creative writing in foreign language teaching coursework

The student group was quite varied, consisting of both Finnish and international students. (Maley and Moulding 1985: 1), As another author says, sometimes we might even write “better in a language that is not our first […]. Learners suddenly realize that they can write something in a foreign language that has never been written by anyone else before, and which others find interesting to read.

The literacy model situates “creative” writing within a general writing instruction which trains students for competency in a variety of compositional modes for the purposes of accurate expression and professional communication. As his last project, Christian Ide Hintze, the Austrian poet and founder of Vienna poetry school, worked on what he called “7fold poetics”, integrating traditional, literary poetry with other types of poetry (acoustic, visual, performative, interactive, infrastructural, and instructive). Thaler in Klippel 2008: 239). All these conditions are met in a well-run CW class. 24. The three texts which students read at the concluding public presentation represented these divergent aspects of the class: one text came out of the exercise the story and the story-teller hunt each other (based on the narrative technique of Preußler’s novel); the second student wrote an essaystic reflection inspired by a few lines by the Irish poet Seamus Heaney: “Memory as a building or a city, / Well lighted, well laid out, appointed with / Tableaux vivants and costumed effigies” (Heaney 1991: 75); and the third student wrote the imaginary life story of two anonymous figures in a photograph, probably mother and son. However, if the teacher has experience only with teaching writing to native speakers, she might find it quite difficult to adjust her expectations to foreign students; she might tend either to underestimate, or to overestimate their achievements. In order to examine the importance of creative writing in the classroom thoroughly, it is first of all necessary to define what creative writing actually is. The experimental stance with regard to writing in general appears to fee back into the teaching of writing. In this paper, I would like to introduce the most typical classroom situations that involve a foreign language element, and outline some of the challenges which characterize them. This tends to make teachers who use CW more interesting to be around, and this inevitably impacts on their relationships with students. Teacher’s first language: A The students can promote their creativity and language proficiency in ESL ... use in English language teaching is proposed as ... approaches in learning English as a foreign language. in group work with their fellow students without being afraid of mistakes or bad marks. We avoid clichés because probably we do not know them so well.” (James 2007: 13). Whitworth, John. Language of instruction: X In the left hemisphere parts that are responsible for the logic, organising and planning functions can be found. To find out more about cookies or to manage the usage of cookies, please read our privacy policy. Thus, creativity in school means that students have to explore “bislang unzugängliche Möglichkeiten des Denkens, Empfindens und Formulierens“ (Brenner 1990: 16). Since creative writing combines planning and organising, located in the left hemisphere, with the emotional and imaginative one, located in the right hemisphere, it provides an effective means in training one’s long-term memory. Thaler in Klippel 2008: 239). Finally, CW feeds into more creative reading. Before the class, I asked the students to read Joseph Conrad’s Heart of Darkness, selected short stories by James Joyce (from Dubliners), and selected short stories by the Canadian writer Alice Munro (from her book Progress of Love) – a heterogeneous mixture which made use, pragmatically, of books which the students had to read anyway for another course. Creative writing allows students to experiment and play with the language, and thus, to take ownership of the language. Teichmann in Timm 1998: 250) in foreign language teaching. Please note Alan's now finished writing on the site and will not be able to reply personally to your comments. 23. (2009) Writing Stories.
(Scholl 1999: 59–60), Scholl notes parallels between the geographical borderlands (the Mexican-Texas border), the body and the consciousness of “the new mestiza”, as well as the stylistic texture of Anzaldúa’s book: they are all marked by similar heterogeneity. I will label these trajectories creative self-expression, literacy, craft and reading from the inside.” (Dawson 2005: 49). Oxford: Oxford University Press. At first glance, those preparations before writing may seem restrictive. As teachers of language, we surely have a responsibility to keep our primary resource alive and well. Rather than in the Creative Writing context, this configuration typically occurs in foreign language teaching, which classifies writing as one of the four “basic skills” (with reading, speaking and listening).

In the last pedagogical conference in Paris (Nov, 2012), Daniel Soukup (Literary Academy of Prague) presented in a plenary session an overview of classroom situations dealing with a foreign language element and the challenges implied.

Among the conditions for promoting motivation, Dornyei (2001: 138-144) cites: “5. (ibid: 49).

19. Teaching writing from this perspective can – and often does – involve creative exercises, too.

Thus, Teichmann also considers the student’s knowledge as an important criterion according to which the creativity of each individual student can be defined. Naturally, the application of Dawson’s interpretive labels is less objective and less generally valid than the lists of languages used; ultimately, the overall teaching aim always depends on the particular course. put chile in the borscht, Moreover, one can compose interesting concrete poems in a foreign language even without being very good at it, which is highly motivating. 68. Creative Writing as Process Writing For much of our professional lives we are in thrall to the controlled language of textbook English and the repeated low level error-laden English of our students. Of course, two or three of these languages might be (and usually are) identical. M. ( 1997) Creativity: Flow and the psychology of discovery and invention. In this configuration, the teacher might actually be better placed to learn something about writing from the students; but still she, being a teacher, must be able to discover something to teach them. This situation, like the previous one, often occurs in foreign language teaching, but it is not limited to it.
3.3 Post-Writing, Conclusion - Why I Think That Creative Writing is Important, Attachments Make learning stimulating and enjoyable by increasing the attractiveness of tasks. Students’ first language: A (B, C…) speak Tex-Mex with a Brooklyn accent […]. An important feature of the teaching of foreign languages is the holistic approach. 3. London: A and C Black. In addition to that, processes that take place during creative writing can be compared to those of language acquisition. It also affords scope for learners whose hemisphere dominance or learning-style preferences may not be intellectual or left brain dominant, and who, in the normal process of teaching are therefore at a disadvantage. Oxford: Oxford University Press. In addition, it is possible to allow students to write texts according to their own interests (cf. Learners also tend to discover things for themselves about the language… and about themselves too, thus promoting personal as well as linguistic growth. With the teacher being a native speaker, the overall teaching aim might be based not only on the literacy approach (“general writing instruction”), but also on the craft model: teaching foreign students to produce, for instance, “well-written” short stories.

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