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Structure in essay plans

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1. The structure of a piece of writing is the (sometimes underlying) order of its parts. Good structure usually means that a persuasive or logical sequence of these parts has been created. This is often best established by creating the structure in essay plans.

2. The basic structure of most essays can be very simple:

  • Introduction
  • Argument(s)
  • Conclusion

3. Provided that the individual topics of your argument(s) are arranged in a clear and meaningful order, this basic model should create a firm structure.

4. The order of the parts is often determined by the nature of the subject in question. This order might be created by:

  • logical progression
  • increasing significance
  • equal significance
  • chronological order
  • narrative sequence
  • category groupings

Arranging the parts

5. Imagine you were writing an essay about French wine. You have decided to discuss four red wines and four white wines. The structure for this essay is created by diving the examples into white wines and red wines – as shown here.

Introduction

Part One – Red wines
* wine 1
* wine 2
* wine 3
* wine 4

Part Two – White wines
* wine 1
* wine 2
* wine 3
* wine 4

Conclusion

6. This is clear, simple, and uncomplicated. But you could also create a slightly more interesting structure by arranging the wines by region. This is the arrangement shown here.

Introduction

Loire
* red wine
* white wine

Bordeaux
* red wine
* white wine

Cotes du Rhone
* red wine
* white wine

Bugundy
* red wine
* white wine

Conclusion

7. It’s the same number of examples, but the arrangement is slightly more complex. This might also make the essay more interesting. Notice how each item is kept separate – so they don’t get mixed up. And each one would be discussed in a paragraph of its own.

8. Next – this process can be taken one step further with a slightly more complex question. You might often be asked to write an essay considering the arguments for and against some topic or proposition. For instance – “Consider the arguments for and against congestion charges in city centres.”

9. There are two ways you can arrange the structure for an essay of this type. Here’s the first, which we’ll call Strategy A.

Introduction

Part One – In favour of congestion charges
* [traffic] reduces volume
* [ecology] less air pollution
* [economy] generates local income
* [politics] positive social control

Part Two – Against congestion charges
* [traffic] public transport alternatives
* [ecology] transfers problem elsewhere
* [economy] reduces profitable activity
* [politics] punishes tax-payers

Conclusion

10. The arguments in favour of congestion charges are kept separate from the arguments against. The structure is simple, clear, and uncomplicated. Notice that the same topics (traffic, ecology, economy, and politics) are covered in both the case ‘for’ and ‘against’. Next – look at an alternative strategy, Strategy B.

11. You can see that in this example the structure is arranged in the form of TOPICS – and each one contains an argument for and against the proposal.

Introduction to congestion charges

TOPIC 1
* [traffic] reduces volume
* [traffic] public transport alternatives

TOPIC 2
* [ecology] less air pollution
* [ecology] transfers problem elsewhere

TOPIC 3
* [economy] generates local income
* [economy] reduces profitable activity

TOPIC 4
* [politics] positive social control
* [politics] punishes tax-payers

Conclusion

12. It’s fairly important if you are using this structure to keep a balance. And the topics must be clearly identified and matched. That is, you must not put an argument FOR economy alongside one AGAINST traffic

13. If there is no natural order for your topics, you might deal with them in order of their importance. You could deal with the smaller, less important items first. This leaves the larger, more important issues until the end of the essay. Discussing the detail first in this way leaves the larger items for general consideration in approaching your conclusion.

14. On the other hand you might wish to deal with the major item(s) first, then turn to a consideration of the detailed evidence which supports the argument you are making. Using this approach, you could then return to your main points again and give them further general consideration as your conclusion.

© Roy Johnson 2003

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Student Writing in Higher Education

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essays on problems and solutions for academic writing

Student Writing in Higher Education is a collection of academic research papers which reflect the work being done in what the editors call the ‘new contexts’ of higher education. By this they mean the writing which goes on in non-traditional subjects such as dance or computer conferencing, as well as the new types of writing such as ‘journals of learning’ and ’empathetic writing’ which are now used in a number of subjects.

Student Writing in Higher EducationThe essays deal with many of the problems faced by typical students – the unspecified audiences for which they are expected to write; the debate about skills-based writing tuition versus ‘writing in context’; and the new problems created by the collapse of traditional subject boundaries.

