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THE NATURE OF WRITTEN COMMUNICATION AND ENGLISH CORRESPONDENCE



CHAPTER I
INTRODUCTION
Communication is a key to any endeavor involving more than one person. Communicating through writing is essential in the modern world and is becoming ever more so as we participate in what is now commonly called the information age. In fact, written communication is the most common form of business communication. It is essential for small business owners and managers to develop effective written communication skills and to encourage the same in all employees. The information age has altered the ways in which we communicate and placed an increasing emphasis on written versus oral communications.
In the field of education, especially in Indonesia, English skill becomes significantly needed at school and educational department at any municipals. For example, according to many of International standardized school, English is playing important part as communication tool at class. The needs about English skill is not just about speaking, but also reading and writing. The needs to contact with foreigner becomes more frequently since we playing part in international relationship and competition. Sending letter, document, fax and email to school outside this country become something usual now. The internet helps us a lot in correspondent nowadays, and adds something new and valuable to be learned more by students or practices.


CHAPTER II
DISCUSSION
A.    THE NATURE OF WRITTEN COMMUNICATION AND ENGLISH CORRESPONDENCE
1.      Definition of Written Communication
Communication is a learned skill. However, while most people are born with the physical ability to talk, not all can communicate well unless they make special efforts to develop and refine this skill further. Very often, we take the ease with which we communicate with each other for granted, so much so that we sometimes forget how complex the communication process actually is.
Written communication is the development and expression of ideas in writing. Written communication involves learning to work in many genres and styles. It can involve working with many different writing technologies, and mixing texts, data, and images. Written communication abilities develop through iterative experiences across the curriculum.
Written communication is the sharing and exchanging of written symbols between individuals or groups. It is also the presentation of ideas in a coherent manner in written form. Written communication can take place via:
• Letters;
• Faxes;
• Email;
• Reports;
• Memos; and
• Advertisements.

2.       Why Written Communication?
Writing means that information can be stored and transferred from individual to individual and group to group without relying on memory. Through the written word, records can exist independently of the writer.
The written document helps you to keep abreast of development in whatever project you are involved in as it provides an avenue not only for the sharing of ideas or opinions, but also for the presenting and defending of viewpoints.
Written communication serve as a form of acknowledgement 􀄃 proof that something has been done in case verification is needed later. Sometimes, documenting work helps to clarify thoughts and thinking processes as it allows you to mull over things slowly, at your own pace.
The reason why it must be documented because Any idea, logic, argument or phraseology derived from an outside source must be documented. In academic writing, you must give credit for all borrowed materials, for example, quotations, references, information from primary and secondary sources, facts, data, statistics, opinions, ideas and interpretations which you have gathered from your reading and research.
Such material must be acknowledged and cited, irrespective of whether you have paraphrased, summarized or quoted directly. The only exception is what is loosely termed „general knowledge‰ or „common knowledge‰, which is information or ideas generally known and accepted by everyone, including the writer and the audience.

3.      The Writting Process
Successful written communication requires careful thought and planning. It should contain comprehensive information about a specific subject and yet be clear, correct and easy to read. A well-written piece of work requires you to pay attention to the following three stages in the writing process:

• Planning;
• Writing; and
• Editing.

(a)    Planning
To write a good report, you need to plan what you want to say. After you have decided on what you want to say, list down all the points and arrange them in a logical and suitable sequence. This approach will ensure the clarity of your message and help you to avoid omitting relevant details.
(b)   Writing
The writing stage requires careful planning. It includes a pre-writing stage where you gather all the information necessary to ensure that there is substance to your writing. Start writing in simple and plain English and move from something concrete to something more abstract and expressive.
In order to improve your writing skills, you need to practice writing in the target language every day until you are able to express yourself clearly and meet the needs of your reader. Once you start writing, the words, sentences, paragraphs and lay-outs become writing tools which you can use to convey your message concisely, courteously, and confidently.
Sebranek, Meyer and Kemper (1996) summed it up in a nutshell when they say that writing is like „...basketball and juggling, (it) is not a God-given mysterious talent given only to a chosen few but, rather, a skill that gets better with practice, practice that involves increased challenges and, therefore, risk.
Adopt a plain, straightforward style when writing as this makes your work easy to understand and reduces the chances of misunderstanding arising from ambiguity.
(c)    Editing
The third stage in the writing process is editing. It is crucial to check for grammatical errors and ensure that there is smooth language flow. The longer the report, the more editing is usually required. It can be useful to get someone else to read through the written piece for you.

