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Need help with thesis writing course

 
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tw



Joined: 04 Jun 2005
Posts: 3898

PostPosted: Sun Nov 05, 2006 8:43 am    Post subject: Need help with thesis writing course Reply with quote

I am teaching thesis-writing to four groups of fourth-year English majors who will probably just download some thesis off the Internet and hand it in to graduate. The text book is well written, though IMO is too boring and way beyond my students' ability to comprehend given their English skill. Furthermore, I don't mean to sound lazy but I am busy enough as it is now with two other weekly lesson plans, so I just don't have the time to read through almost 100 pages of text to find key point to lecture the students on. That is, assuming that the school wants me to finish 12 unites in 7 weeks and assuming my students would actually pay any attention to what I have to say. I have gone through pages of top American and Canadian universities' online thesis-writing materials, and I can't possibly see myself lecturing them on the theories and concepts for more than two weeks. Should I just bite the bullet and go through what the text book covers and forget about my weekends? I am so stressed out right now and even some of my colleagues feel sorry for me. Crying or Very sad
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China.Pete



Joined: 27 Apr 2006
Posts: 547

PostPosted: Sun Nov 05, 2006 9:51 am    Post subject: Know What to Expect Reply with quote

"I am teaching thesis-writing to four groups of fourth-year English majors who will probably just download some thesis off the Internet and hand it in to graduate." --TW

Your consternation, while understandable, is largely a waste of time. Those who can write, will. Those who can't, will plagiarize. Few will apply any of the writing skills you try to teach them anyway (even after you've made them do each component in class), because that's just not something they've been conditioned to do in their academic careers up to now. Just do the best you can. But know what to expect.
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Louise10



Joined: 22 May 2006
Posts: 5
Location: China

PostPosted: Sun Nov 05, 2006 12:02 pm    Post subject: Reply with quote

Hi TW,

I�d be inclined to forget about the book too. The students probably won't even read it. I read a number of 4th year theses last semester and really, they were quite poor. They would never have been passed at home. If I had to teach this course, I'd probably just break a thesis down into the basic components...
1) Introduction (review of the literature)
2) Hypothesis
3) Method
4) Results
5) Conclusion

...and tackle each part individually. If they aren't required to do independent research (ours weren't) then the compnents will be fewer. One of the major obstacles, IMHO, is students' lack of academic creativity. I don't mean to generalise unfairly, but in my experience encouraging students to generate an interesting hypothesis is difficult. Maybe an entire class dedicated to generating ideas for a thesis would be useful early on in the semester?

That being said, I would ask them to briefly review the literature on a given topic (you would have to decide the topic) in preparation for their real lit review. This is quite challenging if they've not done it before. A reasonably interesting question often emerges from the review so generating the hypothesis could be the next component, and so on. I also saw that it was difficult for the students to write a decent conclusion...they need a LOT of encouragement to be creative and put an individual spin on what they have found.

Good luck TW and I agree with China Pete when he says we can just do the best we can within the current framework, and it's best to know what to expect so we aren't disappointed. Who knows, you might even get one or two students who write a solid thesis and that would be great outcome. :-)
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Fellow Wanderer



Joined: 16 Jan 2006
Posts: 10

PostPosted: Sun Nov 05, 2006 3:18 pm    Post subject: Reply with quote

Tom, try to teach them writing as a process. Reflect on your experience when you wrote your thesis and share this with them Laughing
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erinyes



Joined: 02 Oct 2005
Posts: 272
Location: GuangDong, GaoZhou

PostPosted: Sun Nov 05, 2006 4:39 pm    Post subject: Re: Know What to Expect Reply with quote

China.Pete wrote:

Your consternation, while understandable, is largely a waste of time. Those who can write, will. Those who can't, will plagiarize.



EASY!!! Tell them that you are an expert at finding things on the internet! And if they plagiarize you will give them 0.
(when you get the work from them type in random sentences from the middle of their work into google - try about 5 different samples form various places in the text in about 5 different search engines including baidu and I grantee if it's on the net you will find it.

Then - make them hand you samples of their work in their own handwriting. Make sure you see it about 4 times in the writing process.

If you catch them report them to everyone, get one of those blackboards and ask a teacher to write their name ___ plagiarized their thesis! Put it in front of the cafeteria. No one will ever cross you again.
China.Pete wrote:
"I am teaching thesis-writing to four groups of fourth-year English majors who will probably just download some thesis off the Internet and hand it in to graduate." --TW

Your consternation, while understandable, is largely a waste of time. Those who can write, will. Those who can't, will plagiarize. Few will apply any of the writing skills you try to teach them anyway (even after you've made them do each component in class), because that's just not something they've been conditioned to do in their academic careers up to now. Just do the best you can. But know what to expect.