There is an interesting paper which analyses tutor feedback on students’ written work. This includes some scandalous examples of marking which offer nothing more than marginal ticks and an overall grade. As the authors chillingly observe:

Those tutors who give minimal responses perhaps see the task of reading students’ writing as largely administrative, and/or do not consider students to have the sort of role in the academic community which merits engaging in dialogue with them.”

This chapter should be required reading for departmental heads and anybody with a responsibility for training tutors in marking skills.

A chapter on academic writing in the study of dance throws up the fundamental problem that not all subjects make the same types of intellectual demand. Terpsichoreans are allowed to describe their own practice and reflect upon the Self in a way which would be unthinkable in traditional disciplines. The same seems to be true of ‘Reflective Learning Journals’ in anthropology [which includes the example of a Death Journal!] – though at least these have as a primary function encouraging students to think about interdisciplinary studies and ‘map’ their experiences of learning.

There’s also an interesting chapter on the new use of computer conferencing, with two Open University courses as examples. This throws up the problems of asynchronous and informal academic discourse, as well as the potentially ambiguous role of tutors, who can act as ‘fellow participants’ or as ‘knowledge holders’.

One of the persistent weaknesses of these papers is that they often don’t seem to reach any conclusion or have very much to offer by way of insight. As one contributor observes: ‘I am aware that this chapter has raised questions which have not been answered’. I was also surprised by the amount of heavy signposting – such as a chapter whose final paragraphs begin ‘To conclude this chapter I turn finally to issues of pedagogy…’. The other surprise is that so few – almost none – of the studies actually deal with or quote any of the very subject under consideration – student writing itself.

One of the most interesting chapters is – perhaps strategically – the last, in which Barry Stierer describes the plurality of writing demands in the Open University’s MA in Education. It’s interesting that a careful explanation of the pedagogic requirements of a well-constructed course are more interesting than any amount of strangulated theorising about ‘epistemic modality’ and ‘intrinsic and embodied readings’.

The editors make it clear that they concentrate specifically on the implications of their research for the work of teachers rather than students. In fact this collection will be of most interest to those in the field of educational research striving to generate publications for the next Research Assessment Exercise. But there are also some practical lessons and observations which might actually help those tutors interested in improving students’ writing skills.

© Roy Johnson 2000

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Mary R. Lea and Barry Stierer, Student Writing in Higher Education, Buckinghamshire: Open University Press, 2000, pp. 205, ISBN: 0335204074

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Students Must Write

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writing skills guide for coursework and examinations

Robert Barrass begins this guide Students Must Write with the important observation that students are judged largely on the quality of what they write. It is therefore very much in their interests to sharpen their writing skills for all forms of academic work. He starts from basics, covering taking notes in lectures, and how writing about something helps you to understand and remember it. His advice is punctuated with well-chosen quotations from famous writers, indicating that they struggle too. They write, re-write, plan, edit, scrap drafts, and treat writing as a process. It’s not a one-off action. He analyses examples of slack writing and shows both the weaknesses and how they might be overcome.

Students Must WriteThere’s also a chapter on words – choosing items of vocabulary to make your writing more effective. To support this he adds some wonderfully useful lists of misused words, circumlocutions and malapropisms – but they are somewhat buried inside the chapters when I think they could have been highlighted to greater effect.

There is a particularly good chapter on how to deal with numbers, diagrams, graphs, charts, and tables. This includes such nice points as the order of presenting the slices of a pie chart – clockwise, starting from the largest at noon. [Bet you didn’t know that!]

His tips on exam technique are sound enough – as is his advice on longer pieces of work such as dissertations and reports. He even covers writing letters – applying for that job after you have graduated. And he ends with tips on using word-processors, a few words on punctuation, and a brief guide to spelling and how to overcome some of the common problems.

This is a book for people who want a general stroll through the process of language and writing. It moves from one topic to another in a casual manner. There is a downside and an upside to this approach. The downside is its weakness in terms of organisational rigour. But the upside is that it might make some of the issues of writing less intimidating for the very students to whom this book is addressed.

