text:
Translating Spanish Drama

Humanities > School of Language and Literature > Department for Literary Studies > Writing Centre

This site is meant for translating theatre plays from Spanish to English. It can be used as a course requirement in drama schools or while learning the Spanish language.

Playwrights of any century may be used, provided the work is not copyrighted in Spanish.

17th century
Lope de Vega

Tirso de Molina

Pedro Calderón de la Barca

Juan Ruiz de Alarcón

18th century
Leandro Fernández de Moratín

19th century
Ángel de Saavedra, 3rd Duke of Rivas

José Echegaray

20th century
Federico Gamboa

title: Translating Spanish Drama


text:
User:Egm4313.s12.team1.wyattling/r5

Statement
Show that $$ y_p(x) = \sum_{i=0}^{n}y_{p,i}(x)\!$$ is indeed the overall particular solution of the L2-ODE-VC $$ y''_{p,i} + p(x)y'_{p,i} + q(x)y_{p,i} = r_i(x)\!$$ with the excitation $$ r(x) = r_1(x) + r_2(x) + ... + r_n(x) = \sum_{i=0}^{n}r_i(x)\!$$. Discuss the choice of $$ y_p(x)\!$$, in example for $$ r(x) = Kcos(wx)\!$$. Why would you need to have both $$ cos(wx)\!$$ and $$ sin(wx)\!$$ in $$ y_p(x)\!$$?

Solution
The following represent particular solutions and their derivatives, equated into a summation:
 * {| style="width:100%" border="0"

y_p(x) = y_{p,1}(x) + y_{p,2}(x) + ... + y_{p,n}(x) \rightarrow y_p(x) = \sum_{i=0}^{n}y_{p,i}(x) $$     (4.0)
 * $$\displaystyle
 * $$\displaystyle
 *
 * }

 * {| style="width:100%" border="0"

y_p'(x) = y_{p,1}'(x) + y_{p,2}'(x) + ... + y_{p,n}'(x) \rightarrow y_p'(x) = \sum_{i=0}^{n}y_{p,i}'(x) $$     (4.1)
 * $$\displaystyle
 * $$\displaystyle
 *
 * }

 * {| style="width:100%" border="0"

y_p(x) = y_{p,1}(x) + y_{p,2}''(x) + ... + y_{p,n}(x) \rightarrow y_p(x) = \sum_{i=0}^{n}y_{p,i}''(x) $$     (4.2)
 * $$\displaystyle
 * $$\displaystyle
 *
 * }

Because the given ODE is in the form of L2-ODE-VC, it is linearly independent. Each $$ y_{p,i}\! $$i is a solution for each $$ r_i\! $$, and when there are multiple excitations, the solution to a sum of these excitations is the sum of the particular solutions. Using these particular solutions, we can show that they are the solutions to the following L2-ODE-VC (4.3) with the given excitation:

 * {| style="width:100%" border="0"

y_{p,i}'' + p(x)y_{p,i}' + q(x)y_{p,i} = r_i(x) $$     (4.3)
 * $$\displaystyle
 * $$\displaystyle
 *
 * }

 * {| style="width:100%" border="0"

\sum_{i=0}^{n}y_{p,i}''(x) + p(x)\sum_{i=0}^{n}y_{p,i}'(x) + q(x)\sum_{i=0}^{n}y_{p,i}(x) = \sum_{i=0}^{n}r_i(x) $$     (4.4)
 * $$\displaystyle
 * $$\displaystyle
 *
 * }

For $$ r(x) = Kcos(wx)\!$$. You need to have both $$ cos(wx)\!$$ and $$ sin(wx)\!$$ in $$ y_p(x)\!$$ because when solving for the particular solution, it is necessary to take derivatives of the particular solution, and in the case of $$ r(x) = Kcos(wx)\!$$ the derivatives will produce extra terms since the derivative of $$ cos(wx)\!$$ will produce both $$ sin(wx)\!$$ and $$ cos(wx)\! $$ terms. Having both $$ cos(wx)\!$$ and $$ sin(wx)\!$$ are there to eliminate the extra term.

Author
Solved and Typed By - Reviewed By -

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User:Egm4313.s12.team1.wyattling/r5


text:
Paideia High School/Langston Hughes

"Mother to Son" and "Theme for English B" by Langston Hughes is a Paideia Unit Plan. These guidelines address teachers for the purpose of guiding instruction. See Paideia Learning Plan for the student's point of view.

Column One
Column One teaching and learning should make up about 10% to 15% of the total scheduled instructional time. It is didactic in nature and uses teacher lectures, text books or other didactic instructional materials, and questioning appropriate to this mode of education. Teaching in this mode encompasses of three facets: Exoridium, Interpretation, and Erudition.

Oral Presentation
Read each poem aloud to the class, then present the written works.

Written Presentation
"Theme for English B" http://www.poetryfoundation.org/poem/177397
 * "Mother to Son" http://www.poetryfoundation.org/poem/177397

Interpretation of Sentences
Start here. Emphasize the importance of the sentence as a basic unit of meaning. Point out to students that poems frequently don't have a one sentence per line structure--poets break things up to create emphasis and shape on the page. To begin understanding the poem on its most literal level, however, we must begin by identifying the sentences.

Interpretation of  or
In textual interpretation, the teacher didactically presents the author's key terms in the stage of Interpretation of Words and Terms. In addition, the teacher anticipates unfamiliar general vocabulary. These words and terms are given didactically, either orally or in writing, or both, but the task of interpreting is a Column Two skill of learning that the teacher must coach. Consequently, the purpose of this Column One stage is merely to point out key terms and potentially unfamiliar terms. The student must learn how to interpret. Again, this planning can be adapted to other kinds of works.

Interpretation of Key Terms
The key terms are those few words or phrases the author uses in unique, special, or important ways. . In the Column Two stage, students are coached both to find these key terms and to "unlock" them on their own. This skill is essential to analytical reading. In this Column One stage, however, the teacher points out a list of such terms. Students should understand that this listing is not necessarily exhaustive. In addition, the teacher provides students with a handful of these terms worked out in detail for consideration; it should consist of about three to five terms.
 *
 *
 *

General Vocabulary
The teacher may anticipate general unfamiliar vocabulary and point out the more difficult words either orally or in writing or both. However, defining words using context, a dictionary, or a knowlegable friend or adult (including the teacher) is a Column Two skill that must be coached. Teachers must help students build good habits of knowing the meanings of words. Dictionaries, in both electronic and book form must be available, and students must be taught how to use them. They must also be taught how to ask for definitions--a perfectly acceptible life skill commonly used by demanding readers!

 *
 *
 *

Note: If the teacher points out words in anticipation of their potential difficulty, this should be done in context by giving citations or electronically highlighting the words.

Interpretation of Passages
At the level of passages, the full trivium (grammar, logic, and rhetoric) come into play. First, a teacher should choose one or two of the author's most important arguments for a demonstration of how to use logic as a key to interpreting a text. Next, the teacher should select several passages to demonstrate how they conform (or not) to rhetorical, poetical, and sylistic rules. These rules, of course, must be didactically taught as prerequisites to interpretation of texts.

 * :
 * :
 * :
 * :

Erudition
An excellent summary biography: http://www.poetryfoundation.org/bio/langston-hughes

<Note that these categories are presented alphabetically for ease of organization>

Anthropological References

 * <information relevant to anthropological issues and discoveries--include citations--delete if not used>

Antiquarian References

 * <information about references to things no longer commonly understood because of their situation in ages past--include citations--delete if not used>

Archaeological References

 * <information about details related to archaeological discoveries--include citations--delete if not used>

Biographical References

 * <information about the author--always include>
 * <information about other textual references to important people--include citations--delete if not used>

Cultural References

 * <information and links to cultural references--include citations--delete if not used>

Ethical References

 * <information and links to ethical references--include citations--delete if not used>

Geographical References

 * <links to relevant maps--delete if not used>
 * <information relevant to geographical references--include citations--delete if not used>

Historical References

 * <information and links to historical references--include citations--delete if not used>

Mathematical References

 * <information and links to mathematical references--include citations--delete if not used>

Political References

 * <information and links to political references--include citations--delete if not used>

Religious References

 * <information and links to religious references--include citations--delete if not used>

Scientific References

 * <information and links to scientific references--include citations--delete if not used>

Column Two
Column Two teaching consists of coaching. This mode of instruction aims at helping students to form habitual skills in the language, scientific, and fine arts. Thus, a teacher must correct students as they practice listening, speaking, reading, writing, observing with the senses unaided, observing with the aid of scientific apparatus, measuring, estimating, calculating, and exercising dexterity in the musical and visual arts. Each of these arts in turn rely upon the aquisition of fine and gross motor, imagination, and memory skills. These rules for developing Paideia Unit Plans address teachers. For their counterpart written for students, see Paideia Learning Plan.