EASY!!! Tell them that you are an expert at finding things on the internet! And if they plagiarize you will give them 0.
(when you get the work from them type in random sentences from the middle of their work into google - try about 5 different samples form various places in the text in about 5 different search engines including baidu and I grantee if it's on the net you will find it.

Then - make them hand you samples of their work in their own handwriting. Make sure you see it about 4 times in the writing process.

If you catch them report them to everyone, get one of those blackboards and ask a teacher to write their name ___ plagiarized their thesis! Put it in front of the cafeteria. No one will ever cross you again.
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Leon Purvis



Joined: 27 Feb 2006
Posts: 420
Location: Nowhere Near Beijing

PostPosted: Mon Nov 06, 2006 1:32 am    Post subject: Reply with quote

Louise10 wrote:
Hi TW,

I�d be inclined to forget about the book too. The students probably won't even read it. I read a number of 4th year theses last semester and really, they were quite poor. They would never have been passed at home. If I had to teach this course, I'd probably just break a thesis down into the basic components...
1) Introduction (review of the literature)
2) Hypothesis
3) Method
4) Results
5) Conclusion



Louise,

What you have shown is the skeleton for a scientific research paper. These are English majors. One of the commonly accepted models is the Toulmin model which is pretty simple and actually similar in its construction to the skeleton which you have presented:

1). Introduction and thesis statement
2). Supporting information/ evidence
3). Address of possible objections, or address of conflicting information (if
any)
4). Summary and restatement of thesis
5). Conclusion
6). Bibliography (articles and books read but not cited) and annotation (if required)
7). Works cited


The stylebook most commonly used in American colleges and universities for scholarly papers addressing issues of linguistics, literature, and many of the humanities is the Style book published by the Modern Language Association (MLA). It is primarily concerned with formatting and citation, but it does give an example of a thesis in the beginning and gives good tips for writing a thesis.

One very good source for quick information is Purdue University's Online Writing Lab. The OP can search Google for it as it was previously cited, or search OWL Purdue.
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Steppenwolf



Joined: 30 Jul 2006
Posts: 1769

PostPosted: Mon Nov 06, 2006 8:22 am    Post subject: Reply with quote

Most tertiary students have to be taught that a sentence begins with a capital letter - that may take a whole lesson for you to teach them! Sad and pathetic but true!

Another lesson they may yet have to grasp is punctuation... commas instead of full stops, how to quote, etc.

How to space their writing is another thing - title separated from text body and centred in the middle of the paper...sounds to them as though it was totally unbelievable.

I guess they could easily transfer their knowhow on how to write such papers from their Chinese writing lessons; you should perhaps pay a little heed to make them aware of the niceties that we want them to respect if they hand in serious essays and dissertations.
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seperley



Joined: 27 Feb 2006
Posts: 36

PostPosted: Fri Nov 10, 2006 11:46 pm    Post subject: Reply with quote

Steppenwolf wrote:
Most tertiary students have to be taught that a sentence begins with a capital letter - that may take a whole lesson for you to teach them! Sad and pathetic but true!

Another lesson they may yet have to grasp is punctuation... commas instead of full stops, how to quote, etc.

How to space their writing is another thing - title separated from text body and centred in the middle of the paper...sounds to them as though it was totally unbelievable.

I guess they could easily transfer their knowhow on how to write such papers from their Chinese writing lessons; you should perhaps pay a little heed to make them aware of the niceties that we want them to respect if they hand in serious essays and dissertations.


I can't agree more. I am teaching writing to second and third year students who, basically, cannot write in the English language. It seems almost pointless to try to teach thesis writing, but if you can at least make them aware of the basics of essay writing, give them a sample essay to MIMIC, and then teach them what a works cited page looks like and why it must be included, you can at least find comfort in knowing that you TRIED.
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tw



Joined: 04 Jun 2005
Posts: 3898

PostPosted: Sat Nov 11, 2006 12:25 am    Post subject: Reply with quote

Thanks for all the replies. The course is actually more on teaching the components of argumentation than on thesis writing. Since I was neither an English major nor have I written a thesis, I am learning as I teach. The students are aware of that too because I'd told them that I didn't think I'd be a suitable person to teach the course, and I think they are quite understanding and supportive. It is, after all, a high-level course even from Western perspective. The only two FT's I know who are suitable to teach this course are both unavailable (one doesn't want to lose his Oral English classes and the other one is leaving due to poor health).