© Roy Johnson 2005

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Robert Barrass, Students Must Write: A Guide to Better Writing in Coursework and Examinations, London: Routledge, third edition, 2005, pp.232, ISBN: 0415358264

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Style – ten lessons in clarity and grace

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how to refine your writing style

This is a twenty year old book already in its sixth edition, and the author admits that it’s still ‘evolving’, which is a good sign that serious thought is going into its composition. Style ten lessons in clarity and grace is based on a course Joseph Williams teaches at the University of Chicago. His approach is based on two principles – that ‘it’s good to write clearly, and anyone can’ – and the second part of the proposition is what he’s teaching here. His approach is to draw attention to the finer issues of clarity in prose, and to show how language can be used with subtelty to effect it.

Style ten lessons in clarity and grace His ten seperate chapters deal with each of these issues in turn, and his own prose style is engaging and friendly – which both proves his point and shows that he knows what he is talking about. He starts with a brief and amusing guide to bad prose and what creates it, and he ends with the most celebrated advice on creating effective prose – that good writing is about ‘rewriting’. His general advice is that improvement can be made – if you go slowly. So what then are his ten ‘lessons’?

  1. Write with readers in mind
  2. Write clearly
  3. Write concretely
  4. Write in an active mode
  5. Put the subject at start of sentence
  6. Put rhetoric at end of sentence
  7. Edit, edit, edit; and cut, cut, cut
  8. Get the verb in the main clause
  9. Create structure
  10. Write ethically

It’s pitched at a fairly sophisticated level, suitable for intermediate to advanced users. Williams assumes that readers know the basics of what is right and wrong, but want to improve in matters of clarity and elegance. He makes an interesting and useful distinction between three types of correctness – and offers different levels of response to them.

There are are exercises in each chapter with suggested answers, which I think makes this a text which might be more popular with tutors than with the students for whom it was presumably written. You’ve got to put up with a lot of grappling with ‘nominalizations’, ‘resumptive modifiers’, and elimination of the passive voice, as well as the same examples worked over and over until they’re right.

There’s a particularly good chapter on deleting redundant expressions, writing more concisely, and eliminating ‘metadiscourse’ [signposting or ‘writing about writing’]. He gives one example where a fifty word statement is edited down to a sentence of six. His advice includes one point I write on something like fifty percent of all student essays: ‘Put the subject at the start of the sentence, and follow it as soon as possible with the verb’.

Towards the end of the book he tries to ‘teach the unteachable’ – elegance and ‘good style’. This section requires quite a sophisticated level of literary experience, and strangely enough he ends on punctuation – but pitched at quite an advanced level.

This isn’t a book for beginners. It’s for people who want to improve their existing writing skills, who want to rid themselves of officialese and cloudy abstraction and garbled syntax so as to produce writing which is clear and efficient. If you follow his advice, read carefully what he’s got to say, and complete the exercises, I think you’ll find it money well spent.

© Roy Johnson 2000

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Joseph Williams, Style: ten lessons in clarity and grace, New York: Addison Wesley, (6th edn) 1999, pp.309, ISBN: 0321024087

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StyleWriter

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grammar, spelling, and editing software program

Lots of people don’t like spelling-checkers and grammar-checkers. It’s no fun having your weaknesses highlighted. Yet they can save you from many embarrassing mistakes – and you can learn good writing habits from them. STYLEWRITER tries to overcome this problem by offering a wide palette of distinctions and a selection of writing styles from which to choose. Its stated aim is to help users produce plain English. As the guidance notes say, “A low average sentence length and a low Passive Index makes your writing much more readable and interesting.”

StylewriterThe program is invoked from within your word-processor, and it works by splitting the screen in two. The top window reveals several lines of your text, with any problems highlighted. This has the advantage that individual items can be seen in their grammatical context.

The highlights are also colour-coded: dark red for suggested improvements, black for misused words, and bright red for spelling mistakes. The bottom window contains your original file, which can be edited. This editing function is commendably efficient: it takes the cursor to the exact spot in your text where corrections will be made. A full help system is available from pull-down menus, and this also includes tips on punctuation, grammar, and appropriate style.

At the end of the check, a full statistical report is available. This includes a word and sentence count, and a natty bar chart with encouraging comments on your results [Sentence-length ‘Excellent!’] There is also a summary which reveals the number of occurrences of features such as complex words, business clichés, foreign words, hidden verbs, and jargon. These can all be customised.

