca knew she needed to find a way of normalising it and making the practice part of her weekly life.We talk about how she fits her writing in around her job and social life, and for Lauca it's all about scheduling. Every Sunday evening, she looks at the week ahead, puts in all the things that she knows are happening, and schedules her writing around existing obligations.That way she's in charge of her time. When it's time to write, she sits down and does the work. This is the most important bit. You must show up for yourself if you want to finish the novel.If Lauca doesn't hit her goal, she doesn't despair. She knows she can make up for it at her next writing session.For example, she schedules nothing on the weekends, so can use a spare hour or so for her writing.When it comes to starting a new habit, Lauca suggests giving yourself a baseline. If you ultimately want to write for 3 hours a month, start with something small, like 30 minutes.The next month, write for 60 minutes, and keep building up the time so it feels comfortable.This gives you the opportunity to be successful, rather than set yourself up for a fall by being too ambitious right out of the gate.[I have a free cheat sheet to help you schedule your time, which you can get here]Lauca tells me about the inspiration behind her first novel, Returning East. She was surfing the web and came across a French passenger cruise liner that travelled regularly between Europe and the Far East. Given that \"China is my jam\" this was the perfect starting point for Lauca's historical novel.I asked why she wrote from a male point of view, and Lauca explained that she didn't want to put herself in the book or for it to be autobiographical. By using a male protagonist, she could distance herself from the novel and let her protagonist tell his story.Lauca explains that being a European writer, as opposed to an Italian writer, enables her to use the many and varied experiences she's had as an adult.She has travelled much of the world, moving countries, and sometimes continents, every three years.This gives her a much more global view of life and she can reflect this in her choice of story, the language she uses and the outlook of her protagonists.We finish our conversation talking about Lauca's self publishing experience and what she's learnt from it. She says it was a steep learning curve and had its challenges, some of which she shares in our conversation.This week's episode is perfect for you if you are a traveller who wants to incorporate those experiences in your writing.Connect with Lauca:Welcome - LaucaLauca (@lauca_eu) •The Proffitt PodcastThe podcast that shows you tips & strategies to create content with confidence!Listen on: Apple Podcasts   SpotifyBuzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

In this episode:Lauca started writing in 2018 and enjoyed it so much she decided she wanted to become a published author.She started with micro stories, which are short stories up to between 400 and 600 words, and the main reason for her doing this was to establish a writing practice.Because writing was new to her, Lauca knew she needed to find a way of normalising it and making the practice part of her weekly life.We talk about how she fits her writing in around her job and social life, and for Lauca it's all about scheduling. Every Sunday evening, she looks at the week ahead, puts in all the things that she knows are happening, and schedules her writing around existing obligations.That way she's in charge of her time. When it's time to write, she sits down and does the work. This is the most important bit. You must show up for yourself if you want to finish the novel.If Lauca doesn't hit her goal, she doesn't despair. She knows she can make up for it at her next writing session.For example, she schedules nothing on the weekends, so can use a spare hour or so for her writing.When it comes to starting a new habit, Lauca suggests giving yourself a baseline. If you ultimately want to write for 3 hours a month, start with something small, like 30 minutes.The next month, write for 60 minutes, and keep building up the time so it feels comfortable.This gives you the opportunity to be successful, rather than set yourself up for a fall by being too ambitious right out of the gate.[I have a free cheat sheet to help you schedule your time, which you can get here]Lauca tells me about the inspiration behind her first novel, Returning East. She was surfing the web and came across a French passenger cruise liner that travelled regularly between Europe and the Far East. Given that \"China is my jam\" this was the perfect starting point for Lauca's historical novel.I asked why she wrote from a male point of view, and Lauca explained that she didn't want to put herself in the book or for it to be autobiographical. By using a male protagonist, she could distance herself from the novel and let her protagonist tell his story.Lauca explains that being a European writer, as opposed to an Italian writer, enables her to use the many and varied experiences she's had as an adult.She has travelled much of the world, moving countries, and sometimes continents, every three years.This gives her a much more global view of life and she can reflect this in her choice of story, the language she uses and the outlook of her protagonists.We finish our conversation talking about Lauca's self publishing experience and what she's learnt from it. She says it was a steep learning curve and had its challenges, some of which she shares in our conversation.This week's episode is perfect for you if you are a traveller who wants to incorporate those experiences in your writing.Connect with Lauca:Welcome - LaucaLauca (@lauca_eu) •The Proffitt PodcastThe podcast that shows you tips & strategies to create content with confidence!Listen on: Apple Podcasts   SpotifyBuzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

The theme of identity has been researched extensively in the past twenty years and continues to be a significant topic to be researched inside the flied of applied linguistics (Burr, 2003; Charon, 1998; Hall, 2002; Norton, 2000, 2013; Vieira, 2016; 2018). Oddly, bilingual writers engaged in professional academic writing rarely verbalize the processes they apply when writing. In this article, we make use of multiple academic conversations and written interview data to propose an important adaptation to a conceptual model that reflects the complexities experienced by professional bilingual academic writers when involved in the act of writing. Furthermore, the data sheds light on the difficulties of geographical transition in writing, as well as the mobility of literacy.

As part of a larger ethnographic project addressing the construction of gender through literacy, this study focused on understanding how the children in one writing process classroom expressed their social selves in their written compositions, as well as how those compositions were engineered within the social dynamics of the classroom. The study considered written narratives, their nature, content, and the processes of their creation, in order to illuminate gendered patterns and the relationship among gender, ethnicity, culture, and social class. A participant observer conducted the study by spending 2.5-hour reading/writing blocks on one to three mornings each week during two consecutive school years in a school located in a poor, Latino, working-class neighborhood. Most of the children were immigrants, the classroom was Spanish-English bilingual, and all students were limited in their English proficiency. Data were gathered from 301 student-created books and analysis of their authorship, topics, characters, and illustrations. The analysis found that students struggled to understand their social identities through their narrative writing, that they wrote themselves into a range of possible existences, and that they displayed their understanding of the possibilities that were available to them, depending in part on their gender and social class. In general students did not voluntarily cross gendered borders in their writing, and when they did, their crossings were not equilateral: girls were more likely to move into territory that was defined by boys than vice versa. Appendices contain a list of topics of student-authored books and titles of classroom-published books in English and Spanish. (Contains 36 references.) (JB)