scholarly journals Razzle and dazzle’em: Stage directions for engaging instruction sessions

2013 ◽  
Vol 74 (6) ◽  
pp. 317-318
Author(s):  
Trisha Prevett
2018 ◽  
Vol 70 (3) ◽  
pp. 307-326
Author(s):  
Bess Rowen
Keyword(s):  

2017 ◽  
Vol 24 ◽  
Author(s):  
M. David Merrill

In this paper I will chronicle my 50+ year career, from my interest in making education more effective, to an epiphany about theories, and some of my published work that, for a time, gained the attention of others in the field of instructional technology.  My extensive experience with computer-assisted learning covers early efforts to teach concepts to attempts to design automated authoring systems. My most recent work attempts to identify underlying principles common to most theories of instruction.The professional press publishes reports of theory, research, data, prescriptions, and opinions, but seldom do we get the back story. Where did these ideas originate?  What events led to a particular theoretical or research approach?  What were the challenges—personal and interpersonal—that affected a given approach, theory or research study?  In this paper, in addition to identifying a few of the most notable contributions to this literature, I will provide some of the back story that contributed to my career and inspired or significantly influenced my work. I will also highlight some of the lessons learned along the way.Download the PDF and read more...


2020 ◽  
pp. 109-170
Author(s):  
Laurie Maguire

Chapter 2 looks at the etcetera, a mark which today functions solely as an abbreviation, indicating the continuation of properties in a list. But in the early modern period that was only one of its several meanings. As a noun and a verb, early modern etcetera represents the body and bawdy (sexual parts and activities, or physical functions such as urination or defecation). As a punctuation mark, it is a forerunner of the punctuation mark which indicates silence or interruption—the em-dash. As a rhetorical term, it represents silence or the form of breaking off known rhetorically as aposiopesis. As an abbreviation at the ends of lists in stage directions, or lines in actors’ parts, it represents stage action, inviting continuation of dialogue or listed props. These four categories are linked in that etcetera directs the eye to a vacancy. We can see why it might be associated with aposiopesis, a rhetorical figure that is paradoxically about silence.


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