It is easy to observe that many great prose stylists would not pass the test of the forty word maximum sentence length which the program recommends. Henry James would only just be approaching the subject of his sentence after such a short preamble, and his verb would be still some way off. But for we lesser mortals the strictures are probably useful.

So – the program is well worth recommending. I ditched Grammatik in its favour, hardly without thinking. The publishers have recently dropped the price if you download it from their website.

It also allows you to choose the type of writing you wish to check and edit – so it copes with the various requirements for writing by lawyers, government officials, engineers, educators, or accountants. There’s even a setting for ‘creative’ writing that permits the bending of grammatical rules.

But on the whole it aims to produce witing which is shorter, clearer, and free from cloudiness and jargon. You even get a statistical summary of what you write (keep an eye on those long sentences) and if you don’t agree with a particular item of advice, you can remove it. On the other hand you can add rules and dictionary items.

The latest version has been completely re-vamped, and the best feature of all that’s been added is a free trial version which you can download here.

© Roy Johnson 2002

StyleWriter: the plain English editor – Version 4. Editor Software, 64 Woodmancote, Dursley, Glos, GL11 4AQ, England. Tel: 01453-548409

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Subediting for Journalists

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the art and skills of subediting for publication

The best thing about Subediting for Journalists is that it is quite clearly based on practical experience in professional journalism. There are some interesting accounts from newspaper and magazine journalists describing exactly how they work. It’s all to do with rigour and attention to detail. They deal with the basics of house style – adhering to a set of standards in spelling and representation. This means taking care with punctuation and grammar, spotting cliché, and getting names right.

Subediting for JournalistsMost of what they have to say concerns correcting common mistakes – dangling participles, misused phrases, and unnecessary repetition. Anyone who wants to improve their writing skills could learn valuable lessons here. They also cover all those grammatical niceties such as that/which and who/whom which you look up then forget about by the next time you need to use them. The advice they give could not be more up to date:

your publication …. could be printed, it could be uploaded onto a website, it could be cannibalised for delivery to WAP or G3 mobile phones and it could also appear on television.

There are plenty of examples of re-written news items which illustrate the advice being given. They deal neatly with issues of names, dates, places, accuracy, and getting to the point. There are sections on writing headlines and photograph captions. These need to be snappy, but the advice is the same in both cases – make it accurate.

They outline the main legal and ethical problems confronting subeditors – issues of copyright, libel, slander, defamation, and contempt of court.

They also explain the print production process. This includes the use of computer software such as Quark Publishing System (QPS) to control what can become a very complex collection of documents. It’s like a peek behind the scenes for the uninitiated.

There’s also a chapter on print technology which won’t tell you much about subediting, but which is a fascinating sketch of the revolution which took place in 1983 when hot metal was replaced by digital typesetting.

They finish with a chapter on subediting web pages. They conclude with a glossary of journalism terms, a sample house style guide, and standard proof correction symbols in UK and US style.

This is a good book. It’s readable, written by people who are clearly well-informed, and just about as up-to-date as it’s possible to be in the old-ish world of print publication.

© Roy Johnson 2002

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Wynford Hicks and Tim Holmes, Subediting for Journalists, London: Routledge, 2002, pp.180, ISBN: 0415240859

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Succeeding with a Masters Dissertation

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a step-by-step guide to post-graduate writing

Many students find the idea of writing a masters dissertation at postgraduate level a daunting prospect. And that’s quite understandable. They will probably never before have had to produce a work of 10,000 to 15,000 words; they will be uncertain about its content; and they will almost certainly never have seen what a dissertation looks like. John Biggam’s book is a guide to the entire process of developing postgraduate writing skills, from start to finish, and the most useful aspect of his approach is that he breaks the procedure down into separate steps and explains each of them in detail.

Masters Dissertation He starts from what is often the most puzzling stage of all – defining the project. Many students know the topic which interests them most, but turning this into a research proposal can be a long and frustrating process. It’s easy to lose a lot of time changing your mind and pursuing ideas which shift amorphously the very moment you think you have pinned them down.

He offers templates to help solve this problem, outlines the key issues at each stage, and even points to the most common traps that students fall into. This is valuable advice – and it comes from a research supervisor who has seen hundreds and hundreds of examples.

