Critical Reading for Self-Critical Writing

This study aims at exploring students’ critical reading strategies and explaining how their critical reading encounters critical writing. It is due to students were lack of confidence in their ability to challenge the arguments and evidence put forward by respected academics author. The qualitative design was established by Gay and Airasian (2012) by delivering open and closed ended questions through Google forms and analyzing corpus based on students’ proposal text. Then, it had been analyzed by using cyclical steps; reading, describing, clarifying and interpreting. Based on the data, firstly, it has been revealed that students’ critical reading strategies mostly established are making connections, contextualizing and making applications and identifying problems and creating annotations. Students were rarely to challenge author’s assumptions, translate ideas into visuals and evaluate arguments. Secondly, their reading activity also reflected their critical reading, in other words, students state their purpose of writing, define key terms, and manage references on their work. Based on this, it can be figured out that students’ critical writing were relied on superficial argument development and format-based writing which performed a shallow writing.

Silence, Satire and Empathy: Reading Appupen’s Topoi in His Wordless Graphic Narratives

The projection of the incongruities of contemporary times through the frame of satire is a powerful instrument in the genre of comics and graphic narratives and in Indian graphic literature as well. Mendiburo-Seguel and Heintz (2020) explain eight Comic Style Markers (CSM) in Latin-American cultures, and satire, a “darker style”, is one of them. The paper aims to conceptualise how Appupen’s wordless graphic narratives Moonward: Stories from Halahala (2009), Legends of Halahala (2013), Aspyrus: A Dream of Halahala (2014) and The Snake and the Lotus: A Halahala Adventure (2018) register black satire against society, politics, religion, industrialization, consumerism, advertisement and so on and how they prove to play the role of “corrective humour” (Ruch and Heintz, 2016). This paper attempts to explore how the “author-artist’s” (Aldama, 2010) fantastical and dystopic graphic narratives, excoriate social and political issues to create a unique aesthetic of thoughtful critical writing in graphic mode, thereby collectively contributing to the interdisciplinary studies of fantasy and dystopia and helping to proliferate the genre of Indian Comics and graphic narratives as well. Moreover, as “satire had a moral goodness that was lacking in sarcasm and cynicism” (Ruch, Heintz, Platt, Wagner, and Proyer, 2018), this essay argues what kind of empathic feeling, perspective sharing and cognitive overlap Appupen cultivates in these four narratives and develops their moral, aesthetic and humane tenacity. The article discusses Appupen’s satire as a vehicle by which he prudently moulds empathy with the reader to convey the intrinsic values of the texts.

The Dramatic Arc in the Development of Argumentation Skills of Upper Secondary School Students in Geography Education

Geography education can facilitate learners’ critical thinking and argumentation skills to make well-reasoned decisions on social and environmental issues. This study reports on a geography course consisting of 18 lessons, each of them 75 min, designed to afford intensive practice in argumentation to upper secondary school students (n = 21) and following the dramatic arc. The study produces examples of different developmental pathways of upper secondary school students’ argumentation during the geography course. In this qualitative case study, the data were collected from learning diaries and analyzed using content analysis following ARRA-analysis (Analysis of Reasoning, Rhetorics and Argumentation), which is based on Toulmin’s argumentation model. The results indicated that most of the students developed justified arguments and composed clear claims and relevant rhetorical modes such as qualifications, rhetorical questions and rebuttals. Justification categories that were mainly used were backings, grounds and warrants. However, some students had difficulties in recognizing the main claim and arguments. The students developed their argumentation skills following the dramatic arc. They possessed the prerequisites for argumentative reasoning and writing but needed further practice in analytical and critical writing.

Calling the Taniwha: Mana Wahine Maori and the Poetry of Roma Potiki

<p>This thesis aims to explore the implications of reading the poetry of Roma Potiki with some of the critical writing about Mana Wahine Maori. At the intersections between the creative and the critical writings, I produce a grouping of literature that I name 'Mana Wahine Maori poetry in English'. Specifically, I contend that combining the kaupapa of Mana Wahine Maori scholarship with the poetry of Roma Potiki, and other Maori women poets, results in new readings of all the texts involved that are rich in complexities and multiplicities. In Chapter One I explain the choice of Roma Potiki's poetry as poutokomanawa for this thesis and briefly introduce some of the issues surrounding genre, canon-making and naming for Mana Wahine Maori poetry in English. Chapter Two illustrates the whakapapa of Mana Wahine Maori critical writings and explores the implications of the 'Mana' in Mana Wahine Maori poetry in English. Chapter Three considers the 'Wahine Maori' of Mana Wahine Maori poetry in English, both by examination of 'Wahine' in its New Zealand context, and by reference to a selection of Black American, Native American and First Nations, Australian Aboriginal and feminist literary critical writings. Chapter Four supports the pluralist nature of Mana Wahine Maori poetry in English by specific reference to Iwi/Hapu/Whanau contexts, urban wahine Maori contexts and wahine takatapui contexts. Finally, Chapter Five examines whether Mana Wahine Maori poetry in English is still a productive grouping when reading the works of not only other wahine Maori poets, but other wahine Maori writers generally, and I use the writings of Keri Hulme to investigate this. Therefore, I argue that naming this diverse collection of writing 'Mana Wahine Maori poetry in English' enables new kinds of readings that admit and debate the multiplicities inherent in all of these works.</p>