Column Two learning comprises 65% to 75% of scheduled learning time. It's chief charactaristic is student activity. Students must be practicing some skill or skills while the teacher corrects him or her. While athletic coaching is an obvious example of this type of instruction, debate coaching, directing a drama, art instruction, and piano lessons also represent coaching. In order to coach well, a teacher must have a repertoire of activities carefully designed to exercised desired skills. Additionally, the teacher must have a clear idea of how to correct the skills as students practice them to ensure their habitual formation.

Mnuemonic Skills
<consider this category for every unit>

Listening Skills

 * <links to additional quality recordings--include citations--delete if not used>
 * <information relevant to listening for grammatical, logical, rhetorical, poetical, and stylistic elements of the work--include citations--delete if not used>

Speaking Skills

 * <imitation of quality oral readings--should be a part of every unit>
 * <recitations from memory--should be some part of every unit>
 * <oral presentations of written work--should be a part of most units>
 * <class discussions--should be a part of every unit>
 * <recitation of the rules of reading from Adler's and Van Doren's How to Read a Book or similar rules>

Reading Skills

 * <read hard-copy with a pencil in hand--always!>
 * <marking up a text both with a pencil and electronically>
 * <inspectional reading notes as taught in Adler's and Van Doren's How to Read a Book>
 * <analytical reading notes as taught in the same work>

Writing Skills

 * <Choose phrases from text and express them in different ways>
 * <Reconstruct a previously disarranged passage from the text>
 * <Compose verses or lines in imitation of the author>
 * <Change a passage or poem of one kind into another kind>
 * <Imitate a passage>
 * <Write a composition imitating the author>
 * <Translate sentences or passages into Latin or another language>

Seminar Question Writing Guidelines
The following table serves to guide teachers in understanding the types of questions that guide good seminars and how to write them. Good seminars follow the general structure given by Mortimer Adler and Charles Van Doren in their classic How to Read a Book published by Simon & Schuster in 1972. Column one gives the four main questions that a demanding reader should ask of any book. These questions guide the types of questions and the purpose of each type used in good seminars. The last column serves to illustrate questions that might be asked of The Declaration of Independence, The Gettysburg Address, or Hamlet. This table could be easily adapted for any work of fine art like a painting or a musical score.

Specific Seminars
<Include written plans of actual seminars that have been conducted here.>

title: Paideia High School/Langston Hughes


text:
User:Bsimon21/enes100/myWork Wind Tunnel

''This is designed for a person working on a project for 4 weeks as part of a 3 credit class. Please copy this form to your user page. Then delete everything in italics when filling out this form.''

Write problem/project Goal
What is your wording of the overall problem/project goal?

The project goal is to create a wind tunnel.

My First Task
What are you going to do for the team this first weekend?

This weekend I am going to look up what specifically a wind tunnel is, and what measures can be taken so that the wind speed can be evaluated.

Summary of actual work over first weekend
How is what you did different than what you planned?

Week1 Narrative
Tell a detailed story describing what you did for your team over the weekend.

My Second Task
Record what you are planning on doing for the team during the second weekend.

Summary of actual work over second weekend
How is what you did different than what you planned?

Week2 Narrative
Tell a detailed story describing what you did for your team over the weekend.

My Third task
Record what you are planning on doing for the team during the third weekend.

Summary of actual work over third weekend
How is what you did different than what you planned?

Week3 Narrative
Tell a detailed story describing what you did for your team over the weekend.

My Fourth task
''Record what you are planning on doing for the team during the final weekend of project work. ''

Summary of actual work over fourth weekend
How is what you did different than what you planned?

Week4 Narrative
Tell a detailed story describing what you did for your team over the weekend.

Complete Team Page
Fill out the Team Form (should have already copied the form, created the team page, linked to it and started filling it out).


text:
User:Emspangler/enes100/Erika Work

Write problem/project Goal
What is your wording of the overall problem/project goal?

My First Task
What are you going to do for the team this first weekend?

Summary of actual work over first weekend
How is what you did different than what you planned?

Week1 Narrative
Tell a detailed story describing what you did for your team over the weekend.

My Second Task
Record what you are planning on doing for the team during the second weekend.

Summary of actual work over second weekend
How is what you did different than what you planned?

Week2 Narrative
Tell a detailed story describing what you did for your team over the weekend.

My Third task
Record what you are planning on doing for the team during the third weekend.

Summary of actual work over third weekend
How is what you did different than what you planned?

Week3 Narrative
Tell a detailed story describing what you did for your team over the weekend.

My Fourth task
''Record what you are planning on doing for the team during the final weekend of project work. ''

Summary of actual work over fourth weekend
How is what you did different than what you planned?

Week4 Narrative
Tell a detailed story describing what you did for your team over the weekend.

Complete Team Page
Fill out the Team Form (should have already copied the form, created the team page, linked to it and started filling it out).

title: User:Emspangler/enes100/Erika Work


text:
User:Emspangler/enes100/My Work P2

Write problem/project Goal
To be able to control water pumps with an arduino, to go off on my command.

My First Task
This weekend i want to look for a starting point to my project. I'm going to look into useable water pumps and relays; which were suggested to me by my professor. With this new knowledge i want to come up with a concept and then be able to design a controllable pump system.

http://www.youtube.com/watch?v=-EgGW6UpO-A

Summary of actual work over first weekend
How is what you did different than what you planned?

I wanted to design a actualy design a model, but i realize i need to start smaller with just a simple start and go of water. I was thinking about using a sprinkler and hack a timer to go off when i want it to.

Week1 Narrative
Tell a detailed story describing what you did for your team over the weekend.

My Second Task
Record what you are planning on doing for the team during the second weekend.

This week, i want to actually start planning with the physical pumps and timers so i can visually see how everything works. i want to find a pump i can use to pump water through a nozzel, and also be controlled by a timer that can be controlled by an arduino. A little complicated but this my new overall goal.

Summary of actual work over second weekend
Last week, i was still really confused, frustrated, stessed and my thoughts were all over the place. Instead of doing anything physical, i changed my plans completely. This week, I designed six water jets, all very different. From these designs, i can choose one and actually start building something. I feel like i'm finally on a good path.

Week2 Narrative
Over this week, I refocused myself and started designing my own versions of water jet systems. I came up with six different designs. I'm not an artist so I would rather keep my amateur drawings in my engineering notebook, however I can describe them for you.

Solenoid Push:
For this design, i would waterproof a box with solenoids inside. The solenoids would push rubber toppers out to cover the holes. The solenoids would go in and out based on how many volts i allow. During the first week, I analyzed the solenoid in the printer part and realized that the solenoid shot out at 12 V and stayed out; it came in with any charge under 12 V. With this knowledge, i can incorporate this in my Solenoid Push design.

Piano Water Jet:
This design is a little out there. I know in certain water shows, the water goes off to the beat of the music. With this design, I want the music to dictate when the water starts and stops mechanically. When the keys are pushed, a topper will shoot out over the hole and when the key is released, the topper will spring back in.

Pendulum Water Jet:
With this design, the swinging motion of a pendulum will be the force that starts and stops the water jet. The hanging part that swings needs to be sturdy enough to endure the pressure pushing up from the water. The hanging part that swings can have holes in it so there is more rapid starting and stopping. Also each individual hole can have it's own pendulum so the water show will be more random.

Spinning Water Jet:
With this design, either the sprinkler or a circular disc with cut out shapes would spin, allowing the water to shoot our whenever the sprinkler nozzles and cut out shapes align. The spinning platform will be attached to a DC motor where the speeds can be controlled, to give a more exciting show.

Tube Water Jet:
Similar to the Spinning Water Jet, this design will have a sprinkler mounted inside a rotating tube with cut out holes along the tube. A DC motor will controlled the rotating speed of the tube allowing myself to speed up or slow down.

Camera Water Jet:
So far all my designs are very mechanical, with this design, i would want something similar to camera shutter lens to sit on top of the nozzle holes, opening and closing when commanded. This design is not as well thought out as the others, but so far my favorite.

This are the six designs i came up with, but any suggestions or tweaks would help perfect this project.

My Third task
Now that I have a good starting point for this project, I plan to make a decision matrix to help me choose which one of my designs is the best based on what i think is important criteria. I will email this to my group so they can also give me their opinions. Once one design is picked, i want to start building it.

Summary of actual work over third weekend
"How is what you did different than what you planned?"

