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Title of Study: Essay writing and Decoding Strategies
Team Members:
Mathew Lim (Team Leader)
Ruth Fung
Norzian Mohamed Yunos
Ali Sharif
Muhamed Khairul
Claudine Fernandez
Mary Choo
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INITIAL REFLECTIONS
A common problem found in student examination essays for Humanities and
the Arts subjects, such as Theatre Studies, History, Literature and Art, is that
students are unable to achieve the rhetorical goals set out by the examination
questions. Often, there is a disjuncture between the questions‟/ examiners‟
expectations and the students‟ responses. Notably, although conscientious
students might produce syntactically fluent responses and demonstrate
substantial mastery of content knowledge, their essays reveal their
insensitivity towards tasks expectations. In some other cases, students might
have a tacit appreciation of the question but produce inarticulate or facile
responses to the essay questions. Ultimately, these students will not be
awarded high marks for the essays they attempted.
In order to help students meet the expectations of the essay questions and
demands of examiners, there must be an approach that aid students in
developing a global level cognitive and genre acumen in analysing and
addressing examination essay questions
PLANNING
After rounds of deliberations and discussion, we devised a set of decoding
strategies to help students analyse essay questions in the hope that they
could produce relevant and focused responses to essay questions.
Literature Review
In a seminal work on the cognitive process of writing, Flowers and Hayes (1981)
stress the need to consider a framework of writing that captures “the inner process of
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the person producing it” (Flower & Hayes, p.367). From their analysis of the „inner
process‟ of mature writers, they have found that these writers are always influenced
by the complex interplay of three elements of writing: the task environment, the
writer’s existing knowledge of the subject-matter or topic, and the writing processes.
The interplay of the three elements is shown in diagram 1:
Flowers and Hayes further add that the most important part of writing is the task
environment, which, in itself, is a rhetorical problem, comprising a prescribed topic,
the implicit writer-audience‟s relationship and the exigency of the writing task.
While Flowers and Hayes present a generic view of the writing process, examination
writing tasks tend to present different challenges to student writers. Firstly, the
rhetorical problem is defined by the examination question and the exigencies are the
examiner‟s expectations of the students‟ written responses. Concomitantly, the
audience is the examiners themselves. Secondly, for most Humanities and Arts GCE
„A‟ Level examination sittings, students are normally expected to complete an essay
within a time limit (e.g. forty-five minutes). Therefore, given the time constraint
under examination condition, students normally start off with quick planning before
translating the plan into actual written work, with limited time for monitoring and
almost no time for reviewing. Thirdly, students have to tap into their long-term
memories, which include their understandings of the subject, their content knowledge
or any other earlier written work or plans, harnessing them to meet the demands of the
rhetorical problem. In sum, even under an examination setting, there are, in Flowers‟
and Hayes‟ own words, essentially three forces “struggl[ing] for influence” (p.380), as
represented by the diagram 2 :
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Diagram 2: The cognitive process of writing under examination condition. Modified from the diagram
by Flowers and Hayes. (p. 37)
From the above analysis, we may also conclude that mature student writers who do
well for in a written examination is able to deal successfully with these three forces of
writing. One essential reason for this success is that mature writers are able to
interpret and define the rhetorical problem of an examination question, and in turn
derive clear rhetorical goals that meet the examiners‟/audiences‟ expectations
(Flowers and Hayes, p.369, 377; Chandrasegaran, 2000, p.25; Chandrasegaran et. al,
2007, p.4). Conversely, we are also find that weak students, even if they are well-
versed in their content knowledge, are unable to cope with these three forces,
resulting in a misfit between the students‟ responses and the rhetorical problems at
hand (Chandrasegaran, 2000, p.25).
The genre approach to writing is based on the assumption that examination essays are
communicative events that seek to meet „genre‟ expectations of the examiners. By
„genre‟, we mean that there is a tendency for a written text or essay to lean towards
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certain stable linguistic patterning or stable rhetorical structure and style that is
expected by particular discourse communities. Quality marks will inadvertently be
achieved if students are able to produce essays that meet genre expectations, since
examiners themselves are often part of these discourse communities.
While mature writers, such as teachers—who are „socialised‟ into the conventions,
norms and practices of particular discourse communities (e.g. academic writings on
History, Literature and Theatre Studies etc.) through their continuous exposure to the
various subjects (Chandrasegaran et al., p.5)—area easily able to producing written
work that meet genre expectations, students preparing for „A‟ Level examinations
may not have sufficient exposure to reenact conventional genre practices. It may be
further added that examination rhetorical questions themselves are laden with prompt
or instructional words that constitute genres in themselves (Horowitz, 1989). Again,
while teachers who possess sound genre acumen have no problem providing
satisfactory responses to these rhetorical questions, the same could not be said of
students who lack genre „conditioning‟.
1. Modelling
2. Joint Negotiation of Meaning
3. Independent Construction
The first stage has already been frequently practiced by Humanities and Arts teachers
wherein they provide additional notes, supplements and model essays, in the hope that
students would be exposed to characteristics of the genre in question. The third stage,
Independent Construction, assumes that students have acquired the relevant genre
acumen and able to produce decent essays with little support or scaffold from
teachers. As most students are still at early stage of learning the genre, this
necessitates the teacher‟s intervention at the second stage, or the „Joint Negotiation of
Meaning’, in which the teacher provide support and scaffold to help students meet the
genre expectation.