4.      The Advantages and Disadvantages of Written Communication
One advantage to using written forms of communication is that written messages do not have to be delivered on the spur of the moment; instead, they can be edited and revised several times before they are sent so that the content can be shaped to maximum effect. Another advantage is that written communication provides a permanent record of the messages and can be saved for later study. Since they are permanent, written forms of communication also enable recipients to take more time in reviewing the message and providing appropriate feedback. For these reasons, written forms of communication are often considered more appropriate for complex business messages that include important facts and figures. Other benefits commonly associated with good writing skills include increased customer/client satisfaction; improved inter-organizational efficiency; and enhanced image in the community and industry.
There are also several potential pitfalls associated with written communication, however. For instance, unlike oral communication, wherein impressions and reactions are exchanged instantaneously, the sender of written communication does not generally receive immediate feedback to his or her message. This can be a source of frustration and uncertainty in business situations in which a swift response is desired. In addition, written messages often take more time to compose, both because of their information-packed nature and the difficulty that many individuals have in composing such correspondence. Many companies, however, have taken a proactive stance in addressing the latter issue. Mindful of the large number of workers who struggle with their writing abilities, some firms have begun to offer on-site writing courses or enrolled employees in business writing workshops offered by professional training organizations, colleges, and community education programs.

5.      Definition of English Correspondence
Correspondence is any written or digital communication exchange by two or more people/parties. Correspondence my come in the form of letters, emails, text messages, voicemails, notes, or postcards. Correspondences are important for most business because they serve as a paper trail of events from point A to point B. “ the law firm required all employees to archive their correspondences so  that they could be retrieved as a reference point for pending case.
According to Cambridge Dictionary is letters, especially official or business letters. It means that a business operations needs letter to cooperate with other company.

6.       The Importance of English Correspondence
Now-a-days business/operations are not restricted to any locality, state or  nation. Today production takes place in one area but consumption takes place everywhere. Since the businessmen as well as customers live in far off places they don’t have sufficient time to contact each other personally. Thus, there arises the need for writing letters. In the past the situation was not so. Business letters were not essential in olden days. But now the importance of letters has increased because of vast expansion of business, increase in demand as well as supply of goods.  Let us learn about the importance of business letters.
a.      Help in maintaining proper relationship
Now-a-days business activities are not confined to any one area or locality. The businessmen as well as customers are scattered throughout the country. Thus, there is a need to maintain proper relationship among them by using appropriate means of communication. Here business letters play an important role. The customers can write letters to the businessman seeking information about products and businessmen also supply various information to customers. This helps them to carry on business on national and international basis.
b.       Inexpensive and convenient mode
Though there are other modes of communication like telephone, telex, fax, etc. but business information can be provided and obtained economically and conveniently through letters.
c.        Create and maintain goodwill
Sometimes business letters are written to create and enhance goodwill.  Businessmen at times send letters to enquire about complaints and suggestions of their customers.  They also send letters to inform the customers about the availability of a new product, clearance sale etc.  All this results in cordial relations with the customers, which enhances the goodwill of the business.
d.      Serves as evidence
We cannot expect a trader to memorise all facts and figures in a conversation that normally takes place among businessmen.  Through letters, he can keep a record of all facts. Thus, letters can serve as evidence in case of dispute between two parties.
e.       Help in expansion of business
Business requires information regarding competing products, prevailing prices, promotion, market activities, etc.  If the trader has to run from place to place to get information, he will end up doing nothing.  It will simply result in loss of time. But through business letters, he can make all enquiries about the products and the markets. He can also receive orders from different countries and, thus enhance sales.