All this time I'd thought EFL teachers would only have to teach SIMPLE stuff, not stuff way over their head. I know some of my colleagues in the other department are teaching subjects that they didn't study after highschool! Shocked
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Yu



Joined: 06 Mar 2003
Posts: 1219
Location: Shanghai

PostPosted: Sat Nov 18, 2006 2:25 am    Post subject: Reply with quote

So it is nice to know there are others out there stuck teaching research paper writing. I taught this course last year and am teaching it again this your to 4th year English majors at ECNU.
The first thing I did last year was look at some thesis papers of students from previous years. The biggest problem I noticed is that none of the papers followed a standard format (some double spaced, some didnt, some had an abstract others didnt. some had works cited some didnt--- so I considered the necessary components of the thesis paper and prepared a handout that talked about writing in a standardized format.) I also spent a great deal of time talking about avoiding plagiarism.... boring I know, but actually just telling them to avoid it is not so useful, after explaining it to many of them, there were marked improvements over the use of documentation in their papers. (Remember we document to let others know where we got information--- if we cite a stupid person it is better than we let a stupid person's comments pass as our own, and if the students are getting their information from the internet, then there is a lot of stupid people out there.... second, it is a form of academic courtesy, like providing a road map to useful sources, also it is to respect other people's work, and finally to avoid plagiarism.... documenting sources is more than avoiding plagiarism).
So after my first year of teaching the course I helped them with improving their documentation and format of their paper. After reading their papers last year I realized that they sadly lacked creative thought... Actually, my question at the end of last year was how do you teach people to think????? My answer came in the form of "The Art of Thinking" by Ruggario (?) which was are not using as our textbook as well as "The Curious Researcher" by Ballenger. Last year I got a red book, and I hated it, so I found my own texts for this year. I am hoping to teach them how to think.
There were some other problems I noticed last year (which turned in to a list of things I think you could teach them or help with)
1. poor topic selection. I think they picked the first thing that popped in their head and did not consider changing to something more appropriate if they could not find sources, because they did not even bother to check for sources. So I think part of the topic selection process means verifying avaliability of sources at the library.
2. poor library skills. Many of your students will have never set foot in the library and they are unaware of the resources it contains. Do them a huge favor and introduce them to the find an article section of the library homepage. They should be able to access First Search and have access to full text databases like Soc Abs, Wilson Select, Jstor, ERIC, etc.... Even my smartest students from last year did not check with these sources. And they are some of the most useful. Some students cant find a book if given a call number. Some students are not able to select good search terms for locating materials).
3. Poor notetaking skills. Students did not keep track of what material came from which source. Need to be reminded to keep information all together.
4. Poor organization and lack of understanding of proper development of english wriiting. They still write in a Chinese way. They are still translating from Chinese to English.
5. Lack of understanding and following of the writing process. They do not understand a rough draft is supposed to be changed dramatically. I guess the analogy I came up with is that when I am writing it is like I am pregnant and what is going on is constantly changing, and when I get to the final draft I have finally given birth, but I have the option to abort at any time.... Chinese students have given birth when they get an idea. Once they start writing they are already raising their child. and the thought of cutting off the child's arm or stabbing it in the chest is unfathomable to them.
6. They need to learn what a thesaurus is and how to use it.
7. Lack basic systematic way of editing.
8. you can always do some exercises with paraphrasing, summarizing and how to do it so to avoid plagiarism.
9. Talk about how to make an outline.
10. Talk about how to use sources in the paper... How to insert them in the paper to make the content clear. or well supported.
11. Talk about different ways to develop the research paper.

One of the first things I tell my students is that I hate writing.
Also, you mention you fell unqulaified to teach the class as you were neither an english major nor did you write a thesis.... I am in the same boat. But it doesnt matter. As you are teaching at a uni, I assume you have at least a BA which means you have written research papers. That is all you are really teaching them how to do. I think the attitude you have that students are just going to copy from the internet needs to be changed. First, I dont think any of my students did just that by copying the internet for their whole paper (not a single paper was written in a logical enough way), but they do need to learn how to and why they should document sources.

I am very happy teaching this course because I can see students learning something. But it is a lot of work. I get my rewards next semester when they graduate and I have half the semester off (except maybe 1 day of work). I enjoy teaching writing, and this is a challenge for me. Much better than boring oral English (which I hate teaching).

First, Students would be grateful if you would help them know the proper format. Give samples. Consistency is important. I can send you my materials if you PM me with an e-mail address.
Second, Go over the way of doing documentation for books and websources. (Have them practice, take 2 weeks one for online and one for books/journals)
Third, Talk about credibility of sources and different locations sources are avaliable (encyclopedias, magazines, specilized magazines, trade books, scholary books, and academic journals--- the last two being suitable sources for their paper)
Fourth, Talk about how to find these sources. Especially on line research databases.
Fifth, Talk about the reasarch process.

