scholarly journals On Reading and Writing: an Interview with Larissa Lai

Author(s):  
Larissa Lai ◽  
Sonia Villegas-López

Cultural activist, author and Creative Writing Professor Larissa Lai is interviewed by Spanish critic Sonia Villegas López.

2019 ◽  
Vol 1 (1) ◽  
pp. 40-51
Author(s):  
István Berszán ◽  
Philip Gross

Abstract In their article “Hand-Written Road Maps to Multi-Dimensional Space” István Berszán and Philip Gross investigate the heightened alertness of literary reading and writing in an interview with Gross, the prize-winning British poet and professor of creative writing. After the presentation of the interviewee Berszán ask him questions concerning the kinetic spaces of his literary practices. The itinerary follows issues like place, temporality of occurrences, attention, system and ecology, metaphor, time projection, gesture-resonance and collaboration. Gross seems to be as good a creative playmate during the discussion as he was for children, students, artists or readers who met him in a „collaborative space between”: his answers turn the questions both into hunter and quarry.


Author(s):  
Vandana Saxena

This chapter proposes a deeper integration of the writing practices like creative writing and storytelling in a class of literature in order to develop a new pedagogical model that empowers the students of literature to not only read and interpret but also to express and engage with the text in a nuanced manner. It does so in the context of the current trends of interactive reading and writing fostered by the digital technology where productive engagements with the texts through fanfictions, visual adaptations, and so on are a part reading a text. Following the paradigm of fanfiction, the project “The Crucible on Twitter” implemented in the classrooms of English Literature in a Malaysian University revealed the ways in which digitally mediated writing activities enable the learners to engage with a text on its own turf, promoting cross-cultural understanding and empowering the learner-readers to integrate their own meanings, concerns, and issues into their reading of an original literary text.


Author(s):  
Manal Mohammed Ben- Ahmeida ◽  
farhan Ali

This paper is conducted to shed the light on English language problems Libyan undergraduate students face in short story through creative interpretation in reading and writing. Creative writing is a wide range of literature and it deals not only with language but also with the wide imagination of writers. However, it is well known that if language problems increase, then even the imagination cannot help because writing techniques and creativity go on the same path. It has always been a great help for the writers to organize and deliver their writing in a suitable form. Most Libyan students cannot, they have many problems in composing, therefore; when they are asked to conduct a creative writing task, they find it enormously difficult and challenging. Those who have the ability to produce are the talented and skillful ones. In this paper, the aim is to encourage and motivate Libyan students to be effected to creative reading and writing as well as grow their skills and talents. Furthermore, this paper will deal with language problems in reading and writing that are mostly common in all levels of learners, and it will focus mostly on the scope of short story. In addition, the purpose of this paper is to provide ideas, suggestions, and solutions according to the problems that are encountered throughout this study. Reading this paper, will help Libyan EFL teachers realize that creative writing is a talent or a skill that has to be practiced; therefore, we will provide ideas to help teachers avoid favoring students who have the talents and skills in reading and writing over others by treating them equally, helping them grow their ability in being creative. There are some important elements that will be discussed throughout this study and the most elements of all is for Libyan EFL teachers and students to understand that there is a significant relationship between what the learner writes and what he/she reads which is called creative reading. In this paper we will present how the reading skill is also neglected by Libyan students. Students do not read for interest unless they are forced to do so for different reasons. Reading skill is not practiced by Libyan students even in their first language. Unfortunately, Libya is a culture that does not encourage, support, facilitate and provide for reading. Therefore, in this paper, the aim is also to help Libyan students learn that reading someone's piece of work is an essential step for developing the skill of creative writing and that provides the history or background about the expected text, even an imagination for an inspired story. Furthermore, providing this paper is to help Libyan students believe that the more the learner reads, the more he/she writes and creates. We would like students to believe that inspiration and imagination are the path for a readable and meaningful story which leads the writer to creativity. And, we believe that if EFL teachers find a way to provide creativity, students will gain the knowledge needed to write and read creatively.


Author(s):  
Kevin M Maher

Reading and writing stories (literature) can be an effective way to engage students’ L2. Pedagogically, teachers are looking for ways to increase L2 input, and amplify L2 output. Because of the communicative nature of acquiring language, teachers are equally looking for collaboration among students to increase the usage of their L2 language. This paper proposes studying literature through Reading Circles and creating plot-focused short stories within a Writing Circles structure. It will theoretically establish the value of literature circles and creative writing circles in the EFL context, and share how language teachers can implement them.


Author(s):  
Anke Bohm ◽  
Hanna Magedera-Hofhansl

Using a contemporary short story by the award-winning German writer Roman Ehrlich as a case study, in this paper we will offer ideas for engaging students at CEFR (Common European Framework of Reference for languages) B1+ and B2 level in German in reading as well as encouraging them in creative writing tasks through formative assessment and coursework. More specifically, we will argue that literature in the classroom is a means of practising reading comprehension. This opens up opportunities for students to create their own literary texts, with receptive skills becoming productive skills. Introducing two projects we carried out with students in their first and second years at the University of Liverpool as examples, we will discuss process and practice. We will show how reading and writing projects can be linked to aspects of authentic assessment and its forms. We are then going to explore the possibilities for further embedding literary assessments in coursework, highlighting their benefits and challenges, including the process of publishing them on a student-led WordPress site.


1976 ◽  
Vol 41 (4) ◽  
pp. 523-529 ◽  
Author(s):  
Daniel R. Boone ◽  
Harold M. Friedman

Reading and writing performance was observed in 30 adult aphasic patients to determine whether there was a significant difference when stimuli and manual responses were varied in the written form: cursive versus manuscript. Patients were asked to read aloud 10 words written cursively and 10 words written in manuscript form. They were then asked to write on dictation 10 word responses using cursive writing and 10 words using manuscript writing. Number of words correctly read, number of words correctly written, and number of letters correctly written in the proper sequence were tallied for both cursive and manuscript writing tasks for each patient. Results indicated no significant difference in correct response between cursive and manuscript writing style for these aphasic patients as a group; however, it was noted that individual patients varied widely in their success using one writing form over the other. It appeared that since neither writing form showed better facilitation of performance, the writing style used should be determined according to the individual patient’s own preference and best performance.


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