In this research we have experimented on three classes of EFL college students, each trained on one of the three cognitive linguistic constructs just mentioned. After the respective training, each class was required to write a posttest essay applying the knowledge they had just learned. Chapter 6 we have analyzed the data both quantitatively and qualitatively. Though from the statistical results, some of the classes have not improved their mean scores significantly, our more dependable qualitative composition analyses using cognitive-functional-linguistic tools, did reveal that in general the students can understand the trained CL constructs and are able to apply the knowledge to their essays, which has caused the improvements of many of the posttests in terms of richness and depth of ideas, of textual organization, and of syntactic choices. / Studies of ESL/EFL writing still lack a comprehensive theory that can accommodate all the major approaches to ESL/EFL writing, such as the process, the product, and the genre ones. None of these can claim to be able to solve all the problems independently in real ESL/EFL classrooms. / The cognitive-functional-linguistic analytical tools introduced in Chapter 5 and applied mainly in Chapter 6 serve to strengthen the product concerns of our cognitive-functional-linguistic process writing framework. We want to claim that this research framework has not only integrated various writing approaches, but also the potential to accommodate other potential approaches, such as those with literary and stylistic concerns. / The present approach takes combining all these paradigms in an organic way as a starting point and seeks a theoretical framework for it from the neighboring discipline, linguistics, especially cognitive linguistics (CL) and systemic functional grammar (SFG). The writing model that has been set up in Chapter 4 of this research has provided us with a detailed description of the writing processes. With this model we can address very specific writing issues, including those relevant to our experiment, such as how and where ideas and language related to conceptual metaphor (CM), image schemas (IS) and cognition-based grammar (CG) come into the writing processes, and how prewriting activities can provide help for the writers. / Yuan, Ye. / "August 2007." / Adviser: Peter Crisp. / Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0596. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (p. 240-252). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in English and Chinese. / School code: 1307.

First year college writing classes originated in the United States at Harvard University in 1874. Since then, theorizing such a course has proven a place of contention, as its purposes and subjects have proven difficult to sort and impossible to agree upon. When Harvard first began teaching introductory composition, literature played an integral role in the course, both as subject matter and as a means of acculturation for an increasingly diverse student body. Since then, many universities have continued to use literature as an important component of what has remained the only course largely required of all first year students. However, the use of literature in introductory composition has been contested since such courses began. Conflicting ideals have typified the conversation concerning the role(s) of reading in writing classes, in large part because of how the discussion has been framed. The difficulty in framing in part stems from participants thus far addressing the issue in limiting ways. For example, some have claimed that the issue had already been resolved, while others have argued to separate the discussion of literature in first year writing from theoretical, institutional, and historical concerns, given contradictory accounts of that history, or denied it altogether. Re-examining that history demonstrates that the uses and purposes of literature in first year writing have been continually and critically implicated in issues far more complex than whether or not a poem appears in a writing class. Institutions subordinated composition to literature in English departments, which led first to writing departments turning to literature as a validating subject matter, then later rejecting it to assert the independence of writing as a discipline. Institutional and political struggles have clouded adequate theorization of reading and writing in first year classes as well. The discussion has sometimes treated both reading and writing unproblematically, and even recent efforts to introduce to the conversation multiple ways of writing have ignored related and multiple processes of reading. Rewriting a historical narrative of how literature has been used in first year writing that includes theoretical and institution concerns clarifies how those concerns underwrite more recent discussion. Bringing those concerns to the surface allows a richer theorizing of introductory composition and literature's role in it, particularly with the inclusion of recent challenges to the privileged nature of the category "literature." Transferring a prevalent model of writing as a cognitive, expressive, or social-cultural process to similarly identify reading processes offers one means by which we might reconfigure first year writing, inviting students to engage various ways of reading and writing. Addressing ways in which theoretical, institutional, and historical forces have shaped first year writing provides the means by which we might be more reflexive and critical in shaping such courses in the future. It also might allow the conversation of the role(s) of literature in composition to leave its 120 year stasis and take a progressive turn. / Graduation date: 1999