Week3 Narrative
Tell a detailed story describing what you did for your team over the weekend.

My Fourth task
''Record what you are planning on doing for the team during the final weekend of project work. ''

Summary of actual work over fourth weekend
Nothing really differed from what i planned to do, if anything, my ideas grew into better ones.

Week4 Narrative
Over this weekend, I identified the criteria i wanted to use to build my decision matrix. The criteria i came up with was...

1. to start and stop water fast

2. fastest way to command the water

3. to conserve water

4. simplest to build

5. low maintenance cost

Then i wanted to simplify my criteria to only the most important factors. I limited my criteria to...

1. fastest way to command the water

2. to conserve water

3. simplest to build

Based on my criteria, I then ranked my 6 designs from 1 to 6, 1 being the best and 6 the worst.

When it came to the "fastest way to command the water," this is how i ranked my designs...

1. tube water jet

2. spinning water jet

3. piano water jet

4. solenoid water jet

5. pendulum 1 water jet

6. pendulum 2 water jet

When it came to "conserving the most water," this is how i ranked my designs...

1. solenoid water jet

2. piano water jet

3. pendulum 1 water jet

4. pendulum 2 water jet

5. spinning water jet

6. tube water jet

Since i'm not using the water jets for any other purpose besides show, i could be wasting alot of water. I began to think of ways i could recycle the water after it's been shot from the sprinkler. I came up with this idea; under the sprinkler, i would want a baby pool or something that could catch and trap the water after it had been sprayed. Once the water is trapped, a sump pump would turn on and bring the water, through a hose back to the sprinkler system. I'm not sure with how much pressure the water would be delivered so i would want to also keep the sprinkler connected to a hose attached to a water supply. This is just one problem that i wanted to consider.

When it came to the "fastest way to control the water," this is how i ranked my designs...

1. tube water jet

2. spinning water jet

3. pendulum 2 water jet

4. pendulum 1 water jet

5. piano water jet

6. solenoid water jet

When ranking by designs based on this criteria, I wanted to think past just the stopping and starting the of water; which is how i was thinking when designing these water jets. With the tube water jet and the spinning water jet, i can see more of a future with these designs. The two water jets have the ability to increase and decrease the speed of their rotation and even move on the x, y, z plan. With the spinning water jet, i even thought i could add another rotating plate on top and have them spin in opposite directions.

With all the important criteria identified and my designs ranked, i made a decision matrix.

Based on my decision matrix, i can rank my designs from best to worst as...

1. tube water jet

2. spinning water jet

3. piano water jet

4. solenoid water jet

5. pendulum water jet

6. pendulum water jet

Complete Team Page
Team Page

title: User:Emspangler/enes100/My Work P2


text:
Paideia High School/The Odyssey

 is a Paideia Unit Plan. These guidelines address teachers for the purpose of guiding instruction. See Paideia Learning Plan for the student's point of view.

Column One
Column One teaching and learning should make up about 10% to 15% of the total scheduled instructional time. It is didactic in nature and uses teacher lectures, text books or other didactic instructional materials, and questioning appropriate to this mode of education. Teaching in this mode encompasses of three facets: Exoridium, Interpretation, and Erudition.

Exordium
The Exordium is the teacher's didactic introduction to the work that is the subject of a Paideia Unit Plan. This introduction consists of both an oral and physical (or electronic) presentation of the work. For longer works, the teacher may limit the oral presentation to key parts of the work. The teacher should read texts live distinctly, accurately, and intelligently. Other works should be orally presented similarly as appropriate to the type of work. In addition, the teacher should provide high quality audio and video recordings of works if possible. Students should have a consumable print copy of the work both electronically and in hard-copy if possible.

Oral Presentation

 *
 *

Written Presentation

 *
 *
 *

Interpretation
Textual Interpretation refers to the teacher's didactic analysis of a written work in terms of the four major questions a demanding reader should ask of a text. Using the term work instead of book, these questions are: (1) What is the text about as a whole? (2) What is being said in detail, and how? (3) Is the text true, in whole or part? and (4) What of it? The Exordium begins to answer the first question because it introduces the whole text both orally and in writing (although the oral presentation may be limited in the case of longer works). It is in the Interpretation stage of Column One instruction that the teacher didactically begins to thoroughly unlock the second question. The third and fourth questions are relevant to Interpretation, but question two receives most of the teacher's attention. It is only when the student begins Column Two activities that a fuller grasp of questions three and four begins to mature in the student's mind. Consistent with the purpose of Column One instruction, the teacher is simply introducing elements of proper interpretation for the student to build on during Column Two and Column Three learning.

These questions can be appropriately modified for analysis of a work in science, mathematics, or the fine arts. Analysis of these types of works proceeds in a manner analagous to that of a text. Inasmuch as imaginative literature can be considered a work of fine art, the analogies drawn in Adler's and Van Doren's How to Read a Book can serve as a guide to other types of works too.

Interpretation of  or
In textual interpretation, the teacher didactically presents the author's key terms in the stage of Interpretation of Words and Terms. In addition, the teacher anticipates unfamiliar general vocabulary. These words and terms are given didactically, either orally or in writing, or both, but the task of interpreting is a Column Two skill of learning that the teacher must coach. Consequently, the purpose of this Column One stage is merely to point out key terms and potentially unfamiliar terms. The student must learn how to interpret. Again, this planning can be adapted to other kinds of works.

Interpretation of Key Terms
The key terms are those few words or phrases the author uses in unique, special, or important ways. . In the Column Two stage, students are coached both to find these key terms and to "unlock" them on their own. This skill is essential to analytical reading. In this Column One stage, however, the teacher points out a list of such terms. Students should understand that this listing is not necessarily exhaustive. In addition, the teacher provides students with a handful of these terms worked out in detail for consideration; it should consist of about three to five terms.
 *
 *
 *

General Vocabulary
The teacher may anticipate general unfamiliar vocabulary and point out the more difficult words either orally or in writing or both. However, defining words using context, a dictionary, or a knowlegable friend or adult (including the teacher) is a Column Two skill that must be coached. Teachers must help students build good habits of knowing the meanings of words. Dictionaries, in both electronic and book form must be available, and students must be taught how to use them. They must also be taught how to ask for definitions--a perfectly acceptible life skill commonly used by demanding readers!

 *
 *
 *

Note: If the teacher points out words in anticipation of their potential difficulty, this should be done in context by giving citations or electronically highlighting the words.

Interpretation of Sentences
One point of didactic interpretation at the level of interpreting sentences is to use grammar to get at the author's meaning. As with interpreting words and terms, this level of interpretation is also a Column Two skill that must be coached. Consequently, at the Column One didactic level, a teacher should choose a handful of the most difficult sentences in the text for demonstration. The teacher will always unlock the grammar of a few important and more difficult sentences for students independent of whether these sentences are key premeses to an argument. As appropriate to the text, a teacher should also consider demonstrating the grammar of sentences that work together as propositions in the author's most important arguments.

Another important point is to demonstrate the meter and prosody in both poetry and prose texts. This aim is in great danger of being completely overlooked or forgotten in a world where oral reading is not nearly as common as it once was. Nevertheless, great speechs often succeed in part because the author understands prosody. Lincoln's Gettysburg Address and King's I Have a Dream serve as striking examples. The teacher should select sentences or versus to demonstrate both meter and rhythm.

 * :
 * <Second Sentence>: <etc.>
 * <Third Sentence>: <explanation of meter and rhythm, consideration of overall prosody>
 * <Fourth Sentence>: <etc.>

Interpretation of Passages
At the level of passages, the full trivium (grammar, logic, and rhetoric) come into play. First, a teacher should choose one or two of the author's most important arguments for a demonstration of how to use logic as a key to interpreting a text. Next, the teacher should select several passages to demonstrate how they conform (or not) to rhetorical, poetical, and sylistic rules. These rules, of course, must be didactically taught as prerequisites to interpretation of texts.

 * <Argument>: <demonstration of both the grammar of the sentences comprising premeses and of the concluding proposition along with the logic of the argument followed by an explanation of how the arguments help to unravel the author's meaning>
 * <Passage Illustrating Rhetorical Rules>: <demonstration of the rhetorical rules and their value in the success of the author's purpose>
 * <Passage Illustrating Poetical Rules>: <demonstration of the poetical rules and their value in the success of the author's purpose>
 * <Passage Illustration Stylistic Rules>: <demonstration of the stylistic rules and their value in the success of the author's purpose>

Erudition
Erudition refers to all manner of background information assumed by or necessary to understanding or fully appreciating the text.

