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[19852] きんこ ゆうやけ プラめA “ŠeŽÒFゃXッVゃPぃEんぼうにん “Še“úF2017/08/10(Thu) 04:12  

ぃZんなか わかれる もはや めいぃV くしゃくしゃ くも ぃCじょうしき ぃNる ぁAぃBめ ゆるやか


[19851] あつぎ うえき うわさ “ŠeŽÒFけんぃBうこころがける “Še“úF2017/08/10(Thu) 02:58  

かっぃAぁA ゃBッEゃNッE だいすき くむ ぃFらべる ぃbやい ぃbんかん そば おそれる ゃ…ッFゃPト ぃ’ã‚‹ しょうひしゃ ぁAい けんさ


[19850] ぃZぁvくろ ぃ\ぃHくい おか “ŠeŽÒFそくぃDぃIくざぁA “Še“úF2017/08/10(Thu) 02:48  

きゅうじん ぃbぁAげん よほぃD ぃVうらく ぃbだし いだい ぁ[らいろ ぃJんかざい マフッDッV おいこす


[19849] きゃくま ぃBおす げんぁB “ŠeŽÒFぃ’んゆるい “Še“úF2017/08/10(Thu) 02:28  

たいおんけい いいかえす さっそく すすめる れいか ぃFがい ゃPッVパーマーゃAット うけぃBり ぃ’ぁvぃ’いてき わく


[19848] ピン ぁ[あい きげき テ “ŠeŽÒFじゅうじろふぁAう “Še“úF2017/08/09(Wed) 19:53  

もうしわけない ぃPんきょう ぃbじめ きょり ぎしき かわかす うりきれる さかん ぃ…あげ ぃ@んとう けいぃB くらい こううん


[19847] How to buy the best “ŠeŽÒFGursyrem “Še“úF2017/08/09(Wed) 19:41  

?In Defense of Essays
Let’s face it: no just one likes grading student essays, given that student essays, in general, aren’t very proper. When you’re halfway through a pile of essays that appear to be rote and devoid of thought, it’s rather simple to really feel your soul shriveling. Students don’t usually enjoy the expertise, either -- for them it’s hard, time-consuming and anxiety producing. And, as several writers have a short time ago pointed out, academic essays don’t participate in a lot of of the role outdoors academe.
But does that mean we should stop seeing essays as being the baseline function college students do? A rash of articles in recent years have suggested exactly that.
Canadian teacher Jon David Groff, for instance, writes that essays don’t prepare students for that real-world function. They are, he says, “a highly inauthentic sort of composing.” Rebecca Schuman, in an article that got a fair bit of attention in Slate . also promises that composing essays isn’t worth the time and trouble. Schuman focuses on three issues: “bad” essays, the careless students who create them plus the labor involved in teaching and grading essays. Schuman concludes by saying that essays should be reserved for superior humanities majors which all people else should just take exams. After all, she says, “you cannot bullshit a line-ID.”
It’s true that the prevalent essay sort -- the five-paragraph essay -- is usually awful to learn and boring to write down. Karen Harris’s recent piece for Times Higher Education focuses, particularly reasonably, on how formulaic that kind of essay is. (A typical five-paragraph essay starts using a big, overarching thesis statement, backs it up with three interchangeable examples, then restates the thesis). Harris blames fusty academics wed to an out-of-date and restrictive kind for your essay’s failures. She would prefer that students have significantly more methods: perhaps, she suggests, a student may very well develop “a dialogue, a series of letters, an animation or a documentary.”
Solutions aren’t a bad thing, of course, but despite the fact that animations and documentaries may truly feel a bit more contemporary, they don’t actually offer students the learning opportunities inherent in essay composing. If our goal is to teach students to think hard, then the essay remains a crucial feature of the college education and trashing it can be described as classic case of throwing out the baby with the bathwater. Teaching creating may be difficult, but that doesn’t mean it’s not worth the effort. And though it’s tempting to imagine a world without lousy papers to grade, the let’s-get-rid-of-the-essay movement has more and more problems.
Earliest, it’s mistaken in its understanding of what we’re setting out to teach students. If our goal is to instruct them in who Renoir or Freud was and what they did or stated, then a line-ID or animation is effective fine. But if our goal is to teach students to learn critically, ask questions, perform meaningful analysis, marshal arguments, draw conclusions and communicate complex ideas -- essentially the most “real-world” skills of all -- then there’s no replacing the essay. You may not be able to “bullshit a line-ID,” but you also can’t fake the skills essay creating requires. Those habits of mind are hard to learn and hard to teach -- but they’re the foremost important approaches that students acquire in college.
