Difference between revisions 140269 and 140270 on kmwiki

==សេចក្តី​សង្ខេប​==

ដំណើរការ​នៃ​ការ​សរសេរ​អត្ថបទ​ (Writing process)ចាប់​តាំង​ពី​ទសវត្សរ៍ ឆ្នាំ ១៩៧០ មក អ្នក​ស្រាវជ្រាវ​បាន​ព្យាយាម​ស្វែងយល់​អំពី​អ្វី​មួយ ដែល​សព្វថ្ងៃ​នេះយើង​ស្គាល់​ថា​ជា ដំណើរ​ការ​នៃ​ការ​សរសេរ​អត្ថបទ (writing process) ។  គំនិត​គន្លឹះ​មួយ​ (key concept) នៅ​ក្នុង​ការ​បង្រៀន​វិធី​តែង​សេចក្តី (writing) និង ក្នុង​ការ​ស្រាវជ្រាវ​អំពី​ការនិពន្ធ (composition studies) គឺ អ្នក​ជំនាញ​​ខាង​ដំណើរការ​និពន្ធ (process scholars) បាន​​ដើរ​តួ​សំខាន់​បំផុត​ក្នុង​ការ​ជួយ​ផ្លាស់​ប្តូរ​ចំណាប់​អារម្មណ៍​របស់​គ្រូ​(contracted; show full)more accurately conceptualized as overlapping parts of a complex whole or parts of a recursive process that are repeated multiple times throughout the writing process. Thus writers routinely discover that, for instance, editorial changes trigger brainstorming and a change of purpose; that drafting is temporarily interrupted to correct a misspelling; or that the boundary between prewriting and drafting is less than obvious.

==វិធី​បង្រៀន​និពន្ធ​​ ដោយ​ផ្តោត​លើ​ដំណើរ​ការ​ នៃ​ការ​សរសេរ​អត្ថបទ==
=== ទ្រឹស្តី ​
នៃ​ដំណើរ​ការ​យល់ដឹង​ អំពី​ការសរសេរអត្ថបទ (Flower-Hayes Model) ===
==== ទិដ្ឋភាព​ទូទៅ​ របស់Flower-Hayes Model នៃ​ការ​និពន្ធ===
====​គម្រូ​នៃ​ការ​យល់ដឹង ====
Flower and Hayes extend Bitzer's rhetorical situation to become a series of rhetorical problems, i.e., when a writer must represent the situation as a problem to be solved, such as the invocation of a particular audience to an oversimplified approach such as finding a theme and completing the writing in two pages by Monday's class. (472)

In "The Cognition of Discovery" Flower and Hayes set out to discover the differences between good and bad writers. They came to three results from their study, which suggests that good writers envelop the three following characteristics when solving their rhetorical problems:

# Good writers respond to all of the rhetorical problems
# Good writers build their problem representation by creating a particularly rich network of goals for affecting a reader; and
# Good writers represent the problem not only in more breadth, but in depth. (476)

Flower and Hayes suggest that composition instructors need to consider showing students how "to explore and define their own problems, even within the constraints of an assignment" (477). They believe that "Writers discover what they want to do by insistently, energetically exploring the entire problem before them and building for themselves a unique image of the problem they want to solve."

==== មិតិរិះគន់​ចំពោះ​គម្រូ​នៃ​ការយល់ដឹង ====
[[Patricia Bizzell]] argues that even though educators may have an understanding of "how" the writing process occurs, educators shouldn't assume that this knowledge can answer the question "about 'why' the writer makes certain choices in certain situations", since writing is always situated within a discourse community (484). She discusses how the Flower and Hayes model relies on what is called the process of "translating ideas into visible language" (486).(contracted; show full)* [http://www.creativenonfiction.org/thejournal/articles/issue38/stunt_writing_guide.html CNF's Armchair Guide to Stunt Writing]
* [http://uastudent.com/teaching-writing/ Teaching Writing – Methodology of FLT]

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