I realize they are calling this a thesis paper. It is not a thesis paper. It is a research paper. Students probably need to write 5-8000 words. They will also appreciate deadlines.

I interested in looking at problems students have with writing their thesis papers, and considering writing an article on it. I am especially intersted in talking to other foreign teachers who are teaching thesis writing to English majors to see if they share the same experiences. Or what their perceptions of the problem of students is.

I also teach my students how to write an English resume. (They are looking for jobs, and appreciate learning how to write a resume).

I have a great article about writing and chinese students. It is copied below"

Quote:
AUTHOR: Danling Fu and Jane S. Townsend
TITLE: Cross-Cultural Dilemmas in Writing: Need for Transformations in Teaching and Learning
SOURCE: College Teaching 46 no4 128-33 Fall '98

X: Once I read several books and wrote a magnificent paper, which, I think, really showed my personality, but my professors couldn't understand it. So I don't know what good writing is. I am not confident with English writing, as I don't know how to do it. Now I just write according to the form; I can't write long, just one page. It is funny, when I don't try to write the way I like, but just write plainly, then I can get good grades. I hate that kind of writing. That is not writing.
A Chinese graduate student of physics
M: What I write now is like children's writings or nursery rhymes, so silly, so flat and dry. Even though I can get good grades, I hate to read what I write in English; it shows no literary talent.
A Chinese graduate student of English
What do non-native English-speaking students bring from their own culture when they undertake composition in English? When Chinese students write in English, they are entering into a new community, trying to interact with an audience (their American instructors) with whom they share little understanding of accepted writing styles, criteria for good writing, literary traditions, or aesthetic tastes. When Chinese students write according to their native cultural standards, their American professors judge their writing based on criteria grounded in the professors' Western literary tradition.
Comments such as the following reflect some professors' views:
A lot of my Chinese students like to quote people without giving a reference. I am bothered by this, but they seem not to care much about it and continue to do so.
They [Chinese students] tend to use all clich�s. I wonder if they have any original ideas.
Such differences in values and standards between the Chinese writers and their instructors hinder learning and often make their relationship difficult.
Thus, in classrooms where culturally and linguistically diverse students meet, concepts about writing and how one learns to write must be untangled if teachers and students are to work together. Cultural differences can create communication gaps, and unfortunately, these miscommunications are often attributed to the students' poor command of standard English rather than to the cultural gaps between students and teachers. In writing, surface language structures are much easier to see than the often subtle concepts of function, style, and genre.
Further, as Zamel (1995) points out, language ability is often confused with intellectual ability. In reporting the academic experiences of hundreds of non-native English-speaking students, Zamel writes that "the majority of students' responses described classrooms that silenced them, that made them feel fearful and inadequate, that limited possibilities for engagement, involvement, inclusion" (515).
Kaplan (1966), whose ground-breaking work "Cultural Thought Patterns in Intercultural Education" sheds light on the cultural influences of rhetorical decision making, identifies thought patterns associated with different cultures and languages. By examining the compositions of students from different cultures, Kaplan shows that learning to write in a different language requires not only switching linguistic codes but also acculturation (Shen 1989). Thus, we believe that every professor who gives a writing assignment could benefit from understanding the ways that students from different cultures make personal sense of the writing process.
Xiao-ming Li (1996) examined the beliefs of American and Chinese teachers about writing. By comparing both the explicit and implicit value systems that influence both teachers and students, Li documents dramatic differences in perspective between the two cultures--differences in value, purpose, and pedagogy. How such differences affect students' performance and teachers' response is worth exploring, and students' perspectives may elucidate some of the dilemmas facing both.
OUR STUDY
Our purpose was to help teachers at all levels gain insight into the cultural assumptions and values that lie behind the choices students make in writing. Though we focus on Chinese perspectives--sharply divergent from mainstream America's--we believe our findings hold important implications for teaching all the students in American schools. Our hope is that such information will enhance the teaching of students from different cultural backgrounds, improve the assessments of their writing, and create strategies to empower both students and teachers.
Speaking in their own language to an interviewer from a similar cultural background, the thirteen Chinese graduate students in our study explained their understanding of writing--as well as their frustration in learning to write in English for their American classes. We found that these Chinese students had deeply ingrained concepts about writing that determined their values about and understanding of the act of writing.
Each was interviewed independently and intensively in his or her native language at least once, some three or four times, during one semester at a public university. We chose Chinese students for several reasons: (1) Chinese students comprised the largest number among all the non-native English speakers on campus; (2) one of the researchers was herself Chinese, and we imagined that it would be easiest and most informative to carry out the interviews in the students' native language; (3) the thirteen students we selected from among the eighty Chinese students on campus represented a balance in sex, age, and length of time in the U.S.; and (4) these particular students were willing, friendly, and articulate.
Of the thirteen students chosen for case studies, seven were majoring in liberal arts and six in the sciences. Because their TOEFL (Test of English as a Foreign Language) and GRE scores were high enough to meet the admission requirements of their graduate programs, most of them did not attend ESL or freshman writing courses. The age of the interviewees ranged from 24 to 45; six were females, and seven were males; their length of stay in the United States was from four years to three months.
Some of the students we talked to had more interviews than others because they were more willing to tell us their writing stories. Also, liberal arts majors were interviewed more extensively than science majors because they were required to write more and, therefore, had more to tell us. Each interview lasted at least one hour. Rather than strictly following a list of prepared questions, the interviewer listened to stories about the students' experiences as writers in both their native and new cultures. The interviews were audiotaped, transcribed, and translated by the interviewer.
CHINESE STUDENTS' PERSPECTIVES
We found that the Chinese students thought that a major purpose of writing was to show mastery of the established forms, to demonstrate knowledge of literary tradition, and, most important, to display artistic ability. All thirteen Chinese students reported that when they wrote, what they cared most about was whether their writing showed their "artistic talent." To be artistic meant how well they could manipulate the language, that is, their ability to use set phrases (traditional expressions formed by various combinations of four Chinese characters) and idioms, and to quote metaphors and imagery from classic literature.
When the Chinese say a person can write well, they do not refer to the ability to express ideas clearly, but rather to knowledge of the classic literature and the ability artistically to manipulate its forms and language in writing. An educated person is expected to write differently from a person who can write only with everyday language; the latter would be considered literate but not a writer. College students in China are considered highly educated, and they make their writing differ from the "ordinary" to show how well educated they are. The following examples illustrate the importance of a literary component:
