Tag Archives: professional development

Term of Art: Analysis

“Analysis: A detailed splitting up and examination of a work of literature. A close studies of the various elements and the relationship between them. An essential part of criticism. As T.S. Eliot put it, the tools of the critic are comparison analysis. Analytical criticism helps to make clear an author’s meaning and the structure of his work. It is argued that analysis spoils an intuitive and spontaneous response to a work of literature. Those in favor of “deep” analysis content that, on the contrary, it enhances the reader’s enjoyment.”

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

Term of Art: Copyright

[Over the years a number of colleagues, and a couple of students, have asked me what I know about copyright. Here’s a post that gives a history of copyright as a concept, as well as its legal dimensions.]

copyright: The exclusive right by statute to reproduce, publish, and sell works of literature, music, art, drama, choreographic work, motion pictures, and other audiovisual works and sound recordings. The first copyright act in England was that of 1709, subsequently subjected to various modifications and additions. In 1842, a new act was passed, granting copyright for forty-two years after publication or until seven years after the author’s death, whichever should be the longer period. This act was superseded by the copyright act of 1911, under which the period of protection was extended to fifty years after the death of the author, irrespective of date of publication. The act deals also with copyright in photographs, engravings, architectural designs, musical compositions, and phonograph records.

The first copyright act in the U.S. was enacted by the states of Connecticut and Massachusetts in 1783, following vigorous agitation by Noah Webster. The first national statute, passed in 1790, was modeled upon the then-existing British law. Additional acts were passed in 1846, 1856, 1859, 1865, and 1909. U.S. copyrights may be secured under a copyright act effective January 1, 1978, for a period of seventy-five years from publication or one hundred years from creation, whichever is shorter. The term for works created on or after January 1, 1978, lasts for the author’s life plus an additional fifty years. Under the law, all visually perceptible copies of a work were required to bear the symbol ©, the word copyright, or its abbreviation, the name of the owner of the copyright, and the date of publication. Copyright protection has been extended to original works of authorship fixed in any tangible means of expression, known now or later developed. The Copyright Act of 1989 brought U.S. practice into agreement with the Berne Convention, and a copyright notice is no longer necessary to secure protection.

Influenced by lobbyists for book manufacturers reluctant to extend U.S. copyright to books manufactured abroad, the U.S. did not sign the Berne International Copyright Convention, under the auspices of UNESCO, a certain confusion existed in the field of U.S. international copyright. The U.S., most other Western countries, the former Soviet Union, which signed in 1973, and many Asian countries have signed the Universal Copyright Convention, but a worldwide international copyright does not yet exist.”

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

The Milgram Studies: Lessons in Obedience

While I have found Stanley Milgram’s studies on obedience to authority fascinating (and the “lost letter experiment” is also interesting), I do understand that it isn’t exactly high school material. That said, I did, in 17 years of teaching now, have one kid ask about Milgram. Furthermore, I am aware that many of Milgram’s contemporaries and colleagues expressed serious ethical qualms about the methods Milgram used.

Nonetheless, here is a short reading on Dr. Milgram’s study along with its vocabulary-building and comprehension worksheet.

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.

Daniel Willingham on Grammar and Reading Comprehension

“What type of apples did you buy?

They are cooking apples.

What are those people doing in the kitchen?

They are cooking apples.

This example may seem unusual, but many, if not most, sentences have more than one grammatically correct interpretation. A classic example is “Time flies like an arrow.” Most people interpret it metaphorically—time moves quickly, as an arrow does. But it could also mean that a particular type or insect (time flies) feel affection for arrows. Or “time” could be a command, with the sentence meaning I want you to assess the pace of those flies, and I want you to do it in the way you would assess the pace of an arrow. There are actually at least two other grammatically acceptable interpretations of this sentence.

Grammatically acceptable, but not acceptable to common sense. There’s not a variety of flies called “time flies.” And who would tell someone to get out their stopwatch and time some flies in the same way they would time an arrow? Who times files or arrows? Just as in the “eating apples” example, readers bring knowledge to bear on the sentence, not just grammar, to arrive at the correct interpretation. But in those examples, the knowledge is not provided in the text. The reader had to know it before reading the text.