<Note that these categories are presented alphabetically for ease of organization>

Anthropological References

 * <information relevant to anthropological issues and discoveries--include citations--delete if not used>

Antiquarian References

 * <information about references to things no longer commonly understood because of their situation in ages past--include citations--delete if not used>

Archaeological References

 * <information about details related to archaeological discoveries--include citations--delete if not used>

Biographical References

 * <information about the author--always include>
 * <information about other textual references to important people--include citations--delete if not used>

Cultural References

 * <information and links to cultural references--include citations--delete if not used>

Ethical References

 * <information and links to ethical references--include citations--delete if not used>

Geographical References

 * <links to relevant maps--delete if not used>
 * <information relevant to geographical references--include citations--delete if not used>

Historical References

 * <information and links to historical references--include citations--delete if not used>

Mathematical References

 * <information and links to mathematical references--include citations--delete if not used>

Political References

 * <information and links to political references--include citations--delete if not used>

Religious References

 * <information and links to religious references--include citations--delete if not used>

Scientific References

 * <information and links to scientific references--include citations--delete if not used>

Column Two
Column Two teaching consists of coaching. This mode of instruction aims at helping students to form habitual skills in the language, scientific, and fine arts. Thus, a teacher must correct students as they practice listening, speaking, reading, writing, observing with the senses unaided, observing with the aid of scientific apparatus, measuring, estimating, calculating, and exercising dexterity in the musical and visual arts. Each of these arts in turn rely upon the aquisition of fine and gross motor, imagination, and memory skills. These rules for developing Paideia Unit Plans address teachers. For their counterpart written for students, see Paideia Learning Plan.

Column Two learning comprises 65% to 75% of scheduled learning time. It's chief charactaristic is student activity. Students must be practicing some skill or skills while the teacher corrects him or her. While athletic coaching is an obvious example of this type of instruction, debate coaching, directing a drama, art instruction, and piano lessons also represent coaching. In order to coach well, a teacher must have a repertoire of activities carefully designed to exercised desired skills. Additionally, the teacher must have a clear idea of how to correct the skills as students practice them to ensure their habitual formation.

Mnuemonic Skills
<consider this category for every unit>

Listening Skills

 * <links to additional quality recordings--include citations--delete if not used>
 * <information relevant to listening for grammatical, logical, rhetorical, poetical, and stylistic elements of the work--include citations--delete if not used>

Speaking Skills

 * <imitation of quality oral readings--should be a part of every unit>
 * <recitations from memory--should be some part of every unit>
 * <oral presentations of written work--should be a part of most units>
 * <class discussions--should be a part of every unit>
 * <recitation of the rules of reading from Adler's and Van Doren's How to Read a Book or similar rules>

Reading Skills

 * <read hard-copy with a pencil in hand--always!>
 * <marking up a text both with a pencil and electronically>
 * <inspectional reading notes as taught in Adler's and Van Doren's How to Read a Book>
 * <analytical reading notes as taught in the same work>

Writing Skills

 * <Choose phrases from text and express them in different ways>
 * <Reconstruct a previously disarranged passage from the text>
 * <Compose verses or lines in imitation of the author>
 * <Change a passage or poem of one kind into another kind>
 * <Imitate a passage>
 * <Write a composition imitating the author>
 * <Translate sentences or passages into Latin or another language>

Seminar Question Writing Guidelines
The following table serves to guide teachers in understanding the types of questions that guide good seminars and how to write them. Good seminars follow the general structure given by Mortimer Adler and Charles Van Doren in their classic How to Read a Book published by Simon & Schuster in 1972. Column one gives the four main questions that a demanding reader should ask of any book. These questions guide the types of questions and the purpose of each type used in good seminars. The last column serves to illustrate questions that might be asked of The Declaration of Independence, The Gettysburg Address, or Hamlet. This table could be easily adapted for any work of fine art like a painting or a musical score.

Specific Seminars
<Include written plans of actual seminars that have been conducted here.>

title: Paideia High School/The Odyssey


text:
Paideia High School/Taming of the Shrew

 is a Paideia Unit Plan. These guidelines address teachers for the purpose of guiding instruction. See Paideia Learning Plan for the student's point of view.

Column One
Column One teaching and learning should make up about 10% to 15% of the total scheduled instructional time. It is didactic in nature and uses teacher lectures, text books or other didactic instructional materials, and questioning appropriate to this mode of education. Teaching in this mode encompasses of three facets: Exoridium, Interpretation, and Erudition.

Exordium
The Exordium is the teacher's didactic introduction to the work that is the subject of a Paideia Unit Plan. This introduction consists of both an oral and physical (or electronic) presentation of the work. For longer works, the teacher may limit the oral presentation to key parts of the work. The teacher should read texts live distinctly, accurately, and intelligently. Other works should be orally presented similarly as appropriate to the type of work. In addition, the teacher should provide high quality audio and video recordings of works if possible. Students should have a consumable print copy of the work both electronically and in hard-copy if possible.

Oral Presentation

 *
 *

Written Presentation

 *
 *
 *

Interpretation
Textual Interpretation refers to the teacher's didactic analysis of a written work in terms of the four major questions a demanding reader should ask of a text. Using the term work instead of book, these questions are: (1) What is the text about as a whole? (2) What is being said in detail, and how? (3) Is the text true, in whole or part? and (4) What of it? The Exordium begins to answer the first question because it introduces the whole text both orally and in writing (although the oral presentation may be limited in the case of longer works). It is in the Interpretation stage of Column One instruction that the teacher didactically begins to thoroughly unlock the second question. The third and fourth questions are relevant to Interpretation, but question two receives most of the teacher's attention. It is only when the student begins Column Two activities that a fuller grasp of questions three and four begins to mature in the student's mind. Consistent with the purpose of Column One instruction, the teacher is simply introducing elements of proper interpretation for the student to build on during Column Two and Column Three learning.

These questions can be appropriately modified for analysis of a work in science, mathematics, or the fine arts. Analysis of these types of works proceeds in a manner analagous to that of a text. Inasmuch as imaginative literature can be considered a work of fine art, the analogies drawn in Adler's and Van Doren's How to Read a Book can serve as a guide to other types of works too.

Interpretation of  or
In textual interpretation, the teacher didactically presents the author's key terms in the stage of Interpretation of Words and Terms. In addition, the teacher anticipates unfamiliar general vocabulary. These words and terms are given didactically, either orally or in writing, or both, but the task of interpreting is a Column Two skill of learning that the teacher must coach. Consequently, the purpose of this Column One stage is merely to point out key terms and potentially unfamiliar terms. The student must learn how to interpret. Again, this planning can be adapted to other kinds of works.

Interpretation of Key Terms
The key terms are those few words or phrases the author uses in unique, special, or important ways. . In the Column Two stage, students are coached both to find these key terms and to "unlock" them on their own. This skill is essential to analytical reading. In this Column One stage, however, the teacher points out a list of such terms. Students should understand that this listing is not necessarily exhaustive. In addition, the teacher provides students with a handful of these terms worked out in detail for consideration; it should consist of about three to five terms.
 *
 *
 *

General Vocabulary
The teacher may anticipate general unfamiliar vocabulary and point out the more difficult words either orally or in writing or both. However, defining words using context, a dictionary, or a knowlegable friend or adult (including the teacher) is a Column Two skill that must be coached. Teachers must help students build good habits of knowing the meanings of words. Dictionaries, in both electronic and book form must be available, and students must be taught how to use them. They must also be taught how to ask for definitions--a perfectly acceptible life skill commonly used by demanding readers!

 *
 *
 *

Note: If the teacher points out words in anticipation of their potential difficulty, this should be done in context by giving citations or electronically highlighting the words.

Interpretation of Sentences
One point of didactic interpretation at the level of interpreting sentences is to use grammar to get at the author's meaning. As with interpreting words and terms, this level of interpretation is also a Column Two skill that must be coached. Consequently, at the Column One didactic level, a teacher should choose a handful of the most difficult sentences in the text for demonstration. The teacher will always unlock the grammar of a few important and more difficult sentences for students independent of whether these sentences are key premeses to an argument. As appropriate to the text, a teacher should also consider demonstrating the grammar of sentences that work together as propositions in the author's most important arguments.

Another important point is to demonstrate the meter and prosody in both poetry and prose texts. This aim is in great danger of being completely overlooked or forgotten in a world where oral reading is not nearly as common as it once was. Nevertheless, great speechs often succeed in part because the author understands prosody. Lincoln's Gettysburg Address and King's I Have a Dream serve as striking examples. The teacher should select sentences or versus to demonstrate both meter and rhythm.