His chapters follow the stages of the process of producing the dissertation itself. How to define the project; making a start with the writing; doing a literature review; choosing the right research methods; dealing with the evidence and producing a conclusion; writing an abstract; and how to present the finished work.

Embedded within all this there are other important issues such as how to create structure, how to define your terms, and how to link one part of your writing to the next so as to create a continuous argument.

He also deals with the issue which many students right up to PhD level find difficult – how to quote from secondary sources and use a referencing system accu rately. He recommends the Harvard system as being popular with both students and tutors alike. Also included is how to conduct both qualitative and quantitative surveys, and what to do with the results when they have been assembled.

One of the suggestions he makes more than once which I thought very useful is that students should make their claims clearly and boldly. Your piece of research may be modestly (and wisely) limited in scope, but there’s no reason why you shouldn’t treat it as something important, even if it is only to make your purpose clear to the person reading and assessing it.

He also offers some very good tips for dealing with the oral defence of your work – the viva – and he ends with what many students will probably find the most useful of all – sample extracts of introductions, literature reviews, research methods, project structures, and questionnaires.

Read the advice, follow it, even use the book as a source of reference, and I’m fairly confident that it will help you to produce a masters dissertation that succeeds. Just like it says on the tin.

© Roy Johnson 2008

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John Biggam, Succeeding with your Masters Dissertation, Berkshire: Open University Press, 2008, pp.268, ISBN 0335227198

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Successful Writing for Qualitative Researchers

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guidance on advanced academic writing techniques

Yet another writing guide. Successful Writing for Qualitative Researchers is aimed at post-graduates in the social sciences and education. It covers the process of writing from the first steps in conducting research, through to the production of papers for scholarly journals and full length published books. The emphasis throughout is on work which is non-quantitative – that is, writing which knowingly includes a degree of subjectivity and impressionistic reporting – a side of research Peter Woods describes as ‘ethnography’ and which much of the time seems to come dangerously close to creative writing.

Successful Writing for Qualitative ResearchersHe starts with a chapter describing the problems and pain of writing, with copious illustrations from authors who have found it difficult to make a start and just as hard to keep going. This is intended to reassure those struggling that their experience is not unique. Next he discusses the separate parts of a typical academic article, with illustrations from his own work – though strangely enough, he doesn’t spell out first of all what these parts should be.

On the other hand, a chapter on ‘alternative forms of writing’ [non-standard approaches to academic writing] struck me as more interesting, because it offers practical advice on the manner in which writing projects can be presented. Similarly, the best parts of his comments on editing are those in which he examines specific examples, with plenty of good advice on content editing for bias, ambiguity, weak structure, and even libel – though he has an unfortunate tendency to keep bringing in his own publications as source material. [Readers might keep in mind that in the UK ‘researchers’ are assessed on the number of times their work is cited in published works. This might be one sneaky way of pushing up the score.]

There’s a section on collaborative writing where he describes the benefits and dynamics of working as part of a team – though rather too much of this fell back into personal anecdote for my liking. There are other weakness too. His approach often switches disturbingly between guidance and speculation; the mode of address occasionally wobbles uncertainly between ‘one’ and ‘you’; and his exposition switches from surmise to an analysis built on quotes from other writers.

Too often, his emphasis is on describing problems, rather than showing how to solve them. Sometimes, the subject of consideration in any chapter slithers around alarmingly. Chapter sub-headings fail to clarify the internal hierarchy of contents (though this could be the publisher’s fault) and at one point he even includes a personal anecdote into the middle of a bulleted list. These are not examples of good quality writing.

The chapter which I suspect is most likely to be of interest and use to his audience is the last – ‘Writing for Publication’. In this he provides valuable advice on researching the market, with real-life examples. These include how to cope with rejections and how to learn from examples of readers’ reports – which he quotes. He even includes guidance on submitting book proposals, and on negotiating a contract if you have the good luck to have one accepted (and it is often luck). There are also specimen publishers’ guidelines and a sample book proposal which intending writers, from the field of social sciences and education (and well beyond) would do well to study closely.

So, in a sense, this is a book which gets better as it goes along, though the good advice he offers would be more effective if he had followed his own recommendations on clarity of structure, thematic coherence, and rigorous editing.

