To Teach or Not to Teach the Five-Paragraph Essay?

While the field of composition might like to believe it has moved on from concern about the five-paragraph essay, the debate is far from over. The five-paragraph essay continues to be taught, and oppositionists continue to rail against it. As long as the five-paragraph essay continues as a common form of writing assessment on standardized exams and as a form commonly taught in schools, it is a form that will likely persist. Instead of calling for the retirement of the five-paragraph essay, practitioners and researchers need to rethink the potential of the five-paragraph essay as a foundational form and to reconsider approaches to teaching it. Some of the problems associated with the five-paragraph essay are likely due to pedagogical decisions, such as an exclusive focus on the five-paragraph essay and not advancing to other forms when students are ready rather the five-paragraph essay form itself. In this paper, I define the five-paragraph essay, outline some of the historical links to the five-paragraph essay, challenge common criticisms of it, and suggest that such essay might be a useful foundational form.

Transimperial Negotiations and Cultural Anxieties from the Sensation Novel to the Adventure Story

The sensation novels of the 1860s expressed the anxieties of the age, challenged realism, and sought to revive wonder. Within the transformations of modernity, these novels were read and exchanged across the British Empire. Sensation fiction mixed romance and realism and its sensational elements reflected modern tensions and concerns. Mary Elizabeth Braddon’s Lady Audley’s Secret probed the sources of violence, the cultural measures of sanity, and underscored the transgressions of an oppressed female figure in her search for freedom. Wilkie Collins’s Woman in White likewise challenged cultural certainties, as he observed the expanding popular reading audience. The rise of the adventure story within the imperial designs of colonization expressed a sense of mystery and an encounter with otherness that is interrogated here.

English-only Instruction in Tertiary-level L2 Writing: An Exploratory Study with Translingualism

Since CLT's propagation emphasises teaching English monolingually in an adamant manner, the tide has been set to follow that trend blindly. However, English-only instruction has been under debate recently, particularly in non-native teaching contexts. This paper questions the credibility of English-only instruction in teaching tertiary-level L2 writing in Bangladesh. Through small-scale action research with 36 students studying at a private university, the researchers discover that inconsistent dependency on English as the only medium of instruction has far-reaching effects on academic writing perception in a multilingual setting. The initial findings suggest that students from Bangla-medium background, who are taught following NCTB (National Curriculum and Textbook Board) syllabus, constitute the most considerable portion of the affected community. To address the issue, participants were trained following a translingual action plan. A comparative analysis between their former and subsequent performances projects that application of translingual practices has a constructive influence that can equip the learners with a deeper understanding of academic writing. It also proposes that other than trying to fit the learners into the scaffold of English-only instruction, the novice writers should be taught translingually.

Reversal of Stereotypes in Alice Walker's The Color Purple: God, Gender, Narrative and Sexuality

Unlike most African-American authors, who constantly mirror the repressive effects of racism, classicism and gender discrimination, Alice Walker (1944–) in her The Color Purple (1982) compulsively deals with sexism that was still pervasive within African American communities during the early twentieth century. She argues that just as black groups are relegated to an underclass due to the colour of their skin in a wider milieu of white society, in the same way the black women are reduced to a more inferior class due to their sex in their own community. For women’s self-emancipation from such an inhibitory patriarchy, the novel gives an overarching emphasis on the formation of language, execution of voice, review of sexual preference and redefinition of identity of her female characters, the protagonist Celie in particular. This paper examines how, by a fusion of the bildungsroman and epistolary conventions, the novelist melds a unique way for her women creating a God for their own and carving out a niche in social and economic concerns. It assesses the strategic reversal of gender stereotype as well as sexual orientation in order to establish the independence and equality of women on a par with men. The paper ends up with the claim that the novel is predicated upon the theoretical prism of womanism, previously premised by Walker herself, which puts extensive emphasis on a deeper, empathetic relationship and camaraderie of women.