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Writing on ig

writing on ig

“For the first time, I agreed last year to cotranslate a book from a language I don’t speak at all…. It was an opportunity for new kinds of thinking but also new kinds of failure,” writes poet, novelist, and translator Idra Novey in her essay “Writing While Translating.” Many contemporary writers have expanded the art of translation by experimenting with form and content: Mary Jo Bang filled her translation of Dante’s Inferno (Graywolf Press, 2012) with pop culture references; David Cameron used spell-check and word-association methods for Flowers of Bad (Unbelievable Alligator/Ugly Duckling Presse, 2007), his “false translation” of Baudelaire’s Les Fleurs du Mal; and Paul Legault’s The Emily Dickinson Reader (McSweeney’s Books, 2012) is a translation of Emily Dickinson’s poetry into one-line renderings, from English into a different version of English. Try your hand at translating a short series of poems from one language to another. Use your knowledge of another language, slang, dictionaries, or any unlikely source to explore the elasticity of language while considering how new kinds of failure might inspire a refreshing direction for your writing.

Wikipedia - Big Writing

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The method is currently used by numerous schools, primarily in the UK but also overseas. The target audience for Big writing are Key Stage 1 and Key Stage 2 students (i.e. those aged 5 to 11), although a slightly adjusted method is also taught that focuses on Foundation stage pupils and is known as 'Big Talk'. Andrell Education claims that Big Writing has proven to be successful in a number of schools,[1] both with teachers and pupils, and points to case studies as evidence of this.[2][3][4][5][6]

Description[edit]

The first part of the Big Writing course to be developed was the Criterion Scale, an assessment tool linked to National Curriculum levels. From October 1999, Wilson spent three years working with the Kirklees LEA re-assessing work other teachers had already graded. During this time she read through and marked around 20,000 pieces of writing and observed that some teachers struggled to properly assess work, and had too high of an opinion of their pupils' writing.

[7][8] Using this, Wilson believes teachers can more accurately assess a student's work, and provide better targeted teaching and more helpful feedback. [9]

In order to address the weaknesses in children's writing that she noted as being common across schools, Wilson identified four features that she believes are key to improving writing in the primary age range: vocabulary, connectives, openers and punctuation, or V.C.O.P.[10][11][12][13] Stealing and borrowing are also encouraged when pupils see elements of V.C.O.P. in peers' work that they like.[3][14] Together with the Criterion Scale, V.C.O.P. became a core part of the Big Writing approach, which Wilson and Andrell Education have promoted through books and professional development courses.

Big Writing also emphasises talk for writing, and that pupils need to be taught to speak Standard English in order to help them make fewer spelling and grammar mistakes in their writing.

Strategies for Immediate Impact on Writing Standards, High Crags Primary School, Case Study. Andrell Education Ltd. pp. 53–76. ISBN 0-9547019-0-9. 
  • ^ Wilson, Ros (2003). Strategies for Immediate Impact on Writing Standards, Usher Street Primary School, Case Study. Andrell Education Ltd. pp. 79–95. ISBN 0-9547019-0-9. 
  • ^ "Writing Levels from 'Kent ICT'". Archived from the original on 2011-10-27. 
  • ^ "Writing Levels at Cumbria Grid for Learning". Archived from the original on 2012-03-06. 
  • ^ Wilson, Ros (2003). Strategies for Immediate Impact on Writing Standards, Usher Street Primary School, Case Study.
  • C.O.P. Pyramids at TES". 
  • ^ "V.C.O.P. on teachingexpertise.com". 
  • ^ "V.C.O.P. at Staveley CE Primary School". 
  • ^ Wilson, Ros (2003). Strategies for Immediate Impact on Writing Standards, Usher Street Primary School, Case Study. Andrell Education Ltd. ISBN 0-9547019-0-9. 
  • ^ "Big Writing at Chadvale School". Archived from the original on 2010-05-04.
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    ” Many contemporary writers have expanded the art of translation by experimenting with form and content: Mary Jo Bang filled her translation of Dante’s Inferno (Graywolf Press, 2012) with pop culture references; David Cameron used spell-check and word-association methods for Flowers of Bad (Unbelievable Alligator/Ugly Duckling Presse, 2007), his “false translation” of Baudelaire’s Les Fleurs du Mal; and Paul Legault’s The Emily Dickinson Reader (McSweeney’s Books, 2012) is a translation of Emily Dickinson’s poetry into one-line renderings, from English into a different version of English. Try your hand at translating a short series of poems from one language to another. Use your knowledge of another language, slang, dictionaries, or any unlikely source to explore the elasticity of language while considering how new kinds of failure might inspire a refreshing direction for your writing.

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