Creative writing as an important tool in second language acquisition and practice
Creative writing as an important tool in second language acquisition and practice
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创意写作作为第二语言习得和练习的重要工具
DOI：
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发表时间：
2013
期刊：
影响因子：
--
通讯作者：
Cameron Smith
中科院分区：
文献类型：
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作者：
Cameron Smith
在1887年的《第一本书》（Unua Libro）中，L.L.柴门霍夫（L.L. Zamenhof）用他的新语言世界语（除了一些圣经译本和一封信）列举了三首诗作为文本的例子，其中两首是原创的。在发展语言的过程中，他翻译了文学作品（诗歌和散文），以确定他的新创作的完整性，在晚年，他花了很多时间翻译其他文学作品。！柴门霍夫以外的作者写的第一本世界语书是一本诗集；在柴门霍夫介绍他的创作后的20多年里，人们用这种新语言出版了原创小说、歌曲和戏剧。他的作品，无论是原创的还是翻译的，大部分都是文学作品。！这个案例很有趣，因为这些作品的制作者显然是天生的语言学习者。！世界语学者唐纳德·哈洛（Donald Harlow, 1995）问道：“为什么世界语学者把这么多时间、金钱和精力投入到文学这种本质上没有生产力的消遣中，而不是更有效地投入到世界语的传播中？”他的回答是“产生文学是语言的本性”。！在外语教育中，当涉及到文本时，存在一个悖论。在任何语言中，最有价值的文本都是创造性的作品。“文本”的大众消费由它们主导：#lms、书籍（包括漫画）和歌曲。当我们给学生提供广泛的阅读时，我们会推荐大量的分级读物。然而，当英语教师要求学生完成书面作业时，他们通常要求学生写出条理清晰的事实和明确的观点：描述、散文、报告。！我们很少要求有表现力或创造性的输出，如果有的话。！教授或鼓励外语学生用目标语言写故事、歌曲和诗歌的教材少之又少。！对于这种情况，我们通常的辩护是：学生不需要知道如何写歌、写诗或写故事。另一方面，以一种条理清晰、易于理解的方式表达和支持自己观点的能力是一项重要的专业和学术技能。！明确的暗示是（强制性）课程时间应该投入到与原型“现实世界”工作或学习相关的使用直接相关的活动中。然而，这个位置是否准确地反映了创造性写作对一门语言的潜在有用性
In the 1887 Unua Libro (“First Book”), L.L. Zamenhof o"ered as examples of texts in his new language of Esperanto (in addition to some biblical translations and a letter) three poems, two of which were original. In developing the language, he had translated works of literature (poetry and prose) to ascertain the completeness of his new creation, and in later life he devoted much time to translating other works of literature. !e #rst book in Esperanto by an author other than Zamenhof was a poetry anthology; within just over 20 years of Zamenhof introducing his creation, people had published original novels, songs and plays in this new language. Output, whether original or in translation, was largely literary. !is case is interesting because the producers of these works were quite clearly intrinsically motivated language learners. !e noted Esperantist Donald Harlow (1995) asked “Why do Esperantists dedicate so much time, money and e"ort to such an essentially non-productive pastime as literature when they could be more e"ectively devoting it to the promulgation of Esperanto?” His answer was that “It is the nature of languages to produce literatures”. !ere is, in foreign language education, a paradox when it comes to texts. Among the most valued texts in any language are creative works. Mass consumption of “texts” is dominated by them: #lms, books (including manga), and songs. When we give students extensive reading, we recommend graded readers that are overwhelmingly #ction. Yet when EFL teachers ask students to produce written work, they usually ask for well-organised facts and explicit opinions: descriptions, essays, reports. !ey very rarely ask for expressive or creative output, if ever. !ere are vanishingly few textbooks available for teaching or encouraging foreign language students to write stories, songs and poems in their target language. !e usual defence of this situation is instrumental: students don’t need to know how to write songs, poems or stories. On the other hand, the ability to express and support one’s ideas in a well-organised and comprehensible manner is an important professional and academic skill. !e clear implication is that (compulsory) curriculum time should be devoted to activities directly relevant to archetypal “real-world” workor study-related usage. However, does this position accurately re$ect the potential usefulness of creative writing for a language Creative writing as an important tool in second
性格是由语言调节的吗？
影响因子：
1.5
作者：
Veltkamp;Jacobs;Conrad
通讯作者：
Conrad