writing in history / tarih yazımı

writing in history

https://yadi.sk/i/fqXH4wTB3JSYLQ 

"For artifacts

• When and where was the artifact made?

• Who might have used it, and what might it have been

used for?

• What does the artifact tell us about the people who made

and used it and the period in which it was made?

For art works (paintings, sculpture, and so on)

• Who is the artist, and how does the work compare to his

or her other works?

• When and why was the work made? Was it commissioned?

If so, by whom?

• Was the work part of a larger artistic or intellectual movement?

• Where was the work first displayed? How did contemporaries

respond to it? How do their responses compare to

the ways in which it is understood now?

For photographs

• Who is the photographer? Why did he or she take this

photograph?

• Where was the photograph first published or displayed?

Did that publication or venue have a particular mission

or point of view?

• Do any obvious details such as angle, contrast, or cropping

suggest bias?

For cartoons

• What is the message of the cartoon? How do words and

images combine to convey that message?

• In what kind of publication (for example, a newspaper or

a magazine) did it originally appear? Did that publication

have a particular agenda or mission?

• When did the cartoon appear? How might its historical

context be significant?

For maps

• What kind of map is this (for example, topographical,

political, or military)?

• Where and when was the map made? What was its

intended purpose?

• Does the map contain any extraneous text or images? If

so, what do they add to our understanding of the map

itself?"

Writing and ‘creating’

One possible objection to a course such as that outlined above is that it is severely functional. While it is true that most people learn foreign languages for functional reasons, it

may well be asked what role there is in EFL for a creative approach to writing.

It should be said at once that the kind of scheme outlined can be exciting, particularly when students genuinely feel that they are progressing successfully, and also that it can

include imaginative story writing, both guided and free. At the same time, in the early stages, there is a tendency to

emphasise accuracy at the expense of the fluency which can add genuine pleasure to the process of composition,

particularly for the able student, in a foreign language. In practice, it may be sensible at the early stages to divide the

aims, and to tell students that the purpose of the main writing course is to develop accuracy in the first instance, but

that the teacher will be delighted to look at—for example—a diary or anything else written solely for pleasure in English.

However, it is inadvisable to express willingness to ‘correct’ mistakes, otherwise the situation is back to that of

approaching a random mass of errors which cannot be systematically treated, and the whole purpose of the early

controlled composition work was to avoid that. At the same time the teacher should be willing to discuss the content of

freely written work with the students and to encourage them in every way, but they need to be made aware that they must

have an ability to do ‘normal’ writing in English before they can justify being experimental. The emphasis in this chapter

has been on controlling, defining and organising the writing course. It is clearly advantageous to the teacher to know

exactly what he is doing, but even more the organisation enables the student to see his own progress in terms of a scheme. This builds up his confidence, and with language teaching confidence can be enormously important.