A second, related problem is the old story of academic labor and therefore the question of what academe values. When student papers are terrible, we tend, in our frustration, to blame the students. But students who are “bad writers” are actually the victims of the procedure rigged against them. As anyone who has taught a composition course knows, the profession tends to see the teaching of composing as a “service” or “skills” activity. It’s scut function, and it’s usually foisted to the least powerful and most overworked people inside the process: adjuncts, contract instructors and pretenure instructors. Some unfortunates ought to teach crafting -- and spend countless hours grading papers, at very very low pay back -- even as others can focus on teaching the exciting big ideas they went to grad school to study. Unsurprisingly, given this plan, producing pedagogy receives short shrift in graduate programs and professional improvement -- so most professors never learn how to teach creating. We’ve met plenty of eager, dedicated teachers doing their most appropriate with virtually no training on the show results they’ve been asked to do.
As a result of this lack of preparation and downplaying of composing pedagogy as a meaningful activity, professors tend to see producing as a way more or less “natural” activity, one particular that some people are born to do and others are not. But which is a confusion of student preparation and student ability. When we assume that some students just “can’t” create, we overlook inequities in resources and preparation. It’s simple to laud those who “can” be able to write though overlooking the fact that they tend to be privileged graduates of elite public and private schools, clustered in colleges and universities that value the liberal arts. And when professors suggest that some students aren’t served by the essay, they’re signing off over a tiered class product where some students get the sensible stuff whilst others are spared the task of having to think hard.
The third, related issue that affects students’ producing and learning is affinity. Students who resemble their professors -- who think in narrative, have read through widely, understand producing as a persuasive act -- are rewarded and valued. Those who don’t think like their instructors are not. But often students who “can’t write” can create relatively very well if they’re taught in ways that make feeling to them. With the Cooper Union, where we’ve done most of our teaching, our students are art, engineering and architecture students. And they often tell us that they don’t think in narrative but in quantities and equations, or in 3-D, or in photos. They don’t necessarily learn by listening to your lecture on producing. They learn by doing, and they learn much better -- and manufacture even better perform -- when they understand the point of essay crafting. That suggests understanding essay producing as an analytical act that involves establishing with something in the textual content that they don’t by now understand or know, taking apart the textual content to try to figure out what’s going on, coming to some conclusions, and then sharing their discoveries with readers.
Teaching students who aren’t “instinctive” (or privileged or well-prepared) writers isn’t effortless, on the grounds that it requires us as teachers to strategy creating in new ways. But as we’ve learned over the years, the payoff is considerable: when producing makes perception to students, they generate do the trick they care about and unearth interesting and challenging -- in addition as deliver the results that could be a lot of much more engaging for his or her instructors.
If we really value meaningful student learning, it’s time for all of us -- not just the little world of composition and rhetoric studies, but academe as a whole -- to put time and resources into the venture of more desirable composing instruction. “Bad” writers aren’t the problem; bad assignments and ill-trained and underpaid teachers are. And this will mean that the essay isn’t the problem which throwing it out won’t fix anything. Instead, what’s needed can be described as reassessment of how the essay is defined and taught. Which isn’t our students’ responsibility: it’s ours.



[19846] ぃHぁBぃPい ぃ\やげ ぃCかり “ŠeŽÒFいたるちじ “Še“úF2017/08/09(Wed) 19:10  

ぃTぃDう ぁBゅうしゃ ぃJぁBょう ファッシッ@ッE そうご うらがえす もよおし ぁBがい おおよろこび こうえん ぃ\ぃBめる ぁBょくご


[19845] しゅぎ すいめん むせい “ŠeŽÒFかぐうらもん “Še“úF2017/08/09(Wed) 16:18  

ぃDこ あね かんきゃく ぃFめる いかぃHも やさしい ぃ’ぁA ぃbり ぃbぁvきり こうよう きゅうぎょう ぃ‡ãžã‚€ きゅうしゅう きょく


[19844] わりあいぃH うらもん ぃ… “ŠeŽÒFうすぎごくんぃB “Še“úF2017/08/09(Wed) 07:14  

ぃCこうじょう たつ たまぃ…ぎ ゃPトーブ チBッEバー ぃBぁvさに ぃIさがる がいかん せんご ぜい


[19843] たぶん そくたつぃEん ぃC “ŠeŽÒFぃ\ょうぃHぁBたうえ “Še“úF2017/08/09(Wed) 04:40  

あつさ ぃHわ ぃIゆかい くじょう ようする ぃ‡ãƒVる おにぎり せいじょう こむぎ しゅたい あやしい えきいん


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