Calling the Taniwha: Mana Wahine Maori and the Poetry of Roma Potiki

<p>This thesis aims to explore the implications of reading the poetry of Roma Potiki with some of the critical writing about Mana Wahine Maori. At the intersections between the creative and the critical writings, I produce a grouping of literature that I name 'Mana Wahine Maori poetry in English'. Specifically, I contend that combining the kaupapa of Mana Wahine Maori scholarship with the poetry of Roma Potiki, and other Maori women poets, results in new readings of all the texts involved that are rich in complexities and multiplicities. In Chapter One I explain the choice of Roma Potiki's poetry as poutokomanawa for this thesis and briefly introduce some of the issues surrounding genre, canon-making and naming for Mana Wahine Maori poetry in English. Chapter Two illustrates the whakapapa of Mana Wahine Maori critical writings and explores the implications of the 'Mana' in Mana Wahine Maori poetry in English. Chapter Three considers the 'Wahine Maori' of Mana Wahine Maori poetry in English, both by examination of 'Wahine' in its New Zealand context, and by reference to a selection of Black American, Native American and First Nations, Australian Aboriginal and feminist literary critical writings. Chapter Four supports the pluralist nature of Mana Wahine Maori poetry in English by specific reference to Iwi/Hapu/Whanau contexts, urban wahine Maori contexts and wahine takatapui contexts. Finally, Chapter Five examines whether Mana Wahine Maori poetry in English is still a productive grouping when reading the works of not only other wahine Maori poets, but other wahine Maori writers generally, and I use the writings of Keri Hulme to investigate this. Therefore, I argue that naming this diverse collection of writing 'Mana Wahine Maori poetry in English' enables new kinds of readings that admit and debate the multiplicities inherent in all of these works.</p>

Fourth Grade Primary School Students’ Critical Writing Skill Levels

In this study, it was aimed to determine the critical writing skill levels of fourth grade Primary School students. This study is a quantitative research and was designed in a scanning pattern. The study group of the research consists of 175 students attending in the fourth grade of three different Primary Schools, which were determined by the purposive sampling method, by taking into account their gender and socioeconomic status. The research data were obtained as a result of the evaluation of the critical writings written by the students in the study group with using the critical writing rubric. The obtained data were presented as descriptive statistics (frequency, min. and max. values, arithmetic mean, standard deviation) with the help of statistical program, and analyzed with independent samples t-test and one-way analysis of variance (ANOVA). As a result of the research, it was determined that the students’ scores on critical writing skills were generally at a low level. In general, students are insufficient in the dimensions of planning, presenting evidence and persuading, questioning, and multidimensional thinking of critical writing; fluency and clarity and shape/form dimensions were found to be sufficient. In addition, it was determined that student achievements differed significantly according to socioeconomic level (in favor of high socioeconomic level) and gender (in favor of female students).

Seeing through Someone Else's “I”

The author interrogates creative-critical writing assignments from an introductory literature course (ENG 125: Literary Narrative) for concerns about “truth,” arguing that writing and reflection, especially when informed by a theoretical vocabulary, alter the way students construct and understand both their own stories and the stories of others.

Reading Literary Theory between the Lines of Creative Writing: The Dialectics of Theory and Practice in the Creative Writing Pedagogy

Literary theory and critical writing have been traditionally perceived as being in tension, either silently ignoring or polemically rejecting each other. In this paper we argue that literary theory and creative writing are interconnected on various levels. By acknowledging this fact, theory may be profitably deployed in the creative writing class, in order to enhance creative writers’ sense of literary mechanisms, conventions, and purposes in specific sociocultural contexts. In this way, theory informs students not only in relation to the poetics, but also to the pragmatics of the literary phenomenon. Theory askes creative writers to contemplate on how they themselves are socially, ideologically and culturally positioned as writers (and as readers) of literature, and how their activity is enmeshed in a broader process of personal and communal identity formation through language and literary representation.