Presenting and synthesizing several paradigms for the teaching of literature in American colleges, I investigate how definitions of reading, readers, texts, interpretations, and knowledge affect student acts of reading and writing. In addition, I draw upon specific examples of text-based, reader-based, and social-cultural based models for the teaching of reading to demonstrate how particular pedagogical theories and practices emerge from and reflect larger ideological concepts and paradigms. Cognitive-oriented models of reading that rely upon schema theory to explain comprehension and interpretation, for example, have been used by theorists who advocated a text-based approach to literary analysis. Even though cognitive models are based on scientific studies that focus on the mental faculties of individual readers, I classify it as a text-based model because when translated into classroom practice, interpretive emphasis has been placed on the text rather than the reader. Therefore, the reader is subordinated to the text in various ways. Expressive and social-cultural theories presented by Louise Rosenblatt, Wolfgang Iser, Stanley Fish, and Kathleen McCormick are used to demonstrate how the rhetorical emphasis of interpretation can be shifted away from the text and toward the reader. As a reader-based theorist, for example, Rosenblatt advocates personal response as the most rewarding form of textual interaction students can experience. McCormick declares that personal response should be analyzed more extensively than the expressive model suggests, however. Hence, she proposes a social-based model that asserts both the cultures of reception and production should be studied as a means for better understanding individual responses to texts. But reading is not my only focus in this project. In each chapter, I extrapolate as to how theories of reading, when translated into classroom practice, affect both student writing and student participation in the making of meaning. Therefore, to enrich my theoretical discussions of pedagogy and its affects on students, I draw upon my experiences as both a teacher and a student to provide practical classroom examples of student acts of reading, interpretation, and writing. Moreover, the application chapters of this project present two extensive examples of how theory can be translated into practice-the first is a discussion of a recent composition course I taught, and the second is an example student paper that performs a McCormickean analysis of Zora Neale Hurston's Their Eyes Were Watching God. From theory to practice, then, this project presents and challenges what it means to be a teacher and a student of literature and composition. / Graduation date: 1997

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The purpose of this study was to explore how Korean college students developed their English composition abilities based on their teacher's written comments on their class assignments. Drawing upon Vygotsky's (1978) socioconstructivist perspective on learning and Noddings' (1984) concept of care, I focused on the relationship between teacher and students and the effects of that relationship on the feedback and revision process. Participants included one non-native teacher of English and 14 students enrolled in a six-week summer English academic writing class in a Korean university in which the teacher employed the process writing approach to help students learn to write in English and the students were encouraged to revise their drafts from her written comments. Data were collected from formal, informal, and text-based interviews, class observations, and students' writing samples commented on by the teacher. In this study, the feedback and revision process was not portrayed as an intellectual activity involving only the teacher and each student, but as a social activity that involved a highly complex, dynamic, and interpersonal process. Despite various constraints and conditions, when the teacher committed herself to helping her students learn to write in English, the students generally responded to her with respect and appreciation. Particularly, her written comments allowed her and her students to meet as the one-caring and the cared-fors respectively. However, for caring to be developed and sustained, building trust in each other was a necessary condition, one that was problematic for some students. Three major contributions of the study include the following: (1) an expansion of Noddings' (1984) conception of caring to the English academic writing education in a foreign language context; (2) a re-envisionment of the cognitive process model of writing and revision in which the success of writing and revision was determined by students' knowledge and their intention in revision, now adding the role of the relationship between teacher and student; and (3) a new view of the feedback and revision process not as a product but as a frame within an EFL classroom. / text

