An overview of the historical background of error analysis and interference issues, followed by a sample error analysis in a case study context. This investigation of errors is significant in bringing to light the impact on English student writing of the differnces between English versus the indirect nature of various levels of Indonesian.

This thesis is a reflective exploration of the use and impact of using drama pedagogies in the English as a Second Language (ESL)/ English as a Foreign Language (EFL) classroom. It stems from the problem of secondary school English language learning in Malaysia, where current teaching practices appear to have led to the decline of the standard of English as a second language in school leavers and university graduates (Abdul Rahman, 1997; Carol Ong Teck Lan, Anne Leong Chooi Khaun, & Singh, 2011; Hazita et al., 2010; Nalliah & Thiyagarajah, 1999). This problem resonates with my own experiences at school, as a secondary school student, an ESL teacher and, later, as a teacher trainer. Consequently, these experiences led me to explore alternative or supplementary teaching methodologies that could enhance the ESL learning experience, drawing initially from drama techniques such as those advocated by Maley and Duff (1983), Wessels (1987), and Di Pietro (1983), and later from process drama pedagogies such as those advocated by Greenwood (2005); Heathcote and Bolton (1995); Kao and O'Neill (1998), and Miller and Saxton (2004). This thesis is an account of my own exploration in adapting drama pedagogies to ESL/EFL teaching. It examines ways in which drama pedagogies might increase motivation and competency in English language learning. The main methodology of the study is that of reflective practice (e.g. Griffiths & Tann, 1992; Zeichner & Liston, 1996). It tracks a learning journey, where I critically reflect on my learning, exploring and implementing such pedagogical approaches as well as evaluate their impact on my students’ learning. These critical reflections arise from three case studies, based on three different contexts: the first a New Zealand English for Speakers of Other Languages (ESOL) class in an intermediate school, the second a Malaysian ESL class in a rural secondary school, and the third an English proficiency class of adult learners in a language school. Data for the study were obtained through the following: research journal and reflective memo; observation and field notes; interview; social media; students’ class work; discussion with co-researchers; and through the literature of the field. A major teaching methodology that emerges from the reflective cycles is that of staging the textbook, where the textbook section to be used for the teaching programme is distilled, and the key focuses of the language, skills, vocabulary, and themes to be learnt are identified and extracted. A layer of drama is matched with these distilled elements and then ‘staged’ on top of the textbook unit, incorporating context-setting opportunities, potential for a story, potential for tension or complication, and the target language elements. The findings that emerge through critical reflection in the study relate to the drama methodologies that I learn and acquire, the impact of these methodologies on students, the role of culture in the application of drama methodologies, and language learning and acquisition. These findings have a number of implications. Firstly, they show how an English Language Teaching (ELT) practitioner might use drama methodologies and what their impact is on student learning. While the focus is primarily on the Malaysian context, aspects of the findings may resonate internationally. Secondly, they suggest a model of reflective practice that can be used by other ELT practitioners who are interested in using drama methodologies in their teaching. Thirdly, these findings also point towards the development of a more comprehensive syllabus for using drama pedagogies, as well as the development of reflective practice, in the teacher training programmes in Malaysia. The use of drama pedagogies for language learning is a field that has not been researched in a Malaysian context. Therefore, this account of reflective practice offers a platform for further research and reflection in this context.

