Why do you write? Creative writing and the reflective teacher

Whether we write creatively or academically (or both) it takes time to understand the reasons why we ‘want’ to write, and the more we write the more we fully begin to appreciate why we write and why we have to write in the first place. From the age of nine, I kept a diary and now, 31 years later, I’m still writing down thoughts, opinions, feelings and aspirations. Nearly every day, I actively participate in recording my reflections. These reflections are part of an academic writing ritual that fuels research ideas and potential narratives associated with reflective teaching practices. I have discovered that the daily practice of imagining and writing compared to academic research and writing has more similarities than differences. Other creative writers who operate in higher education as learning and teaching academics have also taken note of ‘the similarity between the processes of writing fiction, and writing learning texts, not the contrasts’ (McVey, 2008, p. 290, emphasis). More specifically, I have come to realise that strengthening one’s use of the imagination via self-confessional writing exercises is a central ingredient in order to fulfill a well-rounded learning and teaching career.

Writing skills for social workers

Book review of: Writing Skills for Social Workers, by Karen Healy & Joan Mulholland, 2009

Turning the spotlight to international students’ internal negotiations: critical thinking in academic writing

The case study reported in this chapter explores how four Chinese and Vietnamese international students from two disciplines, Economics and Education, mediated their ways of displaying critical thinking in disciplinary writing at an Australian university. It draws on a modified version of Lillis’s (2001) heuristic and positioning theory (Harre´ & van Langenhove, 1999) for the interpretation of students’ writing practices within an institutional context. The study includes four talks around texts, which engage the students in an exploration of their practices in demonstrating their critical thinking in their first texts at the university, and four in-depth interviews six months later, which aim to examine how students negotiated their writing practices as they progressed through their course.

Writing blah, blah, blah: lecturers’ approaches and challenges in supporting international students

The increase in numbers of international students who have English as a second language (ESL) and are studying in English-medium universities has renewed the emphasis of English language development in higher education, particularly concerning academic writing. Much of the discussion has concentrated on developing best practices in providing support via Language and Academic Support (LAS) programs. However, the main challenge in recent years has focused on integrating disciplinary and language learning. What has been largely missing from the discussion are the views of lecturers and students regarding the strategies they use to develop academic writing in the discipline. This paper addresses this issue. The analysis reveals that academic writing within the disciplines is largely an individual endeavour for both lecturers and their students. Lecturers focus on explaining what skills students are required to demonstrate in their assignments, but students are more concerned with understanding how they can develop these skills. The implications are discussed concerning the development of a whole institutional approach for integrating language and disciplinary teaching.

Learners’ motivation and identity in the Vietnamese EFL writing classroom

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 needs, 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 of not only the visible signs or visible needs mainly shaped by institutional requirements and social expectations but also what is deep inside students’ act of writing in a foreign language involving their own cognitive and affective process embedded in their unrecognised needs.

Different shades of the collective way of thinking: Vietnamese and Chinese international students' reflection on academic writing

Investigating ELF/ESL students' experiences in constructing their academic written texts seems to be of great significance in EFL/ESL writing syllabus design and teaching. The case study reported in this paper explores the underlying factors which shape students' ways of supporting ideas in academic essays in English. Drawing on Lillis' (2001) framework for exploring student writing, the study examines the writing experiences of students from Vietnam and mainland China at an Australian university. Based on the students' reflection on their different ways of meaning making, this paper argues for the need to challenge the tendency to essentialize cultural rhetoric patterns and their effects upon Chinese and Vietnamese students' writing in English as a foreign or second language. Several implications for teaching EFL/ESL writing have also been drawn from the findings of this study.

Assessing the reading and writing of EAL/D students: issues and implications

This paper reports on the preliminary findings of a study on literacy strategies for learners in established English as an Additional Language (EAL) classes in Years 7-10 in three Victorian secondary schools. The paper draws on baseline reading and writing assessment results (N=45). 

Cross-artform creative practice as still-life recovery: Chinese-Western materialisms of time, writing and death

As argued by Norman Bryson, the still-life genre is sorely neglected by theorists and critics, largely because its concern with ‘low-plane reality’ (everyday items and acts) has obscured its genuine relevance to material thinking. By reappraising rather than abandoning the genre’s traditional themes of death and time—using a cross-cultural, Chinese-Western approach—it is possible to re-energise materialisms of time, writing and death within still life. Such a move depends above all on a re-evaluation of still life as ‘Vanitas’—the term which to date has unified, and more to the point limited, traditional still-life understandings of death and time. This article tracks a more explosive and creative materialism of still life simultaneously through the specifically Chinese approach to death (which includes the ‘Yin Yang’ 阴阳 as a sort of author of time) and via Gilles Deleuze’s cinematic philosophy of the time-image; what connects these is the very Deleuzean notion of time that subtends Chinese engagements with death. In this way, the still-life genre may be recovered from its current critical and theoretical malaise. Reconnecting with practice is a crucial aspect of this recovery, and so in its early stages this article analyses an example of still-life, creative non-fiction (authored by Cher Coad), and it concludes by establishing the value of this potentially ‘new chapter of the “still life” genre’ (in Matilde Marcolli’s terms) for the cross-artform analysis of the short story ‘Nhill’ (authored by Patrick West). Analysis, though, is only half the picture: a fully recovered still-life genre would see theory and practice endlessly circulating through each other, spurring on practice and impelling theory. Coad’s and West’s literary examples are introduced in the hope that they might trigger fresh theoretical and practice-based, still-life discoveries in prose and also in poetry.