M: I want my writing to show not just that I know something, but also that I am a good writer. That means how well I can manipulate the language. I like to use rarely used images and expressions, which can express my subtlety, humor, and depth of thinking. Writing is painting, not just showing a mountain or a tree with color but with the artistic skills of using the colors and brush to create something in an unusual way.
Students in China read to memorize and write to imitate. When they revise their writing, they tend to spend more time polishing their language than working on the content.
Y: When I write, I care about the language, no matter what I write, even a letter. I like to revise my writing, with the emphasis on the language. I enjoy the unique expressions I use in my writing.
X: When I share my writing with other people, I only seek help for the language, like word choice or expressions, but not the ideas, or the organization of writing. I don't think I need that kind of help.
CHINESE WRITING STYLE
CLASSIC LITERARY FORMS
All the students interviewed said that they emphasized the language forms more than anything else in their writing. To make one's writing "rich with beauty and taste" was a standard for good writing held by all. In their Chinese education, the students were rigorously trained to strive for this aesthetic standard in their writing, and in their interviews, they used language that reflected this ideal, frequently employing set phrases in their speech.
In a letter from China, Chi Zhu, director of the composition and rhetoric department at Nanjing Teacher's University, discussed the traditional role of writing in China:
Writing in ancient China never had any real practical values, nor was it used for true communication. It was like painting, only for entertainment or showing off craft skills. In the past, writers from all over the country would get together to attend a composition contest. The topic would be the same, and the content would not be much different, so writers would mainly compete in the artistic skill of writing. For hundreds of years in Chinese history, literary talent was the most important credential for a person to be chosen an official and work for the state, a very prestigious position in the country.
When asked about their keen desire to quote classic lines and use set phrases in their writing, one of the Chinese students proudly said:
We Chinese like to use classic phrases and expressions in our writing, as they are short and concise. One four-character set phrase can express a certain meaning profoundly and vividly which would otherwise need several sentences to explain. Those classic lines, idioms, expressions and set phrases are not only part of the language but the best part. Those phrases have been refined thousands of times and used for hundreds of years.... They don't belong to anyone; they are the cream of the Chinese language.
LEARNING TO WRITE IN CHINA
Thus, Chinese students are trained to pay special attention to the "cream of language" when they read and write. One of the interviewees laughed at his emphasis on the artistic nature of his writing by saying: "Once I got a comment on my paper like this: 'You have written very beautifully, but presented nothing.'" Even though this was a negative response by his American professor, the student still felt proud that he could write "beautifully," an assessment which meant the most to him as a writer.
Moreover, in his letter, Zhu explained the reason that the Chinese students were so concerned about the aesthetics of language:
Theoretically, we think we should train our students to use an analytic mind, but in our instruction, we tend to (maybe unconsciously) emphasize the "artistic skills" of writing. In the evaluation of students' compositions, teachers are very keen on unique expressions, powerful metaphors, and vivid images.... This is rooted in the tradition of the Chinese literary culture-- "Emphasize the art but don't worry about the reasoning" [a set phrase: zhong wen qin li]. If someone can present a complicated idea systematically and clearly, his writing is simply considered "okay." But if he can demonstrate in his writing a wit in structure and expressions, and use a rich knowledge of language and the classic literature, then his writing is considered a piece of writing with literary grace and evaluated as "Excellent."
MEMORIZING POETRY
To train student writers to write with "literary grace," teachers in China feed their students different writing models and forms and push them to read and memorize classic literature, especially classic poetry. It is a tradition in China to train children to memorize classic poems at a young age, even before they can understand the full meaning of the texts. A motto in the Chinese culture states: "One cannot write unless one has hundreds of poems memorized by heart." The Chinese, no matter where they reside, in or out of the country, faithfully carry on this ancient tradition. One of the greatest sources of pride for Chinese parents is how many classic poems their children can recite.
All the students interviewed for this study had stories about how they were trained to memorize the classical phrases and lines at school and at home:
Y: I started to memorize Tang poems when I was only three. I still can remember some poems I memorized before I went to school. I think knowing those poems by heart helped me a lot later when I learned to read and write. Now I have my daughter recite Tang poems too.
Matalene (1985), an American professor who taught writing in China, discovered that learning to write in the Chinese culture meant memorizing language usage and established forms: "[F]or the Chinese writers, style means manipulating one's memory bank of phrases, arrangement means filling the forms, and invention means doing it the way it has been established. Each of these three arts of rhetoric depends profoundly on the fourth, memory" (57). The Chinese place great value on their traditions and feel responsible for passing them on to the next generation.
In contrast to Chinese, students in China learn to write in English more as a subject like math or science than as a means of communication or literary grace. English phonics, grammar, and vocabulary are the three main emphases in English instruction in China. In learning English, students read to understand grammar and build vocabulary, filling out worksheets to reinforce mastery. When they're learning to write in English, they translate Chinese texts.
Thus, Chinese students are trained to believe that writing in a different language is simply a matter of switching linguistic codes. Although they are required to write extensively in their native language, in their English language classes, they focus solely on drills in language structure. They do little purposeful writing in English, and hence, they have no experience with Western concepts of style, function, and structure. With these kinds of difference in language learning, students may become quite competent writers in Chinese yet feel at a loss composing English, especially when they come to the United States to study.
Having been trained to write from models, memorized phrases, and classic poetic lines in their native language, the Chinese students faced great difficulty when they composed in English for their American studies. Because they had not read much classic English literature or memorized quotable English phrases and expressions, the Chinese students believed that they were not "trained" to write as educated people in English. As a result, they thought they could not write, and they hated their writing, which they thought sounded silly, childish and "uneducated":
R: When I write in English, it is just like fighting without good weapons, cutting beef with a dull knife, or searching with eyes shut--very frustrating and depressing. I can't write as well as I want to, and I don't want to read my writing, so silly, so I tend to copy, here a paragraph, there a paragraph.
To write well in English, these students believed they had to proceed as they had learned to write in Chinese. They tried hard to memorize the phrases that they thought sounded "educated" in English. One of the participants said: "I love to memorize good phrases and expressions. Whenever I hear or come across them in my reading, I memorize them. Then the next time, I will try to use them in my writing."