Creative Imitation is an alternative strategy to help students improve their expository writing in college composition. It combines writing by imitation with process modeling to increase student fluency with both the products and processes of writing. For centuries, a technique of "imitatio" was used to teach oral and written language traditions. Isocrates, Quintilian, and Cicero shaped the tradition of imitating writing models. Their principles were revived in the 60s by two neo-classical educators, Corbett and D'Angelo. Objections to the principles of imitation to teach writing are analyzed: models intimidate students, imitation focuses on the products instead of the processes of writing, and imitation reduces individual creativity. Some teachers have reported success with student-centered writing-by-imitation exercises in college composition classrooms. They assert that imitation exercises increase student awareness of correct usage, grammar conventions, rhetorical strategies, and paradoxically enable students to develop an "authentic" voice in their own writing.

This study investigates issues around the teaching of the literary essay in the high school. The purpose of the study is to explore the instructional approaches used by selected high school teachers in respect of the literary essay, and to gain an insight into teacher and student perceptions of the essay and its place in the English syllabus. This study also examines the effect of the genre-based process on student argumentative writing at the senior certificate level. A review and theoretical consideration of principles and approaches to teaching the essay is included. The sample comprised two groups. The first was made up of six teachers from schools in the Northdale/Raisethorpe area, Pietermaritzburg, and the second of a class of eighteen standard ten students at a high school in the same area. Data drawn from a survey of the teachers, a content analysis of the students' essays and a Pre-process questionnaire was synthesized with information from relevant literature to formulate the genre-based writing process to which the students were subsequently exposed. The fmdings revealed that current methodologies and perceptions of the essay are product centred with minimal focus on the writing process itself and on specific genre requirements. They indicate that there is a need for teachers and students to develop an awareness of writing as a process of refinement which involves their collaborative effort. It was concluded that the genre-based process is an appropriate methodology for instruction in literary essay writing. / Thesis (M.Ed.) - University of Natal, Pietermaritzburg, 1995.

The purpose of this case study was to examine the effectiveness of a technique known as re-creation on student writing abilities in ENG 104 section 95 during the spring semester of 1992. Re-creation, already used almost exclusively in England and Australia, invites a writer to divulge his or her personal interpretation of a literary text by rewriting given aspects of it. In section 95, the instructor devoted the entire range of assignments to re-creative writing tasks, using four dramatic scripts and the motion pictures that had been adapted from them as literary texts. The instructor carefully developed re-creative writing assignments and a reasonable criteria with which to grade them. He closely monitored how the students adapted to re-creative writing, and discovered that four students exemplified the main different styles of writing that emerged from re-creation. The case study does indicate that all of the twenty-one students coulddo the work that re-creation involves; some experienced only minor successes with it, but other students, including some top achievers who would probably have done well in any writing class, found broad new avenues for creative expression of their personal responses to literature. / Department of English

This study examined curriculum and instructional strategies that would address the educational needs of African American males in a college composition course. Traditional roles of didactic teacher expecting students to absorb facts are unbeneficial for African American males. As I began teaching a composition course, with a predominant population of African American male students, I understood the modern curriculum model was ineffective in engaging students and developing academic and personal potential. I searched for another curriculum, which accommodated Afrocentric ideals of the African American community and the learning styles of the men. Central to Afrocentric values are cooperation, a spirit of collectivity, relationships, and respect; these values can be incorporated into a post-modern approach to curriculum development for a college composition course. The question, ‘What is College Level Writing’ posed by Sullivan and Tinberg, provided four principles that college writing possess. These principles were used to evaluate whether components of Afrocentric and Doll’s curriculum supported college writing skills. Hip hop is one literary life experience to utilize in the classroom. The learner is asked to reflect, interact and question cultural and academic concepts through discussions and student based learning. Incorporation of Afrocentric ideals through dialogue, alternative viewpoints and information strengthen instruction and learning. Doll encourages thinking and self-identity growth. By utilizing Doll post-modern curriculum, Sullivan’s four principles of college composition and Afrocentricism for my African American male students, I am able to design a culturally responsive pedagogy. / Department of Educational Studies