In this regard, the recommended „Decoding Strategies‟ primarily obey the principles
of the second stage, the Joint Negotiation of Meaning. The decoding process requires
the teacher to first analyse the „prompt‟ or „key‟ words found in the examination
question. Then, by relating to the relevant content material delimited by the „key‟ or
„prompt‟ words, the teacher will in turn scaffold possible linguistics and rhetorical
responses that students could use to demonstrate genre sensitivity. The teacher might
also tap on student‟s register or schematic knowledge of the topic, “act[ing] as a
scribe for the class group and shap[ing] the students‟ contributions into… text[ual
responses] which approximate to the genre under focus.” (LERN, 1990, p.11—cited
in Hyon, 1996, p.704) (See Annex A: Guidelines on the „Decoding Strategies‟ for
more elaboration).
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Measurement of Outcomes
We had planned to introduce the decoding strategies to both JC1 and JC2
students doing the Humanities and Arts subjects. To ensure that the
outcomes of our interventions are specific and measurable for the first cycle of
action, we formulated a marking scheme to assess the qualities of students‟
introductory paragraph from a sample of 6 to 10 students per subject at the
pre and post-intervention stages.
Marking Scheme
Not achieved Partially achieved Achieved
Testing Rubrics (1 mark) (2 marks) (3 marks)
ACTION
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OBSERVATION
Test Indicators
The results of the pre- and post-intervention stages using the marking scheme
are shown below:
Value-
Mean marks (Pre- Mean marks (Post- added
Subjects and Level Intervention Test) Intervention Test marks
JC2 International History 5.1 6.75 1.65
JC2 South-East Asian
History 4.9 6.1 1.2
JC2 Literature 4.1 6.8 2.7
JC1 Literature 5.2 5.9 0.7
JC2 Art 4.2 6.2 2
JC2 Theatre Studies 3.5 7.1 3.6
Some students nevertheless did not do as well for Testing Rubric C as they
lacked insufficient genre-content exposure or familiarity to demonstrate genre
sensitivity. For JC1 Literature, the result of the post-intervention was not as
significant because students misinterpreted the content of an unseen text on
which the students‟ essays were based.
Still, teachers pointed out that while students generally wrote better essay
introductions, the actual marks of their entire essays did not show a
corresponding improvement. Perhaps more time could be spent on helping
students develop body paragraphs using the decoding strategies
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Students‟ responses
1
Mean Responses Index (MRI)
From the survey, it is shown that overall students had positive opinions of the
decoding strategies that were introduced by their teachers. Students mostly
believed that the decoding strategies were well explained and easy to follow
and that, in the words of one student, they were better able to “organise their
thoughts.”
Teachers‟ responses
Teachers who introduced the decoding strategies in their classes also found
the strategies to have positive impacts on the students‟ writing as it provided a
systematic framework and scaffolded support for students to analyse
questions and plan their essays.
1
Mean Responses Index is calculated by averaging the scores of the perceptional responses
to the survey question, using the following scores distribution: Strongly Agree, 4 points;
Agree, 3 points; Disagree, 2 points; Strongly Disagree, 1 point.
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CRITICAL REFLECTION
By approaching our studies from the cognitive process and genre approaches
to writing, we were able to establish a set of decoding strategies as a common
basis of our studies in the teaching of essay writing, demonstrating the
possibility of collaborative research across different subjects and disciplines.
Basing our observations on the test results and students‟ and teachers‟
responses, we were convinced of the merits of teaching the decoding
strategies in lessons to improve their qualities of students‟ essays, and that
teaching of the decoding strategies should be continued in future classes.
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To deal with this challenge and looking forward, teachers might want to
design scaffolded worksheets, utilise ICT tools or develop other creative
methods to sharpen students' metacognitive acumens as complements to the
teaching of the decoding strategies. Some possible examples are shown in
Annex B.
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For this strategy, the teacher demonstrates, though explicit teaching and
thinking aloud, how a question could be decoded using the whiteboard or
powerpoint.
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Decode „prompt words‟ to explicitly spell out the rhetorical goal(s) of the
question. This could be done by translating the „prompt words‟ into various
statements or phrases to ensure that the lexico-grammatical structures that
the students use interface with the question.
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Prime example
turns
Appear
See glimpses of
Explore Draw (audience‟s)
attention to
Characters are…as..
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Sample Introduction
It is tempting to see Othello as a play
where the battle between good and evil
are played along gender lines, and we
see “man as devil” and “woman as angel”.
After consideration, I do agree that the
comment largely provides useful
framework to understand the play.
Unfortunately, it also oversimplifies the
play by omitting significant nuances, as
will be explained as the essay continues.
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Example 3: The Web 2.0 online tool Webspiration provides a platform for students to practise
applying the decoding strategies visually and collaboratively. Note that Webspiration also
allows students to instantaneously transform their mindmaps into an actual essay outline.
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References
James, J. E., Chua, F. D., & Lim, P. L. P. (2007). A pedagogy for shaping
Student thinking and genre practice. In Applying a Socio-cognitive Model
to the Teaching of Expository Writing Available from:
http://conference.nie.edu.sg/2007/paper/html/LANSY004.html
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