The influence of meaning on the processing of a sentence is most obvious when grammar renders the sentences ambiguous, but meaning also has an impact on the speed and ease of processing even if the grammar is ambiguous. For example, the sentence “I cut up a slice of cooked ham” will be read more slowly when it is preceded by a few sentences describing the protagonist getting dressed, compared to a context where the protagonist was described as in a kitchen. That slowing can be avoided by adding one word at the start of the sentence: “Later, I cut up a slice of cooked ham.” So clearly, we’re not just extracting meaning from sentences, we are coordinating the meaning of sentences with the meaning of what we’ve read before, and we’re doing that as we process each sentence.”

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: Saxon Math

“Saxon math: A mathematics program that relies on explicit, incremental instruction. The series was created by John Saxon, a former mathematics teacher and U.S. Air Force officer who believed that he had found a superior way to teach mathematics, based on the step-by-step instruction that he had encountered in the military. Each day, students work on a limited number of concepts, solving problems until they have mastered each concept and then moving on to the next. Every new assignment is a cumulative review of previously studied materials. The Saxon textbooks are popular with homeschooling families and some charter schools, but are shunned by many school districts because they do not teach discovery and inquiry methods.”

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

Term of Art: Clause

“clause: A part of a sentence whose structure is itself like that of a sentence. Thus, in particular, one which includes a verb and elements that can and must accompany it.

In older treatments one clause was described as following another; e.g. in I said I saw her a main clause I said would be followed by a subordinate clause I saw her. As now defined, the main clause is the sentence as a whole and the subordinate clause is said to be included in it: thus, with brackets around each, [I said [I saw her]]. Clauses are distinguished in most accounts from phrases, by criteria which may vary, however, from one to another.”

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

Term of Art: Metalanguage

“Metalanguage: A language used to refer to statements made in another language, called in this context the object language. If the statements being referred to are in French and the statements referring to them are in English, for example, then the distinction between object language (French) and the metalanguage (English) is clear, but if the object language and metalanguage are both expressed in English, or both in a formal language such as the predicate calculus, then confusion can arise. Quotation marks can sometimes help, as in the sentence ‘Snow is white’ is true if an only if snow is white, in which the statement belonging to the object language is enclosed in quotation marks. Many paradoxes, including debatably the liar paradox, arise from a failure to distinguish object language from metalanguage: expressions involving true and false, when applied to a sentence, must always be expressed in a metalanguage and not in the object language of the sentence, The ideas behind the concept of a metalanguage are traceable to an article ‘On Denoting’ by the Welsh philosopher Bertrand (Arthur William) Russell (1872-1972) in the journal Mind in 1905, and the concept was fully developed by the Polish logician and mathematician Alfred Tarski (1902-1983) in his monograph De Wahrheitsbegriff in den formalisierten Sprachen (The Concept of Truth in Formalized Languages) in 1933.”

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

Terms of Art: Classroom Interaction, Classroom Behavior

“Classroom Interaction, Classroom Behavior: Describes the form and content of behavior or social interaction in the classroom. In particular, research on gender, class, and ‘race’ in education has examined the relationship between teacher and students in the classroom. A variety of methods have been used to investigate the amount and type of ‘teacher-time’ received by different groups of students. Much of the research has then sought to relate this to different educational experiences and outcomes among particular groups. For example, some studies showed that boys received a disproportionate amount of the teachers’ time, sat in different places in the classroom, and were more highly regarded by teachers, which may go some way towards explaining the educational differential between men and women. More recently, focus has shifted to examining the role of the school as a whole on student experiences as well as behavior outside the classroom, such as bullying and racial and sexual harassment.”

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

Term of Art: Minutiae

“Minutiae (noun plural): Minor or trivial details. Singular: minutia. ‘But its relentless detail and technical concentration are exhausting for the undisciplined armchair historian who might prefer the flavorful bacon of opinion to the dry minutiae of Rumanian pig exports in discussions of inter-war foreign policy and diplomacy.’ Neal Johnston, The New York Times”

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

Cultural Literacy: Tabula Rasa

On a chilly Wednesday morning, here is a Cultural Literacy worksheet on tabula rasa, which is an educational and epistemological concept from John Locke.

So I must ask: do students arrive in our classrooms as blank slates, as Locke claimed, or do they have basic cognitive frameworks for understanding the world? I imagine that entire academic careers may still depend on the discourses this question raises.

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.