1) How does the religious dimension of your MFA affect the program? Here's what we write in our brochure: "Our program seeks to extend the tradition of Christian writing in which the highest standards of art, an open-eyed exploration of human experience, and a respect for transcendent mystery come together." We take all three of these elements seriously: aesthetic excellence, unblinkered passion to understand the truth of human life, and an openness to faith in God. This means that our program will be as rigorous as any in the nation--our interest in religion will in no way induce us to take any intellectual or literary "short cuts." But part of our program will involve reflection on writing as a spiritual practice as well as the particular issues that writers of faith must struggle with. All MFA students will take an introductory course on "Art and Faith" in their first residency to raise a series of profound spiritual and aesthetic questions. Optional lectures and worship services will also be available to students at the residencies.
Student Reflection on Writing Consultation
This section of the lesson is all about giving students time to reflect on their writing, and . Today's exercise is the first in a series of writing lessons students experience in my classroom. I like to begin by having students set personal goals. Research suggests setting goals, no matter how realistic those goals may be, supports improvement.
Reflection on writing tutorials
After scoring the sample responses, I ask students to complete the independent work section of the Reflection on Writing worksheet.
his timeless reflection on writing and death
1) It integrates theory and practice. Identify important aspects of your reflections and write these using the appropriate theories and academic context to explain and interpret your reflections. Use your experiences to evaluate the theories - can the theories be adapted or modified to be more helpful for your situation? is a forward-looking book that does not skirt such difficult issues as the place of grammar and correctness in a process-based classroom, or the teaching of conventional genres of school writing, such as expository essays and research papers. Moreover, it forges important connections between Expressivist pedagogies and more community-oriented, social-action approaches. In fact, the book opens with several classroom vignettes that suggest its overall scope: encompassing personal narrative, expressivist, and social action approaches, as well as reflection on writing process. The opening chapter also offers a number of sensible tenets about instruction summarized as "assumptions about writing and the teaching of composition, consonant with holistic approaches to literacy development . . . they encourage an immersion in reading and writing; they courage the fragmentation of the writing process into a skills approach; and they recognize the interplay between reading and writing" (8). These core philosophies underlie the book as a whole.