Tag Archives: professional development

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.

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.

Term of Art: Indo-Aryan

Indo-Aryan: Branch, within Indo-European, of Indo-Iranian: first attested by texts in Vedic (Sanskrit) dating from the 2nd millenium BC, and by transcriptions from the first. Also called ‘Indic.’

The modern Indo-Aryan languages are indigenous to most of the north and centre of the Indian subcontinent, with outliers in Sri Lanka (Ceylon) and the Maldives. Hindi-Urdu and Bengali are by far the largest; of the remainder, Marathi, in the south of the main area, Gujarati in the south-west, Sindhi to the west, Punjabi in the north-west, Assamese in the east, Oriya in the south-east, and Sinhalese in Sri Lanka all have a current literary standard and are linked to major political units. Others, such as Bhojpuri or Maithili, also have speakers in the tens of millions.

Across the main area, separate languages have arisen largely by divisions within a geographical continuum. Hence internal branches are not definitively established.”

Excerpted from: Marshall, P.H., ed. The Oxford Concise Dictionary of Linguistics. New York: Oxford University Press, 2014.

Term of Art: Indo-European

Indo-European: Family of languages including, at historically its major limit, most of those spoken in Europe and, at its eastern limit, the major languages of all but the southern part of the Indian subcontinent. Usually divided into eleven main branches: in the order in which they are first attested, Anatolian (now extinct), Greek, Indo-Iranian, Italic (represented by the modern Romance languages), Celtic, Germanic (which includes English), Armenian, Tocharian (extinct), Slavic (Slavonic), Baltic (represented by Latvian and Lithuanian), and Albanian. Groupings larger than these are problematic to varying degrees: the safest hypothesis is that of a common Balt-Slavonic.

The comparative method has its origin in the intensive study of Indo-European, especially in the German-speaking universities, from the early 19th century. The size and complexity of the family, in comparison with many others that can be established with the same certainty, reflects in part the early date at which the forms in several branches can be compared.”

Excerpted from: Marshall, P.H., ed. The Oxford Concise Dictionary of Linguistics. New York: Oxford University Press, 2014.

Term of Art: Exposition

Exposition: Exposition, or expository writing, is traditionally understood as writing that aims to transmit information to presumably interested parties as distinguished from writing that aims to persuade the reader. As there will be elements of persuasive writing in expository, so also will there be elements of the expository in persuasive.

In the following discussion, however, the perspective is that of rhetorical analysis, which regards all written communication (including the note on the refrigerator door) as guided by a communicative/persuasive purpose. Exposition is, then, that type of prose writing that attempts to create, in its target audience, the attitude that the writer is objectively presenting the facts relative to a given subject. Exposition thus is not a division of prose discourse according to intent, but rather represents a tone that the writer wishes the reader to accept as ‘factual.’ The writer of exposition cultivates a tone designed to allow (encourage) the reader to think that the writer has no specific interest in, or position in regard to, the subject matter presented.

Excerpted from: Trail, George Y. Rhetorical Terms and Concepts: A Contemporary Glossary. New York: Harcourt Brace, 2000.

Term of Art: Anticlimax

Anticlimax: According to Dr. Johnson’s definition (and he appears to have been the first to record the word) it is “a sentence in which the last part expresses something lower than the first.” In fact, a bathetic declension from a noble tone to one less exalted. The effect can be comic and is often intended to be so. A good example occurs in Fielding’s burlesque (q.v.), Tom Thumb:

King [Aruther, to his queen Dolallola]

…Whence flow those tears fast down thy blubber’d cheeks,

Like swoln Gutter, gushing through the streets?

The effect can also be unintentionally comic. There is a well-known example in Crashaw’s Saint Mary Magdelene, or the Weeper:

And now where e’er He Strays,

Among the Galilean Mountains,

Or more unwelcome ways,

He’s followed by two faithful fountains;

Two walking baths, two weeping motions;

Portable & compendious oceans.”

Excerpted from: Cuddon, J.A. The Penguin Dictionary of Literary Terms and Literary Theory. New York: Penguin, 1992.

Kieran Egan on Narrative as Compelling Pedagogy

“A model for teaching that draws on the power of the story, then, will ensure that we set up a conflict or sense of dramatic tension at the beginning of our lessons and unit. Thus, we create some expectation that we will satisfy at the end. It is this rhythm of expectation and satisfaction that will give us a principle for precisely selecting content…. We need, then, to be more conscious of the importance of beginning with a conflict or problem whose resolution at the end can set such a rhythm in motion.”

Kieran Egan

Teaching as Story-Telling: An Alternative Approach to Teaching and Curriculum in the Elementary School

Excerpted from: Wiggins, Grant, and Jay McTighe. Understanding by Design. Alexandria, VA: ASCD, 1998.

Term of Art: Apposition

Apposition: Two consecutive, juxtaposed nouns or noun phrases are in apposition when they refer to the same person or thing, and when either can be omitted without seriously changing the meaning or the grammar of a sentence. Mrs. Thatcher and the British Prime Minister are in apposition in Mrs. Thatcher, the British Prime Minister, became leader of the Tory party in 1975. Here, both Mrs. Thatcher became leader…and The British Prime Minister became leader…could serve equally well alone. The term is often used when these criteria only partly apply, some grammarians using terms like partial or weak apposition to distinguish various types of lesser acceptability: ‘The heir to the throne arrived, Prince Charles’ (where only the second noun phrase can be omitted).

Excerpted from: McArthur, Tom. The Oxford Concise Companion to the English Language. New York: Oxford University Press, 2005.