Tag Archives: professional development

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.

Term of Art: Psychosocial Stressor

psychosocial stressor: n. Any life event or change, such as divorce, marriage, bereavement, loss or change of a job, or moving house, that causes stress and may be associated with the onset or deterioration of a mental disorder. See also adjustment disorder.”

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

Malediction

“Malediction (noun): An invoking of evil or harm upon somebody or something; pronounced curse; evil talk or slander. Adjective: maledictive, maledictory.

‘He caught up the empty pewter mug at his right and threw it at the clumsy lad with a malediction.'”

Willa Cather, Death Comes for the Archbishop

Excerpted from: Grambs, David. The Random House Dictionary for Writers and Readers. New York: Random House, 1990.

Jerome Bruner on Narrative

“A ‘story’ (fictional or actual) involves an Agent who Acts to achieve a Goal in a recognizable Setting by the use of certain Means. What drives the story, what makes it worth telling, is Trouble: some misfit between Agent, Acts, Goals, Settings, and Means.”

Jerome Bruner

The Culture of Education

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

Small is Beautiful by E.F. Schumacher

Small is Beautiful: An influential book (1973) by the German-born British economist E.F. Schumacher (1911-77), subtitled ‘A Study of Economics as if People Mattered.’ Schumacher argues in favor of small-scale institutions and sustainable development, and against capital-intensive, high-tech solutions, especially in the Third World. The title phrase has entered popular usage.”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

David Lodge on Narrative

“Narrative, whatever its medium, holds the interest of the audience by raising questions in their minds and delaying the answers…. The questions are broadly of two kinds, have to do with causality (e.g. whodunit?) and temporality (what will happen next?).”

David Lodge

The Art of Fiction

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

Term of Art: Rapport

rapport n.: A sympathetic or harmonious relationship or state of mutual understanding. The word was introduced into psychology by the Viennese physician Franz Anton Mesmer (1734-1815), and the French psychologist and neurologist Pierre Janet (1859-1947) confined its meaning specifically to the relationship between a hypnotist and a hypnotized subject; then Sigmund Freud (1856-1939) eventually widened its meaning and described it as the prototype (2) of  the transference.

[From French rapporter, to bring back, from re-again and apportare, to carry to, from Latin apportare to bring to, from, ad to + portare to bring or carry]”

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