7.      Types of English Correspondence
 Correspondence consists of memos, letters, and electronic mail.
a.       Memos
Typically, you write memos to people within your place of work, and you write letters to people outside your place of work. One major difference between memos and letters is the title line found in memos. Because readers often decide whether to read the memo solely on the basis of this title line, the line is important. Another difference between letters and memos is that you sometimes write memos that serve as short reports.
b.      Letters
Formats for letters vary from company to company. For instance, some formats call for paragraph indents; others don't. Included in this section is a sample format for letters. Also included in this section is a sample thank-you letter written by someone after a job interview. In this letter, notice how the writer gets to the point in the first sentence of the first paragraph. Notice also the simple and straightforward salutation ("Sincerely"). As with a memo, people who are mentioned or directly affected by the letter should receive a copy.
c.       E-mail
Electronic mail is a less formal version of memos and letters. Electronic mail is relatively new and is changing in terms of sophistication in format and expectation by audience. The principal advantages of electronic mail over other types of correspondence are its speed and ease of use. For instance, in minutes, you can send out information to many recipients around the world. Included in this section is a sample e-mail format.


CHAPTER III
CONCLUTION
Written communication is the sharing and exchanging of written symbols between individuals or groups. It is also the presentation of ideas in a coherent manner in written form. Written communication can take place via:
• Letters;
• Faxes;
• Email;
• Reports;
• Memos; and
• Advertisements.

Correspondence is any written or digital communication exchange by two or more people/parties. Correspondence my come in the form of letters, emails, text messages, voicemails, notes, or postcards. Correspondences are important for most business because they serve as a paper trail of events from point A to point B. “ the law firm required all employees to archive their correspondences so  that they could be retrieved as a reference point for pending case. According to Cambridge Dictionary is letters, especially official or business letters. It means that a business operations needs letter to cooperate with other company.

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Creative Learning



There is a great deal of debate about such terms as creativity, creative learning and creative education as they often used in different contexts. Some people argue that creativity cannot be taught at all as it is a natural capacity which is not easily developed through education.  In 1999 The National Advisory Committee on Creative and Cultural Education published an outstanding piece of work entitled, “All our Futures: Creativity, Culture and Education” which sets out proposals to support the development of creativity in education in schools. Although its impact was limited at the time of publication, the key messages remain at the heart of the vibrant education outlined in Excellence and Enjoyment of the Secondary Strategy, an education where every young person is given the opportunity to make the most of their talents in order to enjoy education and achieve success.

The purpose of this website is to support schools in developing opportunities for creative learning through sharing good practice, providing information on working with artists who can enrich the curriculum and explaining approaches to curriculum design.

What is Creativity?

The Definition of Creativity:
“Imaginative activity fashioned so as to produce outcomes that are both original and of value,”
(NAACE)


Four Features of Creativity

Using Imagination
Imaginative activity in our terms is not the same as fantasising or imaging, although it may involve both. It is not simply producing mental representations of things that are not present or have not been experienced. Imaginative activity is the process of generating something original: providing an alternative to the expected, the conventional, or the routine. The activity involves processes of thinking or behaving. The behaviour may include activities where thought is embodied in the movement: such as in performance and other forms where there is not necessarily prefigurative thinking. Imaginative activity is a form of mental play – serious play directed towards some creative purpose. It is a mode of thought which is essentially generative: in which we attempt to expand the possibilities of a given situation; to look at it afresh or from a new perspective, envisaging alternatives to the routine or expected in any given task. Creative insights often occur when existing ideas are combined or reinterpreted in unexpected ways or when they are applied in areas they are not normally associated. Often this arises by making unusual connection, seeing analogies and relationships between ideas or objects that have not previously been related.

Pursuing Purposes
Creativity carries with it the idea of action and purpose. It is, in a sense, applied imagination. To speak of somebody being creative is to suggest that they are actively engaged in making or producing something in a deliberate way. This is not to say that creative insights or breakthroughs may not occur unexpectedly along the way, for example by intuition or non-directed thought, but they occur on the way to something: to meeting the overall objective, or to solving the central problem. This can be a highly dynamic process, whose eventual outcomes can be quite different than those anticipated at the outset. Sometimes the objective changes as new idea and possibilities come into view: sometimes, as with inventions and discoveries, new purposes are found when an initial product or idea has emerged.

Being Original
Creativity always involves originality. But there are different categories of originality.
  • Individual
A person’s work may be original in relation to their own previous work and output.
  • Relative
It may be original in relation to their peer group: to other young people of the same age, for example.
  • Historic
The work may be original in terms of anyone’s previous output in a particular field: that is, it may be uniquely original.

