Tag Archives: professional development

Antithesis

“Antithesis (noun): The juxtaposing of contrasting words or ideas through parallel of balanced phrasing; rhetorical counterposing of opposites, as by asserting something and denying its contrary; the second or opposite element in an expressed contrast. Pl. antitheses; adj. antithetic, antithetical; adv. antithetically.

‘The poet ate his salad with his fingers, leaf by leaf, while talking to me about the antithesis of nature and art.’ Sylvia Plath, The Bell Jar.”

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

Couplet

“Couplet: In prosody, a pair of lines forming a unit, usually either because they set off as a separate stanze or because they rhyme. The best-known couplet is the soc-called heroic couplet.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Stephanie Ericsson’s “The Ways We Lie”

When the English teacher with whom I work recently introduced Stephanie Ericsson’s essay “The Ways We Lie” late last week, I’d never previously seen it. If you search it, you’ll see that it is evidently in use in a number of schools around the country. It’s not especially profound, but it does touch on some of the philosophical issues that lying and truth-telling raise. Ms. Ericsson has enjoyed a successful career as a writer and and actor, the latter of which surprised me.

In any case, here is a copy of the essay itself along with a contextual and learning support that I composed to attend it. The essay is in Microsoft Word, though I didn’t render it so, so I cannot vouch for it accuracy or fidelity; the contextual and learning support I did write, and, as below, if you find any problems with it, please advise. I copy-edited it twice, which doesn’t mean it doesn’t contain lapses or errors. There is a reason why professional writers–which I am not, alas–use the services of their publishers’ copy-editing offices.

If you find typos in these documents, 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.

Term of Art: Tactile Defensiveness

“tactile defensiveness: Being overly sensitive to touch; withdrawing, crying, yelling, or strking out when touched.

Some experts believe that that tactile defensiveness is related to disorganization in the midbrain, which is responsible for filtering incoming stimuli and—when abnormal—may not screen out all excessive tactile stimulation. As a result, a person would register even the most subtle sensations as irritating or painful, so that the person may respond to touch by grimacing or pulling away.

The central nervous system relies on different sensory nerve receptors in the skin to monitor the environment: light touch (surface), pressure (deep), temperature (hot and cold), and pain. It is quite possible for a person with tactile defensiveness to have one type of receptor that is oversensitive and the rest be normal. This explains why a person could tolerate light touch but pull away from a firm hug or prefer to run outside with a coat but be content with haircuts.

The tactile defensive individual can experience great distress in the course of daily life, constantly being bombarded with raw sensations. A person might insist on wearing only very soft clothes with large head openings or refuse to wear jewelry (especially around the neck). The slightest bump from another person may feel like a threat, and his or her defensive response may appear to be impulsive or aggressive. People with this condition may dislike group games such as tag or dodgeball, and holding hands with a partner can be physically agonizing. A person with this condition may shrink from being touched, which prevents him or her from being able to interact with friends in a normal way. Daily personal grooming, including bathing, washing hair, trimming nails, or brushing teeth can also be interpreted as uncomfortable.”

Excerpted from: Turkington, Carol, and Joseph R. Harris, PhD. The Encyclopedia of Learning Disabilities. New York: Facts on File, 2006.

Non-Finite Verb

“Non-finite Verb: also nonfinite verb. A form of the verb that does not display a distinction in tense, in contrast with finite verb (where there is a distinction between present tense and past tense: hopes, hoped). A non-finite verb is either an infinitive or a participle. There are two infinitives: the to-infinitive (‘Estelle wants to dance with Matthew’); the bare infinitive (‘Philip will come with Matthew’). There are two participles: the -ing participle or the present participle (‘James is playing cards’) and the -ed participle or (according to its function) the past participle or passive participle (‘James has visited me recently’; Jane was helped by Jeremy).”

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

Vision Training and ADHD

“vision training and ADHD: Some people believe that visual problems such as faulty eye movements, focus problems, and light oversensitivity of the eyes cause reading disorders. However, there are few well-designed studies of this approach.

In 1972, a joint statement highly critical of the optometric approach to learning disability treatment was issued by the American Academy of Pediatrics, the American Academy of Ophthalmology and Otolaryngology, and the American Academy of Ophthalmology. In the absence of supporting evidence, most experts warn that this approach should not be used to treat learning disabilities.”

Excerpted from: Turkington, Carol, and Joseph R. Harris, PhD. The Encyclopedia of Learning Disabilities. New York: Facts on File, 2006.

Daguerreotype

“Daguerreotype: A product of the first widely used photographic process (1839 onward), named after its inventor, L.J.M. Daguerre. A daguerreotype is made without a negative by exposing a silver halide coated copper plate and then fuming it with mercury vapor to bring out the image, which characteristically appears in reverse. More popular than the contemporary calotype process, the daguerreotype was gradually supplanted after 1851 by the collodion wet plate process.”

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

A Learning Support on the Literary Terms Poetry, Prose, and Prose Poem

In response to a student question the other day about the difference between prose and poetry–the prose poem “A Story About the Body” by Robert Hass was that day’s lesson in our English class and occasioned the question–I whipped up this learning support on the literary terms poetry, prose, and prose poem. This document is a single page with three short passages of text from Merriam-Webster’s Collegiate Encyclopedia. It’s basically a glossary.

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.

Term of Art: Team Teaching

“team teaching: An instructional method in which two or more teachers collaboratively teach a group of students. Teaching teams may teach one subject to multiple classes or teach all the core subjects to a single cluster of students for the school year. In the former arrangement, teachers may take turns instructing the entire group or divide the class into smaller sections that rotate between the teachers. In the latter arrangement, teachers meet frequently to plan curriculum and address student strengths and weaknesses.”

Excerpted from: Ravitch, Diane. EdSpeak: A Glossary of Education Terms, Phrases, Buzzwords, and Jargon. Alexandria, VA: ASCD, 2007.

A List of Consciousness-Raising Questions for Students

One of the great pleasures of the institution in which I now serve is the seriousness with which professional development is conducted. I won’t belabor the point about the hasty superficiality with which this responsibility was fulfilled in other schools (I’ve done this elsewhere on this blog) and its reduction to a pro forma bureaucratic ritual. We’ve been asked to read Dr, Gholdy Muhammad’s recent–and excellent–book Cultivating Genius: An Equity Framework for Culturally and Historically Responsive Literacy.  It’s a welcome relief from the usual pabulum that passes as professional development in the school system in which I serve.

In any case, here is a list of consciousness-raising questions I grabbed from page 72 of the edition of the book supplied me. I wrote this for my planning book; however, it could easily (like about 99 percent of what you’ll find on Mark’s Text Terminal, this is a Microsoft Word document that you may, if I dare to say so, bend to your will) be converted into a worksheet or a series of worksheets.

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.