© Roy Johnson 2005

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Peter Woods, Successful Writing for Qualitative Researchers, London: Routledge, 2nd edition 2005, pp.200, ISBN: 0415355397

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Taking notes for essays

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1. In preparation for writing an essay, you should be taking notes from a number of different sources: course materials, set texts, secondary reading, or tutorials and lectures. You might gather information from radio or television broadcasts, or from experiments and research projects. The notes could also include your own ideas, generated as part of the essay planning process.

2. The notes you gather in preparation for writing the essay will normally provide the detailed evidence to back up your arguments. They might also include such things as the quotations and page references you plan to use in your essay. Your ultimate objective in planning will be to produce a one or two page outline of the topics you intend to cover.

3. Be prepared for the fact that you might take many more notes than you will ever use. This is perfectly normal. At the note-taking stage you might not be sure exactly what evidence you will need. In addition, the information-gathering stage should also be one of digesting and refining your ideas.

4. Don’t feel disappointed if you only use a quarter or even a tenth of your materials. The proportion you finally use might vary from one subject to another, as well as depending on your own particular writing strategy. Just because some material is not used, don’t imagine that your efforts have been wasted.

5. When taking notes from any source, keep in mind that you are attempting to make a compressed and accurate record of information, other people’s opinions, and possibly your own observations on the subject in question.

6. Your objective whilst taking the notes is to distinguish the more important from the less important points being made. Record the main issues, not the details. You might write down a few words of the original if you think they may be used in a quotation. Keep these extracts as short as possible unless you will be discussing a longer passage in some detail.

7. Don’t try to write down every word of a lecture – or copy out long extracts from books. One of the important features of note-taking is that you are making a digest of the originals, and translating the information into your own words.

8. Some students take so many notes that they don’t know which to use when it’s time to write the essay. They feel that they are drowning in a sea of information.

9. This problem is usually caused by two common weaknesses in note-taking technique:

  • transcribing too much of the original
  • being unselective in the choice of topics

10. There are two possible solutions to this problem:

  • Select only those few words of the source material which will be of use. Avoid being descriptive. Think more, and write less. Be rigorously selective.
  • Keep the essay question or topic more clearly in mind. Take notes only on those issues which are directly relevant to the subject in question.

11. Even though the notes you take are only for your own use, they will be more effective if they are recorded clearly and neatly. Good layout of the notes will help you to recall and assess the material more readily. If in doubt use the following general guidelines.

Taking Notes – GUIDELINES

  1. Before you even start, make a note of your source(s). If this is a book, an article, or a journal, write the following information at the head of your notes: Author, title, publisher, publication date, edition of book.
     
  2. Use loose-leaf A4 paper. This is now the international standard for almost all educational printed matter. Don’t use small notepads. You will find it easier to keep track of your notes if they fit easily alongside your other study materials.
     
  3. Write clearly and leave a space between each note. Don’t try to cram as much as possible onto one page. Keeping the items separate will make them easier to recall. The act of laying out information in this way will cause you to assess the importance of each detail.
     
  4. Use some system of tabulation (as I am doing in these notes). This will help to keep the items separate from each other. Even if the progression of numbers doesn’t mean a great deal, it will help you to keep the items distinct.
     
  5. Don’t attempt to write continuous prose. Notes should be abbreviated and compressed. Full grammatical sentences are not necessary. Use abbreviations, initials, and shortened forms of commonly used terms.
     
  6. Don’t string the points together continuously, one after the other on the page. You will find it very difficult to untangle these items from each other after some time has passed.
     
  7. Devise a logical and a memorable layout. Use lettering, numbering, and indentation for sections and for sub-sections. Use headings and sub-headings. Good layout will help you to absorb and recall information. Some people use coloured inks and highlighters to assist this process of identification.
     
  8. Use a new page for each set of notes. This will help you to store and identify them later. Keep topics separate, and have them clearly titled and labelled to facilitate easy recall.
     
  9. Write on one side of the page only. Number these pages. Leave the blank sides free for possible future additions, and for any details which may be needed later.

Sample notes

What follows is an example of notes taken whilst listening to an Open University radio broadcast – a half hour lecture by the philosopher and cultural historian, Isaiah Berlin. It was entitled Tolstoy’s Views on Art and Morality, which was part of the third level course in literary studies ‘A 312 – The Nineteenth Century Novel and its Legacy.