There can also be degrees of originality within these categories: of greater or less originality in relation to individual or group output. Originality in creative work will often be judged to of the first two categories. For reasons we come to, this can be of considerable importance in the general education of each individual. But in our view exceptional individual achievement – that is, of historic originality – is also more likely to emerge from a system of education which encourages the creative capacities of everyone.

Judging Value
We described imaginative activity as a generative mode of thought; creativity involves a second and reciprocal mode of thought: an evaluative mode. Originality at some levels is essential in all creative work, but it is never enough. Original ideas may be irrelevant to the purposes in hand. They may be bizarre, or faulty. The outcome of imaginative activity can only be called creative if it is of value in relation to the task at hand. ‘Value’ here is a judgement of some property or the outcome related to the purpose. There are many possible judgements according to the area of activity: effective, useful, enjoyable, satisfying, valid, tenable. The criteria of value may vary according to the field of activity in question.

Creative activity involves playing with ideas and trying out possibilities. In any creative process there are likely to be dead-ends: ideas and designs that do not work. There may be many failures and modifications and much refashioning of imaginative activity before the best outcomes, the best ‘fit’ is produced. A similar process may then take place in terms of the application of creative outcomes. Evaluating which ideas do work and which do not requires judgement and criticism. In this way creative thinking always involves some critical thinking. Understanding this is an important foundation for creative education. There is a distinction, and there may be differences, between the evaluations made by the creator and those made by others. We will come back to this later in discussing the links between creative and cultural development.

Critical evaluation involves a shift in the focus of attention and mode of thinking as we attend to what is working or what is not working. This can happen throughout the process of creativity and not only at the end. It can permeate the process of generating ideas: it can involve standing back in quiet reflection. It can be individual or shared, involve instant judgements or long-term testing. In most creative work there are many shifts between these two modes of thought and focus of attention. The quality of creative achievement is related to both. Helping young people to understand and manage this interaction between generative and evaluative thinking is a pivotal task of creative education.

Teaching Creatively and Teaching For Creativity

There is an obvious sense in which children cannot be ‘taught’ creativity in the way that they can be taught the times tables. Creative processes do draw from knowledge and practical skills. It is also the case that there are various techniques to facilitate creative thinking. But this does not mean that children are taught creatively by direct instruction. We define creative teaching in two ways: first, teaching creatively, and second, teaching for creativity. Many teachers see creative teaching in terms of the first. Our terms of reference imply a primary concern with the second. By teaching creatively we mean teachers using imaginative approaches to make learning more interesting, exciting and effective. Teachers can be highly creative in developing materials and approaches that fire children’s interests and motivate their learning. This is a necessary part of all good teaching.
By teaching for creativity we mean forms of teaching that are intended to develop young people’s own creative thinking or behaviour. Teaching for creativity involves teaching creatively. Young people’s creative abilities are more likely to be developed in an atmosphere in which the teacher’s creative abilities are properly engaged. To put it another way, teachers cannot develop the creative abilities of their pupils if their own creative abilities are suppressed. This too has implications for the curriculum – and in particular for the type and amount of national prescription of what is taught and how, and for teacher training. Teaching for creativity is a demanding process which cannot be made routine. However, it is possible to identify some general principles. There are three related tasks in teaching for creativity: encouraging, identifying and fostering.

Encouraging
Highly creative people in any field are often driven by strong self-belief in their abilities in that field. Having a positive self-image as a creative person can be fundamental to developing creative performance. Many young people and adults do not think of themselves as creative and lack the confidence to take even the first steps. Consequently, the first task in teaching for creativity is to encourage young people to believe in their creative potential, to engage their sense of possibility and to give them the confidence to try. These are the most simple steps but they can be the most important for stimulating creative achievement; these include high motivation and independence of judgement, willingness to take risks and be enterprising, to be persistent and be resilient in the face of adversity and failure. These attitudes can be encouraged and nourished to varying extents in all young people, particularly if they are linked with the development of self-directed learning.

Identifying
All young people have different creative capacities. A creative musician is not necessarily a creative scientist, a creative writer is not necessarily a creative mathematician. An essential task for education is to help young people to discover their own creative strengths. Creative achievement is often driven by a person’s love of a particular instrument, for the feel of the material, for the excitement of a style of work that catches the imagination. Identifying young people’s creative abilities include helping them to find their creative strengths – to be in their element. This too has implications for the range and balance of the curriculum.

