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ABC asked in 藝術與人文詩詞與文學 · 1 decade ago

請問英文幫我下這個總結

I will actually finish the essay." Although the experienced writers describe their revision process as a series of different levels or cycles, it is

inaccurate to assume that they have only one objective for each cycle and that each cycle can be defined by a different objective. The same objectives and sub-processes are present in each cycle, but in different proportions. Even though these experienced writers place the predominant weight upon finding the form of their argument during the first cycle, other concerns exist as well. Conversely, during the later cycles, when the experienced writers' primary attention is focused upon stylistic concerns, they are still attuned, although in a reduced way, to the form of the argument. Since writers are limited in what they can attend to during each cycle (understandings are temporal), revision strategies help balance competing demands on attention. Thus, writers can concentrate on more than one objective at a time by developing strategies to sort out and organize their different concerns in successive cycles of revision. It is a sense of writing as discovery-a repeated process of beginning over again, starting out new-that the students failed to have. I have used the notion of dissonance because such dissonance, the incongruities between intention and execution, governs both writing and meaning. Students do not see the incongruities. They need to rely on their own internalized sense of good writing and to see their writing with their "own" eyes. Seeing in revision-seeing beyond hearing-is at the root of the word revision and the process itself; current dicta on revising blind our students to what is actually involved in revision. In fact, they blind them to what constitutes good writing altogether. Good writing disturbs: it creates dissonance. Students need to seek the dissonance of discovery, utilizing in their writing, as the experienced writers do, the very difference between writing and speech-the possibility of revision

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I need summary not translate...........

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  • 1 decade ago
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    我實際上將完成essay." 雖然老練的作家描述他們的修正過程作為一系列的不同的水平或週期,它是不精確假设,他們只有每個週期的一個宗旨,并且每個週期可以由一個不同的宗旨定義。 同樣宗旨和子流程是存在每個週期,但是用不同的比例。 即使這些體驗了在一级循环期間,作家安置主要重量在發現他們的論據的形式,其他關心存在。 相反地,在最新週期期間,當老練的writers' 主要关注被聚焦在文體的關心,他們仍然被調和,雖然用一個減少的方式,對論據的形式。 因为作家在什麼他們可以照顾在每個週期期間(理解被限制是世俗的),在注意的修正戰略幫助平衡竞争需要。 因此,作家比一个能每次集中更多客觀通过开发戰略整理和組織他們在修正的連續週期的不同的關心。 它是文字感覺作為發現再開始的重複的過程,开始新學生无法有。 因為這樣不和諧、在意圖之間的不調和和施行,治理文字和意思,我使用了不和諧的概念。 學生不看不調和。 他們需要獨自地依靠好文字向內的感覺和看他們的與他們的"的文字; own" 眼睛。 看見在修正看見以遠聽力是在詞修正和過程的根; 在校正窗帘的當前宣言我們的什麼的學生在修正實際上介入。 实际上,他們矇蔽他們對什麼一共構成好文字。 好文字干擾: 它創造不和諧。 學生需要尋找發現不和諧,運用在他們的文字,老練的作家,文字之间的區別和修正的講話這可能性

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  • 1 decade ago

    我實際上將完成雜文 雖然老練的作家描述他們的修正過程作為一系列的不同的水平或週期,它是不精確假設,他們只有每個週期的一個宗旨,並且每個週期可以由一個不同的宗旨定義。 同樣宗旨和子流程是存在每個週期,但是用不同的比例。 即使這些體驗了在一級循環期間,作家安置主要重量在發現他們的論據的形式,其他關心存在。 相反地,在最新週期期間,當老練的作家 主要關注被聚焦在文體的關心,他們仍然被調和,雖然用一個減少的方式,對論據的形式。 因為作家在什麼他們可以照顧在每個週期期間(理解被限制是世俗的),在注意的修正戰略幫助平衡競爭需要。 因此,作家比一個能每次集中更多客觀通過開發戰略整理和組織他們在修正的連續週期的不同的關心。 它是文字感覺作為發現再開始的重複的過程,開始新學生無法有。 因為這樣不和諧、在意圖之間的不調和和施行,治理文字和意思,我使用了不和諧的概念。 學生不看不調和。 他們需要獨自地依靠好文字向內的感覺和看他們的與他們的文字; 擁有 眼睛。 看見在修正看見以遠聽力是在詞修正和過程的根; 在校正窗廉的當前宣言我們的什麼的學生在修正實際上介入。 實際上,他們矇蔽他們對什麼一共構成好文字。 好文字干擾: 它創造不和諧。 學生需要尋找發現不和諧,運用在他們的文字,老練的作家,文字之間的區別和修正的講話這可能性

    (大致上是這樣)

    Source(s): 奇摩翻譯= =
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