Unfortunately, they memorized phrases like "as big as a horse," "as poor as a church mouse," "call a spade a spade," and "where there's a will, there's a way" and tried hard to use them in their writing. They thought that being able to use well-known phrases like these would demonstrate their knowledge of the language and also their "literary talent" as writers. They didn't know that what they tried hard to do is what American students are trained to avoid in their writing.
Matalene (1985) reported her observation of these differing perceptions of literary merit:
The Western writing teacher, coming upon the set phrases again and again, is programmed to respond with her own readymade remarks: "Be original," "Use new language," "Avoid clich�." And she is thus counseling her students to write like uneducated barbarians. But Chinese students are too puzzled and too polite to point this out and they are certainly not in the habit of questioning teachers. (45)
Thus, the dilemma for the Chinese students: the writing they felt good about was not well received by their American professors, but the kind of writing they did not like got good grades. Confused and frustrated, they gave up trying to improve their writing. They said that they simply wrote what was required for good grades, but they found no personal satisfaction in it.
Obviously, one cause of their confusion and frustration was that they remained bound by their native cultural tradition and didn't know the criteria for good writing in the new language and culture. They felt out of control and almost helpless when they tried to write in English.
Compared to the special emphasis given to the aesthetics of writing in Chinese, the students' study of English appeared, generally, to neglect the skills and approaches that would have been meaningful to them. Without the intensive training in writing that they had had in Chinese or any explanation of American concepts and values in writing, these Chinese students felt that they were not well prepared to write in English. Because they were highly competent writers in their native language, they were very distressed by that feeling of inadequacy (see table 1).
PARADOXICAL DEMANDS, NECESSITIES
What we learned from the thirteen Chinese graduate students has implications for education at all levels and in all subjects. To the Chinese students we talked to, originality in writing means using classical phrases in unusual ways; the purpose of academic writing is to display one's artistic abilities; and an excellent writer is one who can appropriately apply a rich knowledge of the literary tradition. Even though the differences among cultures sometimes are subtle, they can cause grave miscommunications between students and teachers. As Kutz, Groden, and Zamel (1993) observe about such difficulties:
[W]e discover that we must engage in a long and often frustrating process, overcoming the impulse to deal with students in ways that have little to do with who they are and what they need, and overcoming as well our (often unconscious) fear of them as "outsiders" whose attitudes, assumptions, behavior, and language all seem alien and threatening to the world we know. (5)
What limits our abilities to teach diverse students is the kind of deficit thinking that sees differences as signposts of incompetence, ignorance, and limited proficiency, a view which, as Zamel (1995) points out, "blinds us to the logic, intelligence and richness of students' process and knowledge" (517). On the one hand, we need to help students appreciate their own ways with words (Heath 1983), the beauty of their traditional values, and their existing ability as thinkers, learners, and writers. On the other hand, we need to help them learn the literacy values, the criteria of good writing, and the standards of logic in American academic culture. To broaden the abilities of students with minority cultural backgrounds, we need to introduce them to mainstream conventional standards (cf. Delpit 1988). Not to do the first, we make them feel handicapped; not to do the second, we ensure that they will remain outsiders.
To help students understand their instructors' criteria for successful writing, we faculty must find ways to communicate across disciplines about how language develops. Writing involves an interactive process, which many of these students missed in their school writing. Soter (1988) explains the role of culture in this process:
The writer writes in the context of his or her total community and with the norms and expectations in relation to written text acquired through schooling. Purpose, tasks, topics and audiences are also an integral part of the sociocultural context. Thus, writers may choose topics and tasks, but those topics and tasks may not necessarily occur in other cultures. Similarly, writers may select to write for particular audiences and have particular foci in mind for those audiences. However, these audiences are also a product of the same culture. (179)
"TURNING OUR LISTENING EARS"
The process of learning a language--especially adding a second language or dialect--is slow and continues to evolve with exposure, immersion, and practice. Further, language learning works best when it has both meaning and real purpose. Meaning making in school is an interactive process that can transform both teachers and students. If teachers can demonstrate curiosity and a willingness to listen, change can be collaborative. By opening our minds to the unknown--to the "other"--we can educate ourselves by listening to our students' voices and perspectives. We can re-evaluate our roles and values as teachers and our standards in assessing our students' work. We can re-educate ourselves as teachers for a multicultural nation. And in doing so, we can create opportunities, as Zamel (1995) states, "not only for students but for teachers to learn in new ways" (520).
Interaction among students and teachers--both in writing and in talking--is crucial to such learning. Students on the edge in our schools must learn the language of academic discourse in order to find their speaking and writing voices for school. For classroom discussion, if we clearly state our criteria for success, and if we welcome diverse perspectives, we will invite everyone's participation in making meaning--students and teachers alike.
We must remember that cultural assumptions that we take for granted about the purpose and value of writing can lead to consternation among students who make sense of school activities in divergent ways. Rose (1989), writing about students whose lives were on the edge of our society's educational institutions, observes:
[Students on the boundary] need opportunities to talk about what they're learning: to test their ideas, reveal their assumptions, talk through the places where new knowledge clashes with ingrained belief. They need a chance, too, to talk about the ways they may have felt excluded from all this in the past and may feel threatened by it in the present. (194)
When we make writing assignments, we tend to ask students to tell us what they have learned from us, our courses, our assigned readings. Although they may present some new research findings, most of the time their reports are within our range of knowledge. How many times do we give students writing assignments on issues that we know little about? Can we trust our students enough to search for new meanings together? If so, we will "turn our listening ears to them" and work hard to understand the meanings that exist behind the strong accent, and the new patterns and metaphors. If we can read our students' texts with a keen desire to understand them, we will find intelligence and beauty in their writing.
To help diverse students become competent and confident writers we must help them become bilingual and bicultural learners. The process may be slow and often frustrating for both students and instructors. And, at best, this process will not be one of accommodation or assimilation, simply replacing or adding on another language, another set of values. Rather, it should involve both students and teachers in a process of mutual transformation, so that each becomes an entirely new type of language user (cf. Vygotsky 1978).
A bilingual and bicultural person not only understands the distinctions existing in two cultures and languages but also is able to create new ways of expression and understanding, combining the strengths of both cultures. A bilingual writer not only writes in two languages but also writes with interwoven bilingual and bicultural qualities. In helping students become truly bilingual writers, we, as teachers, must also be transformed--we must learn to be multicultural ourselves, not teachers who merely know about other cultural values, but educators with pluralistic world views and diverse human values.