Isaiah Berlin – ‘Tolstoy on Art and Morality’ 03 Sep 1989

1. T’s views on A extreme – but he asks important questns which disturb society

2. 1840s Univ of Kazan debate on purpose of A
T believes there should be simple answers to probs of life

3. Met simple & spontaneous people & soldiers in Caucasus
Crimean Sketches admired by Turgenev & Muscovites but T didn’t fit in milieu

4. Westernizers Vs Slavophiles – T agreed with Ws – but rejects science (Ss romantic conservatives)

5. 2 views of A in mid 19C – A for art’s sake/ A for society’s sake

6. Pierre (W&P) and Levin (AK) as egs of ‘searchers for truth’

7. Natural life (even drunken violence) better than intellectual

8. T’s contradiction – to be artist or moralist

9. T’s 4 criteria for work of art

  • know what you want to say – lucidly and clearly
  • subject matter must be of essential interest
  • artist must live or imagine concretely his material
  • A must know the moral centre of situation

10. T crit of other writers

Shkspre and Goethe – too complex
St Julien (Flaubert) inauthentic
Turgenev and Chekhov guilty of triviality

11. What is Art? Emotion recollected and transmitted to others
[Wordsworth] Not self-expression – Only good should be transmitted

12. But his own tastes were for high art – Chopin, Beethoven, & Mozart
T Argues he himself corrupted

13. Tried to distinguish between his own art and moral tracts

14. ‘Artist cannot help burning like a flame’

15. Couldn’t reconcile contradictions in his own beliefs
Died still raging against self and society

© Roy Johnson 2003

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Teacher’s Guide to Grammar

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teaching language and the national curriculum

The other day I overheard a young girl of around eight ask her mother “What’s a phoneme?” Not surprisingly, her mother didn’t even understand the question. And the girl added, “I think it’s part of a word” – which was not a bad shot. This made me realise just how firmly traditional English grammar was back in our national curriculum. And when I thought of the poor teachers having to implement this policy, my heart sank on their behalf. I think Deborah Cameron would understand and sympathise with this feeling, because this teacher’s guide to grammar is aimed specifically at existing and would-be classroom workers. They now have the unenviable task of introducing what is essentially the study of linguistics into the daily life of schoolchildren.

Teacher's Guide to GrammarCameron starts by dispelling some of the common misconceptions and myths about grammar, and making the important distinction between written and spoken English. Instead of looking at grammatical rules then giving examples, she works the other way round, examining the way language is actually used, then drawing some general lessons from it. First the way words are formed (morphology) then how sentences are built up via regular syntax and well organised phrases.

All the points she makes are illustrated by short modern examples drawn from the way people actually speak and write, and she offers some quite useful tables which I can easily imagine teachers using in their classes.

She delivers some interesting analyses of scientific writing, newspaper headlines, and children’s creative prose to illustrate the use of compression in writing by using noun phrases. The same is true of her treatment of verbs. Instead of dry grammatical definitions, we get a more useful account of the function of different verb forms and modality – making statements about different periods of time and various shades of possibility and probability.

She also offers careful analyses of real examples of student writing – not merely to point out grammatical errors, but to reveal the real structure of the language holding together the meaning underneath the surface. And many of these ‘mistakes’ are features of language which novelists and poets use deliberately for artistic effect.

The whole of the debate over Standard English and dialect/received pronunciation is put into refreshing historical context, as is the use of different registers (which interestingly enough are not a prescribed requirement of the national curriculum).

She demonstrates in a way which classroom teachers will find useful that non-standard speech can co-exist quite easily along with standard writing. And she concludes with an examination of the special circumstances surrounding English as an additional language (EAL).

Anyone faced with the need to understand grammar or explain it to others will find this book useful. It’s good that linguists of Deborah Cameron’s stature are putting their intellectual shoulder to the wheel in helping the classroom teacher.

© Roy Johnson 2007

Teacher's Guide to Grammar   Buy the book at Amazon UK

Teacher's Guide to Grammar   Buy the book at Amazon US

Deborah Cameron, The Teacher’s Guide to Grammar, Oxford: Oxford University Press, 2007, pp.163, ISBN: 0199214488

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