Writing In A Second Language Example

Writing In A Second Language Example Writing In A Second Language â€" Coursework Example > ASSIGNMENT 2The Hayes Flower (1980) model of the composition process has been extremely influential in the area of first language writing. Evaluate the main features of this model and say how far it can be applied to second language writers. The Hayes Flower (1980) model has been very influential as a basic theory of recursive cognitive process of composition. As a traditional recursive problem-solving model in which both process and product issues are incorporated, it has been found to be very useful and robust in the area of first language writing. The main features are (1) Planning, (2) Translating, and (3) Reviewing functions. Functions are monitored constantly throughout the writing process. The task environment of the model consists of variables such as writing task and the generated text. The relationship between the variables and long-term memory of writer is reciprocal. The theory is based on four points: “1.The process of writing is best understood as a set of distin ctive thinking processes which writers orchestrate or organize during the act of composing2. These processes have a hierarchical, highly embedded organization in which any given process can be embedded within any other3. The act of composing itself is a goal-directed thinking process, guided by the writer’s own growing network of goals. 4. Writers create their own goals in two key ways: by generating both high-level goals and supporting sub-goals which embody the writer’s developing sense of purpose, and then, at times, by changing major goals or even establishing entirely new ones based what has been learned in the act of writing. ”PlanningThe word `Planning’ is used in a broad sense. It is an abstract state of writer’s mind in which an internal representation of the knowledge is formed and it would be used in writing. The representation could be a key word, an image or a perceptual code. Thus planning is the art of building this internal representation and involves many sub-processes( sub-planning,  generating and revising) which are used repeatedly at different levels  and at different. These processes generate ideas drawn from information in memory. The information may be at different levels of fragmentation, maturity and connectedness. The sub-process of organizing helps the writer to derive sense from information, discover and develop concepts creatively by grouping the ideas. At a technical level, the writer decides about presentation and ordering of the text. Another major aspect of planning is goal-setting which could be procedural and substantive. Goal-setting is a crucial part of being creative. The very act of defining rhetorical problem and setting goals is crucial to creativity. It is not exclusive to pre-writing stage but an ongoing continuous process of composing. Often one idea naturally leads to another but not in a planned sequence. The model’s notion of `planning’ as an abstract internal representation of knowledge is gen erally relevant for first language writers. TranslatingThe process of expressing ideas in language is called translating. During translation, the writer `clothes’ or gives `flesh’ i. e a shape to the ideas generated during the process of planning. He may use language to represent thoughts that were not structurally organized, in a linear fashion and convey the intended meaning. During the translation process, the writer’s language skills and flexibility in using them come into play. Naturally it may vary across age-groups, strategic command over knowledge/subject. Clearly while the process of planning is more natural to any language writers, it is the process of translating that presents a variety of constraints for second language writers. This is mainly because besides the extent of command over the second language, the writer has to negotiate the social construction and environment involved in the cognitive process. Theoretically the second language writers are clearly at a disadvantage compared to first language writers because they do not have the felicity of equal command over complexities that are socially and linguistically specific to situations. Hence to a certain extent, the second language writers face constraints over creativity during translation.