Fostering
Creativity draws from many ordinary abilities and skills rather than one special gift or talent. Thus the development of many common capacities and sensitivities can help to foster creativity – for example, curiosity can be stimulated and awareness can be enhanced. Recognising and becoming knowledgeable about the creative process can also help foster creative development; teaching for creativity helps young people in understanding what is involved in being creative and becoming more sensitive in their own creative processes. Creative ability is best enhanced in the process of being creative. This ‘learning by doing’ can be further developed and enriched by working with personal models and mentors who are prepared to share their experience.

In teaching for creativity, teachers aim to:
  • allow for both broad and narrowly focused experimental activity, but always specifying and explaining the purpose of such activity. Those involved have to feel prepared ands secure enough to be willing to take risks and make mistakes in a non threatening atmosphere that challenges but reassures. Such work has to be carefully tuned to the appropriate level pf development;
  • encourage an appropriate attitude towards imaginative activity – a sense of excitement, respect, hope and wonder at the potential for transformative power that is involved, accompanied by a sense of delayed scepticism and distance;
  • assist in the understanding of the room that has to be given to generative thought, free from immediate criticism by the learner or others before ideas are subject to rigorous critical evaluation and further development;
  • encourage self expression that is oriented towards a given task;
  • convey an appreciation of the phases in creative activity and the importance of time – including the ways in which time away from a problem may facilitate its solution;
  • assist in developing an awareness of the differing contexts in which ideas may occur and of the roles in intuition, unconscious mental processes and non-directed thought in creative thinking;
  • encourage and stimulate learners in periods of free play with ideas and conjecture about possibilities, but compliment this with critical evaluation in testing out ideas;
  • emphasise the use of the imagination, originality, curiosity and questioning, the offer of choice, and the encouragement of the personal attributes that facilitate creativity.

Teaching for creativity aims at encouraging:
  • autonomy on both sides: a feeling of ownership and control over the ideas that are being offered (Woods 1995:3);
  • authenticity in initiatives and responses, deciding for oneself on the basis of one’s own judgement;
  • openness to new and unusual ideas, and to a variety of methods and approaches;
  • respect for each other and for the ideas that emerge;
  • fulfilment: from each a feeling of anticipation, satisfaction, involvement and enjoyment of the creative relationship.

Above all there has to be a relationship of trust. Teaching for creativity aims to encourage self-confidence, independence of mind, and the capacity to think for oneself. Such teaching is compatible with a wide range of teaching methods and approaches in all areas of the school curriculum. The aim is to enable young people to be more effective in handling future problems and objectives; to deepen and broaden awareness of the self as well as the world; and to encourage openness and reflexivity as creative learners.

Self-directed Learning
 Encouraging self-monitoring, reflection upon their own performance and progress, and thinking about their own thinking – metacognition – can enhance young people’s control over creative activity and the development of their best practice. In these ways the aim is to encourage the development of the self-directed learner. Teaching for creativity encourages a sense of responsibility for learning. It aims at a growing autonomy involving goal-setting and planning, and the capacity for self-monitoring self-assessment and self-management. In principle, the earlier self-directed learning is internalised, the better, but again this aspect of teaching for creativity must be sensitive to the appropriate stage of the learner’s development. It must be recognised that it will be in the secondary school where self-directed learning is more likely to move in tune with the development of young people’s growing maturity, the flow of their need for independence, and their growing proficiency in forms of information technology.

Creativity itself is a mode of learning. It is distinctive in the combination of three features:
  1. It involves a thoughtful playfulness – learning through experimental ‘play’. It is serious play conjuring up, exploring and developing possibilities and then critically evaluating and testing them.
  2. It involves a special flexibility in which there may be a conscious attempt to challenge the assumptions and preconceptions of the self – an unusual activity in which there is an active effort to unlearn in order to learn afresh.
  3. This process is driven by the find, introduce, construct or reconstruct something new. It seeks actively to expand the possibilities of any situation. In this sense the learning of creative thoughts is not neutral; it has a bias towards the innovative.

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