 * :
 * <Second Sentence>: <etc.>
 * <Third Sentence>: <explanation of meter and rhythm, consideration of overall prosody>
 * <Fourth Sentence>: <etc.>

Interpretation of Passages
At the level of passages, the full trivium (grammar, logic, and rhetoric) come into play. First, a teacher should choose one or two of the author's most important arguments for a demonstration of how to use logic as a key to interpreting a text. Next, the teacher should select several passages to demonstrate how they conform (or not) to rhetorical, poetical, and sylistic rules. These rules, of course, must be didactically taught as prerequisites to interpretation of texts.

 * <Argument>: <demonstration of both the grammar of the sentences comprising premeses and of the concluding proposition along with the logic of the argument followed by an explanation of how the arguments help to unravel the author's meaning>
 * <Passage Illustrating Rhetorical Rules>: <demonstration of the rhetorical rules and their value in the success of the author's purpose>
 * <Passage Illustrating Poetical Rules>: <demonstration of the poetical rules and their value in the success of the author's purpose>
 * <Passage Illustration Stylistic Rules>: <demonstration of the stylistic rules and their value in the success of the author's purpose>

Erudition
Erudition refers to all manner of background information assumed by or necessary to understanding or fully appreciating the text.

<Note that these categories are presented alphabetically for ease of organization>

Anthropological References

 * <information relevant to anthropological issues and discoveries--include citations--delete if not used>

Antiquarian References

 * <information about references to things no longer commonly understood because of their situation in ages past--include citations--delete if not used>

Archaeological References

 * <information about details related to archaeological discoveries--include citations--delete if not used>

Biographical References

 * <information about the author--always include>
 * <information about other textual references to important people--include citations--delete if not used>

Cultural References

 * <information and links to cultural references--include citations--delete if not used>

Ethical References

 * <information and links to ethical references--include citations--delete if not used>

Geographical References

 * <links to relevant maps--delete if not used>
 * <information relevant to geographical references--include citations--delete if not used>

Historical References

 * <information and links to historical references--include citations--delete if not used>

Mathematical References

 * <information and links to mathematical references--include citations--delete if not used>

Political References

 * <information and links to political references--include citations--delete if not used>

Religious References

 * <information and links to religious references--include citations--delete if not used>

Scientific References

 * <information and links to scientific references--include citations--delete if not used>

Column Two
Column Two teaching consists of coaching. This mode of instruction aims at helping students to form habitual skills in the language, scientific, and fine arts. Thus, a teacher must correct students as they practice listening, speaking, reading, writing, observing with the senses unaided, observing with the aid of scientific apparatus, measuring, estimating, calculating, and exercising dexterity in the musical and visual arts. Each of these arts in turn rely upon the aquisition of fine and gross motor, imagination, and memory skills. These rules for developing Paideia Unit Plans address teachers. For their counterpart written for students, see Paideia Learning Plan.

Column Two learning comprises 65% to 75% of scheduled learning time. It's chief charactaristic is student activity. Students must be practicing some skill or skills while the teacher corrects him or her. While athletic coaching is an obvious example of this type of instruction, debate coaching, directing a drama, art instruction, and piano lessons also represent coaching. In order to coach well, a teacher must have a repertoire of activities carefully designed to exercised desired skills. Additionally, the teacher must have a clear idea of how to correct the skills as students practice them to ensure their habitual formation.

Mnuemonic Skills
<consider this category for every unit>

Listening Skills

 * <links to additional quality recordings--include citations--delete if not used>
 * <information relevant to listening for grammatical, logical, rhetorical, poetical, and stylistic elements of the work--include citations--delete if not used>

Speaking Skills

 * <imitation of quality oral readings--should be a part of every unit>
 * <recitations from memory--should be some part of every unit>
 * <oral presentations of written work--should be a part of most units>
 * <class discussions--should be a part of every unit>
 * <recitation of the rules of reading from Adler's and Van Doren's How to Read a Book or similar rules>

Reading Skills

 * <read hard-copy with a pencil in hand--always!>
 * <marking up a text both with a pencil and electronically>
 * <inspectional reading notes as taught in Adler's and Van Doren's How to Read a Book>
 * <analytical reading notes as taught in the same work>

Writing Skills

 * <Choose phrases from text and express them in different ways>
 * <Reconstruct a previously disarranged passage from the text>
 * <Compose verses or lines in imitation of the author>
 * <Change a passage or poem of one kind into another kind>
 * <Imitate a passage>
 * <Write a composition imitating the author>
 * <Translate sentences or passages into Latin or another language>

Seminar Question Writing Guidelines
The following table serves to guide teachers in understanding the types of questions that guide good seminars and how to write them. Good seminars follow the general structure given by Mortimer Adler and Charles Van Doren in their classic How to Read a Book published by Simon & Schuster in 1972. Column one gives the four main questions that a demanding reader should ask of any book. These questions guide the types of questions and the purpose of each type used in good seminars. The last column serves to illustrate questions that might be asked of The Declaration of Independence, The Gettysburg Address, or Hamlet. This table could be easily adapted for any work of fine art like a painting or a musical score.

Specific Seminars
<Include written plans of actual seminars that have been conducted here.>

title: Paideia High School/Taming of the Shrew


text:
Paideia High School/Plutarch Lives Alexander the Great

 is a Paideia Unit Plan. These guidelines address teachers for the purpose of guiding instruction. See Paideia Learning Plan for the student's point of view.

Column One
Column One teaching and learning should make up about 10% to 15% of the total scheduled instructional time. It is didactic in nature and uses teacher lectures, text books or other didactic instructional materials, and questioning appropriate to this mode of education. Teaching in this mode encompasses of three facets: Exoridium, Interpretation, and Erudition.

Exordium
The Exordium is the teacher's didactic introduction to the work that is the subject of a Paideia Unit Plan. This introduction consists of both an oral and physical (or electronic) presentation of the work. For longer works, the teacher may limit the oral presentation to key parts of the work. The teacher should read texts live distinctly, accurately, and intelligently. Other works should be orally presented similarly as appropriate to the type of work. In addition, the teacher should provide high quality audio and video recordings of works if possible. Students should have a consumable print copy of the work both electronically and in hard-copy if possible.

Oral Presentation

 *
 *

Written Presentation

 *
 *
 *

Interpretation
Textual Interpretation refers to the teacher's didactic analysis of a written work in terms of the four major questions a demanding reader should ask of a text. Using the term work instead of book, these questions are: (1) What is the text about as a whole? (2) What is being said in detail, and how? (3) Is the text true, in whole or part? and (4) What of it? The Exordium begins to answer the first question because it introduces the whole text both orally and in writing (although the oral presentation may be limited in the case of longer works). It is in the Interpretation stage of Column One instruction that the teacher didactically begins to thoroughly unlock the second question. The third and fourth questions are relevant to Interpretation, but question two receives most of the teacher's attention. It is only when the student begins Column Two activities that a fuller grasp of questions three and four begins to mature in the student's mind. Consistent with the purpose of Column One instruction, the teacher is simply introducing elements of proper interpretation for the student to build on during Column Two and Column Three learning.

These questions can be appropriately modified for analysis of a work in science, mathematics, or the fine arts. Analysis of these types of works proceeds in a manner analagous to that of a text. Inasmuch as imaginative literature can be considered a work of fine art, the analogies drawn in Adler's and Van Doren's How to Read a Book can serve as a guide to other types of works too.

Interpretation of  or
In textual interpretation, the teacher didactically presents the author's key terms in the stage of Interpretation of Words and Terms. In addition, the teacher anticipates unfamiliar general vocabulary. These words and terms are given didactically, either orally or in writing, or both, but the task of interpreting is a Column Two skill of learning that the teacher must coach. Consequently, the purpose of this Column One stage is merely to point out key terms and potentially unfamiliar terms. The student must learn how to interpret. Again, this planning can be adapted to other kinds of works.

Interpretation of Key Terms
The key terms are those few words or phrases the author uses in unique, special, or important ways. . In the Column Two stage, students are coached both to find these key terms and to "unlock" them on their own. This skill is essential to analytical reading. In this Column One stage, however, the teacher points out a list of such terms. Students should understand that this listing is not necessarily exhaustive. In addition, the teacher provides students with a handful of these terms worked out in detail for consideration; it should consist of about three to five terms.
 *
 *
 *

General Vocabulary
The teacher may anticipate general unfamiliar vocabulary and point out the more difficult words either orally or in writing or both. However, defining words using context, a dictionary, or a knowlegable friend or adult (including the teacher) is a Column Two skill that must be coached. Teachers must help students build good habits of knowing the meanings of words. Dictionaries, in both electronic and book form must be available, and students must be taught how to use them. They must also be taught how to ask for definitions--a perfectly acceptible life skill commonly used by demanding readers!