Table 1.--Chinese Students' Perceptions of Writing in Two Languages
In Chinese In English
I can write beautifully in Chinese. I can't write in English.
I can write beautifully in Chinese. When I write in Chinese I know what genre needs what kind of form by heart or by what kind of language. But when I write in English, I have to imitate books, copy from articles as I have no idea how to write in English
When I write in Chinese I like to use proverbs and set phrases and quote lines from classic poems. I really enjoy writing in Chinese. I cant write the way I could in Chinese, as I never had any training in English writing, and I never recited anything in English. Without knowing any classic poems by heart, I just cant express myself vividly and beautifully..
My Chinese writing shows my personality and my talent as a writer. But my English writing is dry and fly and sounds like children�s nursery rhymes, so boring.
When I write in Chinese, I automatically pay attention to the language, by which I mean the use of set phrases, quotes from the classic poems, something like that. When I write in English, I try to do exactly as I do in Chinese but I cant as I seldom read anything but science articles and textbooks in English. That�s why I am so frustrated with my English writing.
I write personal letters in Chinese as I can express myself better in Chinese. I only write academic papers, scientific reports, and business letters in English. I cannot express my emotion in English.
When I write in Chinese, I can use a variety of tones and voices for different styles. I know how to be funny, sarcastic and humorous in my Chinese writing. I can only write one form of English, one voice, monotone for everything as I only read one kind of writing: textbooks and academic articles. So I can only write that way.
I can write prose better in Chinese. We don't argue that much in our Chinese writing. I can only write essays in English, that�s all I do or read nothing else.