本論文是以新加坡與馬來西亞（簡稱新馬）為範圍的「土生華人」文學研究，主要對象是被稱為「峇峇」的土生華人從19世紀至今所產生的文學，亦兼及印尼地區土生華人（馬來語）文學的比較研究。 本論文架構除「緒論」與「結論」外，內文共分為五章。緒論除介紹本論文的研究動機與目的、研究方法與主體架構外，主要為研究對象的釐清與相關名詞的界定，並回顧峇峇的語言及文學的研究概況。 進入「本論」第一章「峇峇的語言使用」，筆者分別從峇峇的母語——峇峇馬來語和峇峇福建話，進而是「父語」福建話、再到外來語的英語和華語著手，透過這四種語言在新馬地區尤其峇峇社會中個別的使用狀況與相互消長的分析，以對峇峇社會的語言與文字使用的歷史有更深入的瞭解。可以說，峇峇的語言使用是與近現代華人移民海外及西方殖民東南亞的歷史是發展息息相關的。 第二章「峇峇的馬來語翻譯文學」。首先是介紹峇峇馬來文報刊雜誌的出版概況，此為羅馬化峇峇馬來語書寫之始。其次從所得的文獻資料並配合第一章的研究心得，從外部的出版概況，條析出峇峇馬來語翻譯文學從興起、繁盛到沒落三個階段的發展情形；接著從作品內部進行剖析，發覺翻譯作品從作品的展演形式看，又可分為前、後兩期不同的階段。最後第四小節，筆者嘗試透過田調期間所得的一本「峇峇馬來語籤詩翻譯本」的研究，談談中國通俗文學及民間信仰對峇峇文化的影響，以及峇峇人在以峇峇馬來語翻譯中國籤詩文時所透露出來的多元文化意象。 接著進入第三章，著重探討「峇峇馬來語創作文學」，從所得資料彙整的結果看來，峇峇馬來語的書面創作量不及翻譯文學，尤其散文體的作品寥寥可數。然而，缺乏書面的創作文本並不代表峇峇沒有創作文學，「峇峇文學即是峇峇馬來語翻譯文學」這樣的想法也只是長久以來因書面創作的匱乏而對外界造成的假象。事實上，因文化的接觸和語言的掌握，早期的峇峇社會非常熱衷於馬來語詩歌的吟誦或創作，惟傳統上多屬於民間的即興創作，詩文的流傳也多以口耳相傳，較少以書面語呈現及保存。峇峇馬來語的詩歌體裁源自馬來古典文學的班頓（Pantun）及莎雅爾（Syair）體，因此相較於中國通俗小說翻譯作品，這類文學形式更具馬來色彩，也更能凸顯峇峇被馬來文化涵化的事實。從早期（峇峇）馬來語詩歌在峇峇社會的流行程度看，若當初這些詩歌能被紀錄下來，其作品數量的豐盛絕不亞於峇峇馬來語翻譯文學作品。因此第三章主要是針對筆者這些年來所收集到的峇峇馬來語詩歌作品進行統整分析，以反駁峇峇文學只有「翻譯作品」而沒有「創作文學」的質疑。 第四章分別介紹峇峇的漢語文學及英語文學。無可否認，以峇峇馬來語作為峇峇母語（或「族語」）的地位，峇峇馬來語文學之於峇峇文學的「核心性」是不容撼動的，但若從「人」（民族）的角度檢視，在肯定其作為民族文學的重要表徵的同時，以峇峇文化發展上語言使用的多元現象看，我們也不應忽略峇峇人當中有用其他語言書寫文學的事實。在峇峇社會的發展進程中，各語言之間一直是相互影響的，呈現在文學上的情況也與此相去不遠。因此，第四章主要是承前三章語言使用多元的文路，對峇峇的文學書寫歷程中較隱性的漢語文學及英語文學進行概觀介紹，以作為峇峇馬來語文學發展的一個補充瞭解。我們發現，峇峇馬來語的興起與峇峇漢語能力（文學）的衰退脫不了關係，而峇峇馬來語（文學）的沒落則或多或少歸因於峇峇英語文學的興盛。 在前四章的基礎上，第五章筆者嘗試把峇峇文學擺在民族文學的位階上，與其他相關文學：（第一節）印尼土生華人文學、（第二節）馬來文學和（第三節）馬（新）華文學進行比較分析。尤其針對學界在印尼土生華人（馬來語）文學、印尼語發展、以及印尼新文學發展上的研究成果所導致的聯想：「(新馬)峇峇文學、馬來語以及馬來新文學之間的關係」，峇峇文學將如何自處？本章最後筆者將峇峇文學擺在「國家文學」的氛圍中去瞭解，在新、馬多元民族的社會中，各民族文學之間的認定是如何？而峇峇文學又是否可以在強勢的政治取向及意識型態包圍下，在眾主流（民族）文學之中找到自我的定位？ 最後是本論文之結論。筆者承前文的研究脈絡，輔以民族文學界定的三條件（族屬、創作語言、內容題材）檢視峇峇文學作為「民族文學」的契合或可行性（非單指文本存在的必要性和文學性問題），並在各系語言文學的比較分析中，檢討峇峇文學對於峇峇社會文化發展的回應及影響。