 *
 *
 *

Note: If the teacher points out words in anticipation of their potential difficulty, this should be done in context by giving citations or electronically highlighting the words.

Interpretation of Sentences
One point of didactic interpretation at the level of interpreting sentences is to use grammar to get at the author's meaning. As with interpreting words and terms, this level of interpretation is also a Column Two skill that must be coached. Consequently, at the Column One didactic level, a teacher should choose a handful of the most difficult sentences in the text for demonstration. The teacher will always unlock the grammar of a few important and more difficult sentences for students independent of whether these sentences are key premeses to an argument. As appropriate to the text, a teacher should also consider demonstrating the grammar of sentences that work together as propositions in the author's most important arguments.

Another important point is to demonstrate the meter and prosody in both poetry and prose texts. This aim is in great danger of being completely overlooked or forgotten in a world where oral reading is not nearly as common as it once was. Nevertheless, great speechs often succeed in part because the author understands prosody. Lincoln's Gettysburg Address and King's I Have a Dream serve as striking examples. The teacher should select sentences or versus to demonstrate both meter and rhythm.

 * :
 * <Second Sentence>: <etc.>
 * <Third Sentence>: <explanation of meter and rhythm, consideration of overall prosody>
 * <Fourth Sentence>: <etc.>

Interpretation of Passages
At the level of passages, the full trivium (grammar, logic, and rhetoric) come into play. First, a teacher should choose one or two of the author's most important arguments for a demonstration of how to use logic as a key to interpreting a text. Next, the teacher should select several passages to demonstrate how they conform (or not) to rhetorical, poetical, and sylistic rules. These rules, of course, must be didactically taught as prerequisites to interpretation of texts.

 * <Argument>: <demonstration of both the grammar of the sentences comprising premeses and of the concluding proposition along with the logic of the argument followed by an explanation of how the arguments help to unravel the author's meaning>
 * <Passage Illustrating Rhetorical Rules>: <demonstration of the rhetorical rules and their value in the success of the author's purpose>
 * <Passage Illustrating Poetical Rules>: <demonstration of the poetical rules and their value in the success of the author's purpose>
 * <Passage Illustration Stylistic Rules>: <demonstration of the stylistic rules and their value in the success of the author's purpose>

Erudition
Erudition refers to all manner of background information assumed by or necessary to understanding or fully appreciating the text.

<Note that these categories are presented alphabetically for ease of organization>

Anthropological References

 * <information relevant to anthropological issues and discoveries--include citations--delete if not used>

Antiquarian References

 * <information about references to things no longer commonly understood because of their situation in ages past--include citations--delete if not used>

Archaeological References

 * <information about details related to archaeological discoveries--include citations--delete if not used>

Biographical References

 * <information about the author--always include>
 * <information about other textual references to important people--include citations--delete if not used>

Cultural References

 * <information and links to cultural references--include citations--delete if not used>

Ethical References

 * <information and links to ethical references--include citations--delete if not used>

Geographical References

 * <links to relevant maps--delete if not used>
 * <information relevant to geographical references--include citations--delete if not used>

Historical References

 * <information and links to historical references--include citations--delete if not used>

Mathematical References

 * <information and links to mathematical references--include citations--delete if not used>

Political References

 * <information and links to political references--include citations--delete if not used>

Religious References

 * <information and links to religious references--include citations--delete if not used>

Scientific References

 * <information and links to scientific references--include citations--delete if not used>

Column Two
Column Two teaching consists of coaching. This mode of instruction aims at helping students to form habitual skills in the language, scientific, and fine arts. Thus, a teacher must correct students as they practice listening, speaking, reading, writing, observing with the senses unaided, observing with the aid of scientific apparatus, measuring, estimating, calculating, and exercising dexterity in the musical and visual arts. Each of these arts in turn rely upon the aquisition of fine and gross motor, imagination, and memory skills. These rules for developing Paideia Unit Plans address teachers. For their counterpart written for students, see Paideia Learning Plan.

Column Two learning comprises 65% to 75% of scheduled learning time. It's chief charactaristic is student activity. Students must be practicing some skill or skills while the teacher corrects him or her. While athletic coaching is an obvious example of this type of instruction, debate coaching, directing a drama, art instruction, and piano lessons also represent coaching. In order to coach well, a teacher must have a repertoire of activities carefully designed to exercised desired skills. Additionally, the teacher must have a clear idea of how to correct the skills as students practice them to ensure their habitual formation.

Mnuemonic Skills
<consider this category for every unit>

Listening Skills

 * <links to additional quality recordings--include citations--delete if not used>
 * <information relevant to listening for grammatical, logical, rhetorical, poetical, and stylistic elements of the work--include citations--delete if not used>

Speaking Skills

 * <imitation of quality oral readings--should be a part of every unit>
 * <recitations from memory--should be some part of every unit>
 * <oral presentations of written work--should be a part of most units>
 * <class discussions--should be a part of every unit>
 * <recitation of the rules of reading from Adler's and Van Doren's How to Read a Book or similar rules>

Reading Skills

 * <read hard-copy with a pencil in hand--always!>
 * <marking up a text both with a pencil and electronically>
 * <inspectional reading notes as taught in Adler's and Van Doren's How to Read a Book>
 * <analytical reading notes as taught in the same work>

Writing Skills

 * <Choose phrases from text and express them in different ways>
 * <Reconstruct a previously disarranged passage from the text>
 * <Compose verses or lines in imitation of the author>
 * <Change a passage or poem of one kind into another kind>
 * <Imitate a passage>
 * <Write a composition imitating the author>
 * <Translate sentences or passages into Latin or another language>

Seminar Question Writing Guidelines
The following table serves to guide teachers in understanding the types of questions that guide good seminars and how to write them. Good seminars follow the general structure given by Mortimer Adler and Charles Van Doren in their classic How to Read a Book published by Simon & Schuster in 1972. Column one gives the four main questions that a demanding reader should ask of any book. These questions guide the types of questions and the purpose of each type used in good seminars. The last column serves to illustrate questions that might be asked of The Declaration of Independence, The Gettysburg Address, or Hamlet. This table could be easily adapted for any work of fine art like a painting or a musical score.

Specific Seminars
<Include written plans of actual seminars that have been conducted here.>


text:
Paideia High School/Plutarch Lives Caesar

 is a Paideia Unit Plan. These guidelines address teachers for the purpose of guiding instruction. See Paideia Learning Plan for the student's point of view.

Column One
Column One teaching and learning should make up about 10% to 15% of the total scheduled instructional time. It is didactic in nature and uses teacher lectures, text books or other didactic instructional materials, and questioning appropriate to this mode of education. Teaching in this mode encompasses of three facets: Exoridium, Interpretation, and Erudition.

Exordium
The Exordium is the teacher's didactic introduction to the work that is the subject of a Paideia Unit Plan. This introduction consists of both an oral and physical (or electronic) presentation of the work. For longer works, the teacher may limit the oral presentation to key parts of the work. The teacher should read texts live distinctly, accurately, and intelligently. Other works should be orally presented similarly as appropriate to the type of work. In addition, the teacher should provide high quality audio and video recordings of works if possible. Students should have a consumable print copy of the work both electronically and in hard-copy if possible.

Oral Presentation

 *
 *

Written Presentation

 *
 *
 *

Interpretation
Textual Interpretation refers to the teacher's didactic analysis of a written work in terms of the four major questions a demanding reader should ask of a text. Using the term work instead of book, these questions are: (1) What is the text about as a whole? (2) What is being said in detail, and how? (3) Is the text true, in whole or part? and (4) What of it? The Exordium begins to answer the first question because it introduces the whole text both orally and in writing (although the oral presentation may be limited in the case of longer works). It is in the Interpretation stage of Column One instruction that the teacher didactically begins to thoroughly unlock the second question. The third and fourth questions are relevant to Interpretation, but question two receives most of the teacher's attention. It is only when the student begins Column Two activities that a fuller grasp of questions three and four begins to mature in the student's mind. Consistent with the purpose of Column One instruction, the teacher is simply introducing elements of proper interpretation for the student to build on during Column Two and Column Three learning.

These questions can be appropriately modified for analysis of a work in science, mathematics, or the fine arts. Analysis of these types of works proceeds in a manner analagous to that of a text. Inasmuch as imaginative literature can be considered a work of fine art, the analogies drawn in Adler's and Van Doren's How to Read a Book can serve as a guide to other types of works too.