REFERENCES
Delpit, L. 1988. The silenced dialogue: Power and pedagogy in educating other people's children. Harvard Educational Review 58(3): 280-98.
Heath, S. B. 1983. Ways with words: Language, life, and work in communities and classrooms. New York: Cambridge University Press.
Kaplan, R. 1966. Cultural thought patterns in inter-cultural education. Language Learning 16(1, 2): 1-20.
Kutz, E., S. Q. Groden, and V. Zamel. 1993. The discovery of competence: Teaching and learning with diverse student writers. Portsmouth, N.H.: Boynton/Cook Heinemann.
Li, X. 1996. "Good writing" in cross-cultural contexts. Albany, N.Y.: State University of New York Press.
Matalene, C. 1985. Contrastive rhetoric: An American writing teacher in China. College English 47(Cool: 789-808.
Rose, M. 1989. Lives on the boundary. New York: Penguin.
Shen, F. 1989. The classroom and the wider culture: Identity as key to learning English composition. College Composition and Communication 40(4): 459-66.
Soter, R. 1988. Persuasive writing in two cultures. In Writing across languages and cultures: Issues in contrastive rhetoric, ed. A. Purvis. Newbury Park, Calif.: Sage.
Vygotsky, L. 1978. In Mind in society: The development of higher order psychological processes, trans., M. Cole, V. John-Steiner, S. Scribner, and E. Souberman. Cambridge: Harvard University Press.
Zamel, V. 1995. Strangers in academia: The experiences of faculty and ESL students across the curriculum. College Composition and Communication 46(4): 506-21.
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poopsicola



Joined: 18 Jan 2006
Posts: 111
Location: World travelling

PostPosted: Sat Nov 18, 2006 3:34 am    Post subject: Very good Reply with quote

I found Yu's last post very interesting. It demonstrated the thoughts of a person who cares about the quality of her work and it demonstrated too her commitment to "teaching" and to her students. Well done, Yu.

I thought the article that was appended to the post was one of the most useful things I've come across. It deserves the attention of everyone involved with teaching English in China. Thank you, Yu, for the article.
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Yu



Joined: 06 Mar 2003
Posts: 1219
Location: Shanghai

PostPosted: Sun Nov 19, 2006 2:22 am    Post subject: Reply with quote

Thanks....
I was expecting comments about how my post was filled with grammar and spelling mistakes and that I was not even qualified to teach writing...
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