Tag Archives: philosophy/religion

A Glossary of Terms from Martha Stone Wiske’s “Teaching for Understanding”

Last week, after reading a few pages each morning with my coffee before leaving for work, I finished Martha Stone Wiske’s (ed.) Teaching for Understanding: Linking Research to Practice (San Francisco: Jossey-Bass, 1997); yesterday I finished its companion, The Teaching for Understanding Guide by Tina Blythe (San Francisco: Jossey-Bass, 1997). From the latter, I cribbed this glossary of Teaching for Understanding terms if you’re inclined to use this planning and instructional framework.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Generative Topics in Teaching for Understanding

“Generative topics have several key features: They are central to one of more disciplines or domains. They are interesting to students. They are accessible to student (there are lots of resources available to help students pursue the topic). There are multiple connections between them and students’ experiences both in and out of school. And perhaps most important, they are interesting to the teacher.”

Excerpted from: Blythe, Tina, et al. The Teaching for Understanding Guide. San Francisco: Jossey-Bass, 1998.

Term of Art: Qualia

qualia n. pl. A philosophical term for sensory experiences that have distinctive subjective qualities but lack any meaning or external reference to the objects or events that cause them, such as the painfulness of pinpricks or the redness of red roses. The term is virtually synonymous with sense data. See also sense data, inverted qualia, phi movement, sensation, sensibaliaquale sing. 

[From Latin qualis of what kind]

Excerpted from: Colman, Andrew M., ed. Oxford Dictionary of Psychology. New York: Oxford University Press, 2003.

Examining Students’ Understanding

“The quality of students’ understanding rests on their ability to master and use bodies of knowledge that are valued by their culture. More specifically, it rests on their ability to make productive use of the concepts, theories, narratives, and procedures available in such disparate domains as biology, history, and the arts. Students should be able to understand the humanly constructed nature of this knowledge and to draw on it to solve problems, create products, make decisions, and in the end transform the world around them. Put differently, students should use knowledge to engage in a repertoire of performances valued by the societies in which they live.”

Excerpted from: Wiske, Martha Stone, ed. Teaching for Understanding: Linking Research and Practice. San Francisco: Jossey-Bass, 1998.

Generative Topics

“Determining the content of curriculum is a thorny problem. Whose favorite ideas are addressed, whose interests are served, whose passions are engaged, who makes curriculum decisions, and how do we ensure that all students are comparably prepared? The history of previous efforts to teach for understanding, as Vito Perrone describes in Chapter One, reveals reveals some recurring features of curriculum designed to foster understanding. One is that curriculum the taught in school relates to the concerns and experiences that occupy students in their regular lives. Perrone argues that in order to make these connections between schoolwork and students’ daily lives, teachers must be primary decision makers about curriculum. Teachers must select the substance and adjust the shape of curriculum to meet the needs of their particular students. Another basic criterion for curriculum designed to promote understanding is that it does not simply impart information. Rather the curriculum must involve students in continuing spirals of inquiry that draw them from one set of answers to deeper questions and that reveal connections between the topic at hand and other fundamental ideas, questions, and problems. Yet teachers must balance these needs for curriculum tailored to particular groups of students and for open-ended inquiry with a concern for some degree of standardization, equity, and legitimacy. How should teachers choose and design curriculum that meets these various requirements?

This question occupied the Teaching for Understanding project and its group of university-based researchers and teachers from middle and high schools who taught a range of subject matters–history, mathematics, science, and English.They readily acknowledged Dewey’s idea of organizing curriculum around themes as a fruitful starting place. But the question of which topics to select remained. A list of generative topics for different subject matters would be too cumbersome. Instead of stipulating particular topics, this collaborative group set itself the task of defining criteria to help teachers identify and evaluate generative curricular topics?”

Excerpted from: Wiske, Martha Stone, ed. Teaching for Understanding: Linking Research and Practice. San Francisco: Jossey-Bass, 1998.

Term of Art: Rites of Passage

rites of passage: The rituals associated with a change of status, for example from youth to adulthood, and from unmarried to married state. In his classic study by the same name, Arnold van Gennep distinguished rites of separation, rites of segregation, and rites of integration. Rituals associated with a change in status were identified as having these three stages. Between each there are clear symbolic demarcations.”

Excerpted from: Matthews, Gordon, ed. Oxford Dictionary of Sociology. New York: Oxford University Press, 1994.

Golden Section

Golden Section: (golden mean) A geometrical proportion known at least since Euclid and regarded as a universal law of the harmony of proportions in both art and nature. The common formula is: to divide a finite line so that the shorter part is to the longer part as the longer part is to the whole.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Daniel Willingham on Reading and Mental Overload

“Just how much unknown stuff can a text have in it before a reader will just declare mental overload! and call it quits? This quantity surely varies depending on the reader’s attitude toward reading and motivation to understand that particular text. Still, studies have measured readers’ tolerance of unfamiliar vocabulary, and have estimated that readers need to know about 98% of the words for comfortable comprehension. That may sound high, but bear in mind that the paragraph you’re now reading has about 75 unique words. So 98% familiarity means that this and every paragraph like it would have one or two words that are unfamiliar to you.”

Excerpted from: Willingham, Daniel T. The Reading Mind: A Cognitive Approach to Understanding How the Mind Reads. San Francisco: Jossey-Bass, 2017.

Commodification

commodification: A term derived from Marxist analyses of the social forces that guide the production and sale of products, or commodities. Since the Renaissance, artworks have been commodities paid for by religious or royal patrons. By the 20th century, art production had become entangled in a complex web composed of collectors, auction houses, galleries, and museums. In the tradition of Dada, 1960s artists feeling constrained by increasing commercialism sought to create unmarketable works, giving rise to conceptual, political, performance, and earth art. Recent artists concerned with issues of originality, authorship, and camp, are indirectly addressing issues of commodification and canon formation.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Term of Art: Annales School

Annales School: An influential school of French historians, formed around the journal Annales: economies, societes, civilisations, which was founded by Lucien Febvre and Marc Bloch at the University of Strasburg in 1929. The Annales School attempted to develop a ‘total history’ as a critique of existing historical methodology which offered only a chronology of events. They turned attention away from political history towards a macro-historical analysis of societies over long time-periods. The Annales School, which included Maurice Halbwachs, Andre Siegfried, Fernand Braudel, Emmanuel Le Roy Ladurie, and Georges Duby, had the following characteristics: it was interdisciplinary; it was concerned to study very long historical periods (la longue duree) and social structure; some members of the School employed quantitative methods; they examined the interaction between geographical environment, material culture, and society.

The work of the original members is represented, for example, by Block who attempted a total analysis of medieval society in his Feudal Society (1961). In the post-war period two works in particular have been very influential in the social science, namely Braudel’s study of the Mediterranean (The Mediterranean and the Mediterranean World in the Age of Philip II, 1949) and Le Roy Ladurie’s analysis of fourteenth-century village life (Montaillou, 1975). The School has influenced historical sociology, especially the world-system theory of Immanuel Wallerstein (see, for example, his two-volume study of The Modern-World System, 1974 and 1980) Critics have argued that the Annales School neglected political processes. Nor is it clear how the Annales approach was fundamentally different in scope and interdisciplinarity from, for example, historical materialism, the historical sociology of Max Weber in his The Agrarian Sociology of Ancient Civilisations (1924), or the figurational sociology of Norbert Elias in The Court Society (1969)–although it tends to be less abstract then all of these.”

Excerpted from: Matthews, Gordon, ed. Oxford Dictionary of Sociology. New York: Oxford University Press, 1994.