Interpretation of  or
In textual interpretation, the teacher didactically presents the author's key terms in the stage of Interpretation of Words and Terms. In addition, the teacher anticipates unfamiliar general vocabulary. These words and terms are given didactically, either orally or in writing, or both, but the task of interpreting is a Column Two skill of learning that the teacher must coach. Consequently, the purpose of this Column One stage is merely to point out key terms and potentially unfamiliar terms. The student must learn how to interpret. Again, this planning can be adapted to other kinds of works.

Interpretation of Key Terms
The key terms are those few words or phrases the author uses in unique, special, or important ways. . In the Column Two stage, students are coached both to find these key terms and to "unlock" them on their own. This skill is essential to analytical reading. In this Column One stage, however, the teacher points out a list of such terms. Students should understand that this listing is not necessarily exhaustive. In addition, the teacher provides students with a handful of these terms worked out in detail for consideration; it should consist of about three to five terms.
 *
 *
 *

General Vocabulary
The teacher may anticipate general unfamiliar vocabulary and point out the more difficult words either orally or in writing or both. However, defining words using context, a dictionary, or a knowlegable friend or adult (including the teacher) is a Column Two skill that must be coached. Teachers must help students build good habits of knowing the meanings of words. Dictionaries, in both electronic and book form must be available, and students must be taught how to use them. They must also be taught how to ask for definitions--a perfectly acceptible life skill commonly used by demanding readers!

 *
 *
 *

Note: If the teacher points out words in anticipation of their potential difficulty, this should be done in context by giving citations or electronically highlighting the words.

Interpretation of Sentences
One point of didactic interpretation at the level of interpreting sentences is to use grammar to get at the author's meaning. As with interpreting words and terms, this level of interpretation is also a Column Two skill that must be coached. Consequently, at the Column One didactic level, a teacher should choose a handful of the most difficult sentences in the text for demonstration. The teacher will always unlock the grammar of a few important and more difficult sentences for students independent of whether these sentences are key premeses to an argument. As appropriate to the text, a teacher should also consider demonstrating the grammar of sentences that work together as propositions in the author's most important arguments.

Another important point is to demonstrate the meter and prosody in both poetry and prose texts. This aim is in great danger of being completely overlooked or forgotten in a world where oral reading is not nearly as common as it once was. Nevertheless, great speechs often succeed in part because the author understands prosody. Lincoln's Gettysburg Address and King's I Have a Dream serve as striking examples. The teacher should select sentences or versus to demonstrate both meter and rhythm.

 * :
 * <Second Sentence>: <etc.>
 * <Third Sentence>: <explanation of meter and rhythm, consideration of overall prosody>
 * <Fourth Sentence>: <etc.>

Interpretation of Passages
At the level of passages, the full trivium (grammar, logic, and rhetoric) come into play. First, a teacher should choose one or two of the author's most important arguments for a demonstration of how to use logic as a key to interpreting a text. Next, the teacher should select several passages to demonstrate how they conform (or not) to rhetorical, poetical, and sylistic rules. These rules, of course, must be didactically taught as prerequisites to interpretation of texts.

 * <Argument>: <demonstration of both the grammar of the sentences comprising premeses and of the concluding proposition along with the logic of the argument followed by an explanation of how the arguments help to unravel the author's meaning>
 * <Passage Illustrating Rhetorical Rules>: <demonstration of the rhetorical rules and their value in the success of the author's purpose>
 * <Passage Illustrating Poetical Rules>: <demonstration of the poetical rules and their value in the success of the author's purpose>
 * <Passage Illustration Stylistic Rules>: <demonstration of the stylistic rules and their value in the success of the author's purpose>

Erudition
Erudition refers to all manner of background information assumed by or necessary to understanding or fully appreciating the text.

<Note that these categories are presented alphabetically for ease of organization>

Anthropological References

 * <information relevant to anthropological issues and discoveries--include citations--delete if not used>

Antiquarian References

 * <information about references to things no longer commonly understood because of their situation in ages past--include citations--delete if not used>

Archaeological References

 * <information about details related to archaeological discoveries--include citations--delete if not used>

Biographical References

 * <information about the author--always include>
 * <information about other textual references to important people--include citations--delete if not used>

Cultural References

 * <information and links to cultural references--include citations--delete if not used>

Ethical References

 * <information and links to ethical references--include citations--delete if not used>

Geographical References

 * <links to relevant maps--delete if not used>
 * <information relevant to geographical references--include citations--delete if not used>

Historical References

 * <information and links to historical references--include citations--delete if not used>

Mathematical References

 * <information and links to mathematical references--include citations--delete if not used>

Political References

 * <information and links to political references--include citations--delete if not used>

Religious References

 * <information and links to religious references--include citations--delete if not used>

Scientific References

 * <information and links to scientific references--include citations--delete if not used>

Column Two
Column Two teaching consists of coaching. This mode of instruction aims at helping students to form habitual skills in the language, scientific, and fine arts. Thus, a teacher must correct students as they practice listening, speaking, reading, writing, observing with the senses unaided, observing with the aid of scientific apparatus, measuring, estimating, calculating, and exercising dexterity in the musical and visual arts. Each of these arts in turn rely upon the aquisition of fine and gross motor, imagination, and memory skills. These rules for developing Paideia Unit Plans address teachers. For their counterpart written for students, see Paideia Learning Plan.

Column Two learning comprises 65% to 75% of scheduled learning time. It's chief charactaristic is student activity. Students must be practicing some skill or skills while the teacher corrects him or her. While athletic coaching is an obvious example of this type of instruction, debate coaching, directing a drama, art instruction, and piano lessons also represent coaching. In order to coach well, a teacher must have a repertoire of activities carefully designed to exercised desired skills. Additionally, the teacher must have a clear idea of how to correct the skills as students practice them to ensure their habitual formation.

Mnuemonic Skills
<consider this category for every unit>

Listening Skills

 * <links to additional quality recordings--include citations--delete if not used>
 * <information relevant to listening for grammatical, logical, rhetorical, poetical, and stylistic elements of the work--include citations--delete if not used>

Speaking Skills

 * <imitation of quality oral readings--should be a part of every unit>
 * <recitations from memory--should be some part of every unit>
 * <oral presentations of written work--should be a part of most units>
 * <class discussions--should be a part of every unit>
 * <recitation of the rules of reading from Adler's and Van Doren's How to Read a Book or similar rules>

Reading Skills

 * <read hard-copy with a pencil in hand--always!>
 * <marking up a text both with a pencil and electronically>
 * <inspectional reading notes as taught in Adler's and Van Doren's How to Read a Book>
 * <analytical reading notes as taught in the same work>

Writing Skills

 * <Choose phrases from text and express them in different ways>
 * <Reconstruct a previously disarranged passage from the text>
 * <Compose verses or lines in imitation of the author>
 * <Change a passage or poem of one kind into another kind>
 * <Imitate a passage>
 * <Write a composition imitating the author>
 * <Translate sentences or passages into Latin or another language>

Seminar Question Writing Guidelines
The following table serves to guide teachers in understanding the types of questions that guide good seminars and how to write them. Good seminars follow the general structure given by Mortimer Adler and Charles Van Doren in their classic How to Read a Book published by Simon & Schuster in 1972. Column one gives the four main questions that a demanding reader should ask of any book. These questions guide the types of questions and the purpose of each type used in good seminars. The last column serves to illustrate questions that might be asked of The Declaration of Independence, The Gettysburg Address, or Hamlet. This table could be easily adapted for any work of fine art like a painting or a musical score.

Specific Seminars
<Include written plans of actual seminars that have been conducted here.>


text:
Paideia High School/Christopher Columbus Letter

 is a Paideia Unit Plan. These guidelines address teachers for the purpose of guiding instruction. See Paideia Learning Plan for the student's point of view.

Column One
Column One teaching and learning should make up about 10% to 15% of the total scheduled instructional time. It is didactic in nature and uses teacher lectures, text books or other didactic instructional materials, and questioning appropriate to this mode of education. Teaching in this mode encompasses of three facets: Exoridium, Interpretation, and Erudition.

Exordium
The Exordium is the teacher's didactic introduction to the work that is the subject of a Paideia Unit Plan. This introduction consists of both an oral and physical (or electronic) presentation of the work. For longer works, the teacher may limit the oral presentation to key parts of the work. The teacher should read texts live distinctly, accurately, and intelligently. Other works should be orally presented similarly as appropriate to the type of work. In addition, the teacher should provide high quality audio and video recordings of works if possible. Students should have a consumable print copy of the work both electronically and in hard-copy if possible.

Oral Presentation

 *
 *

Written Presentation

 *
 *
 *

Interpretation
Textual Interpretation refers to the teacher's didactic analysis of a written work in terms of the four major questions a demanding reader should ask of a text. Using the term work instead of book, these questions are: (1) What is the text about as a whole? (2) What is being said in detail, and how? (3) Is the text true, in whole or part? and (4) What of it? The Exordium begins to answer the first question because it introduces the whole text both orally and in writing (although the oral presentation may be limited in the case of longer works). It is in the Interpretation stage of Column One instruction that the teacher didactically begins to thoroughly unlock the second question. The third and fourth questions are relevant to Interpretation, but question two receives most of the teacher's attention. It is only when the student begins Column Two activities that a fuller grasp of questions three and four begins to mature in the student's mind. Consistent with the purpose of Column One instruction, the teacher is simply introducing elements of proper interpretation for the student to build on during Column Two and Column Three learning.

These questions can be appropriately modified for analysis of a work in science, mathematics, or the fine arts. Analysis of these types of works proceeds in a manner analagous to that of a text. Inasmuch as imaginative literature can be considered a work of fine art, the analogies drawn in Adler's and Van Doren's How to Read a Book can serve as a guide to other types of works too.

Interpretation of  or
In textual interpretation, the teacher didactically presents the author's key terms in the stage of Interpretation of Words and Terms. In addition, the teacher anticipates unfamiliar general vocabulary. These words and terms are given didactically, either orally or in writing, or both, but the task of interpreting is a Column Two skill of learning that the teacher must coach. Consequently, the purpose of this Column One stage is merely to point out key terms and potentially unfamiliar terms. The student must learn how to interpret. Again, this planning can be adapted to other kinds of works.

Interpretation of Key Terms
The key terms are those few words or phrases the author uses in unique, special, or important ways. . In the Column Two stage, students are coached both to find these key terms and to "unlock" them on their own. This skill is essential to analytical reading. In this Column One stage, however, the teacher points out a list of such terms. Students should understand that this listing is not necessarily exhaustive. In addition, the teacher provides students with a handful of these terms worked out in detail for consideration; it should consist of about three to five terms.
 *
 *
 *

General Vocabulary
The teacher may anticipate general unfamiliar vocabulary and point out the more difficult words either orally or in writing or both. However, defining words using context, a dictionary, or a knowlegable friend or adult (including the teacher) is a Column Two skill that must be coached. Teachers must help students build good habits of knowing the meanings of words. Dictionaries, in both electronic and book form must be available, and students must be taught how to use them. They must also be taught how to ask for definitions--a perfectly acceptible life skill commonly used by demanding readers!

 *
 *
 *

Note: If the teacher points out words in anticipation of their potential difficulty, this should be done in context by giving citations or electronically highlighting the words.

Interpretation of Sentences
One point of didactic interpretation at the level of interpreting sentences is to use grammar to get at the author's meaning. As with interpreting words and terms, this level of interpretation is also a Column Two skill that must be coached. Consequently, at the Column One didactic level, a teacher should choose a handful of the most difficult sentences in the text for demonstration. The teacher will always unlock the grammar of a few important and more difficult sentences for students independent of whether these sentences are key premeses to an argument. As appropriate to the text, a teacher should also consider demonstrating the grammar of sentences that work together as propositions in the author's most important arguments.

Another important point is to demonstrate the meter and prosody in both poetry and prose texts. This aim is in great danger of being completely overlooked or forgotten in a world where oral reading is not nearly as common as it once was. Nevertheless, great speechs often succeed in part because the author understands prosody. Lincoln's Gettysburg Address and King's I Have a Dream serve as striking examples. The teacher should select sentences or versus to demonstrate both meter and rhythm.

 * :
 * <Second Sentence>: <etc.>
 * <Third Sentence>: <explanation of meter and rhythm, consideration of overall prosody>
 * <Fourth Sentence>: <etc.>

Interpretation of Passages
At the level of passages, the full trivium (grammar, logic, and rhetoric) come into play. First, a teacher should choose one or two of the author's most important arguments for a demonstration of how to use logic as a key to interpreting a text. Next, the teacher should select several passages to demonstrate how they conform (or not) to rhetorical, poetical, and sylistic rules. These rules, of course, must be didactically taught as prerequisites to interpretation of texts.

 * <Argument>: <demonstration of both the grammar of the sentences comprising premeses and of the concluding proposition along with the logic of the argument followed by an explanation of how the arguments help to unravel the author's meaning>
 * <Passage Illustrating Rhetorical Rules>: <demonstration of the rhetorical rules and their value in the success of the author's purpose>
 * <Passage Illustrating Poetical Rules>: <demonstration of the poetical rules and their value in the success of the author's purpose>
 * <Passage Illustration Stylistic Rules>: <demonstration of the stylistic rules and their value in the success of the author's purpose>

Erudition
Erudition refers to all manner of background information assumed by or necessary to understanding or fully appreciating the text.

<Note that these categories are presented alphabetically for ease of organization>

Anthropological References

 * <information relevant to anthropological issues and discoveries--include citations--delete if not used>

Antiquarian References

 * <information about references to things no longer commonly understood because of their situation in ages past--include citations--delete if not used>

Archaeological References

 * <information about details related to archaeological discoveries--include citations--delete if not used>

Biographical References

 * <information about the author--always include>
 * <information about other textual references to important people--include citations--delete if not used>

Cultural References

 * <information and links to cultural references--include citations--delete if not used>

Ethical References

 * <information and links to ethical references--include citations--delete if not used>

Geographical References

 * <links to relevant maps--delete if not used>
 * <information relevant to geographical references--include citations--delete if not used>

Historical References

 * <information and links to historical references--include citations--delete if not used>

Mathematical References

 * <information and links to mathematical references--include citations--delete if not used>

Political References

 * <information and links to political references--include citations--delete if not used>

Religious References

 * <information and links to religious references--include citations--delete if not used>

Scientific References

 * <information and links to scientific references--include citations--delete if not used>

Column Two
Column Two teaching consists of coaching. This mode of instruction aims at helping students to form habitual skills in the language, scientific, and fine arts. Thus, a teacher must correct students as they practice listening, speaking, reading, writing, observing with the senses unaided, observing with the aid of scientific apparatus, measuring, estimating, calculating, and exercising dexterity in the musical and visual arts. Each of these arts in turn rely upon the aquisition of fine and gross motor, imagination, and memory skills. These rules for developing Paideia Unit Plans address teachers. For their counterpart written for students, see Paideia Learning Plan.

Column Two learning comprises 65% to 75% of scheduled learning time. It's chief charactaristic is student activity. Students must be practicing some skill or skills while the teacher corrects him or her. While athletic coaching is an obvious example of this type of instruction, debate coaching, directing a drama, art instruction, and piano lessons also represent coaching. In order to coach well, a teacher must have a repertoire of activities carefully designed to exercised desired skills. Additionally, the teacher must have a clear idea of how to correct the skills as students practice them to ensure their habitual formation.

Mnuemonic Skills
<consider this category for every unit>

Listening Skills

 * <links to additional quality recordings--include citations--delete if not used>
 * <information relevant to listening for grammatical, logical, rhetorical, poetical, and stylistic elements of the work--include citations--delete if not used>

Speaking Skills

 * <imitation of quality oral readings--should be a part of every unit>
 * <recitations from memory--should be some part of every unit>
 * <oral presentations of written work--should be a part of most units>
 * <class discussions--should be a part of every unit>
 * <recitation of the rules of reading from Adler's and Van Doren's How to Read a Book or similar rules>

Reading Skills

 * <read hard-copy with a pencil in hand--always!>
 * <marking up a text both with a pencil and electronically>
 * <inspectional reading notes as taught in Adler's and Van Doren's How to Read a Book>
 * <analytical reading notes as taught in the same work>

Writing Skills

 * <Choose phrases from text and express them in different ways>
 * <Reconstruct a previously disarranged passage from the text>
 * <Compose verses or lines in imitation of the author>
 * <Change a passage or poem of one kind into another kind>
 * <Imitate a passage>
 * <Write a composition imitating the author>
 * <Translate sentences or passages into Latin or another language>

Seminar Question Writing Guidelines
The following table serves to guide teachers in understanding the types of questions that guide good seminars and how to write them. Good seminars follow the general structure given by Mortimer Adler and Charles Van Doren in their classic How to Read a Book published by Simon & Schuster in 1972. Column one gives the four main questions that a demanding reader should ask of any book. These questions guide the types of questions and the purpose of each type used in good seminars. The last column serves to illustrate questions that might be asked of The Declaration of Independence, The Gettysburg Address, or Hamlet. This table could be easily adapted for any work of fine art like a painting or a musical score.

Specific Seminars
<Include written plans of actual seminars that have been conducted here.>