12. program: 1633, "public notice," from L.L. programma "proclamation, edict," from Gk. programma (gen. programmatos) "a written public notice," from stem of prographein "to write publicly," from pro- "forth" + graphein "to write." General sense of "a definite plan or scheme" is recorded from 1837. Meaning "list of pieces at a concert, playbill" first recorded 1805 and retains the original sense. That of "objects or events suggested by music" is from 1854. Sense of "broadcasting presentation" is from 1923. Computer sense (n.,v.) is from 1945; hence programmer "person who programs computers," attested from 1948. Spelling programme, sometimes preferred in Britain, is from French and began to be used early 19c. The verb in the fig. sense of "to train to behave in a predetermined way" is from 1963.
A program usually tells you what will be performed in the concert.
13. emcee: 1933, abbrev. of master of ceremonies. The term originates from the Catholic Church. The Master of Ceremonies is an official of the Papal Court responsible for the proper and smooth conduct of the elegant and elaborate rituals involving the Pope and the Sacred Liturgy. He may also be an official involved in the proper conduct of protocols and ceremonials involving the Roman Pontiff, the Papal Court, and other dignitaries and potentates. Examples of official liturgical books prescribing the rules and regulations of liturgical celebrations are Cæremoniale Romanum and Cæremoniale Episcoporum.
It's interesting that it's from the Catholic Church. I am surprised that wedding MCs start training often at a young age. (according to Wiki pedia)
14. concert: 1665, from Fr., from It. concerto "concert, harmony," from concertare "bring into agreement," in L. "to contend, contest," from com- "with" + certare "to contend, strive," freq. of certus, var. pp. of cernere "separate, decide" (see crisis). Before the word entered Eng., meaning shifted from "to strive against" to "to strive alongside." But Klein considers this too much of a stretch and suggests L. concentare "to sing together" (from con- + cantare "to sing") as the source of the It. word. Sense of "public musical performance" is 1689. Concerto was borrowed 1730 directly from It. as a musical term.
A storytelling concert doesn't always have music but I think it means harmony.
15.live (adj) : 1542, "having life," later (1611) "burning, glowing," aphetic of alive (q.v.). Sense of "containing unspent energy or power" (live ammunition, etc.) is from 1799; live wire is attested from 1890; fig. sense of "active person" is from 1903. Meaning "in-person (performance)" is first attested 1934. Livestock is attested from 1523 (see stock (n.2)).
I guess a live concert means it contains the feeling of burning and glowing by being there with the performers.
16. information: 1387, "act of informing," from O.Fr. informacion, from L. informationem (nom. informatio) "outline, concept, idea," noun of action from informare (see inform). Meaning "knowledge communicated" is from c.1450. Short form info is attested from 1906. Info-mercial and info-tainment are from 1983.
Different storytellers deliver different informaiton in the stories.
17. matinee: 1848, from Fr. matinée (musicale), from matin "morning" (with a sense here of "daytime"), from O.Fr. matines (see matins).
a musical or dramatic performance or social or public event held in the daytime and especially the afternoon http://www.merriam-webster.com/dictionary/matinee
I don't understand why it's in the afternoon when the orgin is morning. Maybe people don't get up early in the morning now.
18. interaction: 1832, from inter- + action. The verb interact is first attested 1839.
inter: L. inter (prep., adj.) "among, between," from PIE *enter "between, among" (cf. Skt. antar, O.Pers. antar "among, between," Gk. entera (pl.) "intestines," O.Ir. eter, O.Welsh ithr "among, between," Goth. undar, O.E. under "under"), a comparative of *en- "in." Also in certain L. phrases in Eng., such as inter alia "among other things." Spelled entre- in Fr., most words borrowed into Eng. in that form were re-spelled 16c. to conform with L. except entertain, enterprise.
action: c.1360, from O.Fr. action, from L. actionem (nom. actio), from stem of agere "to do" (see act). Meaning "fighting" is from 1599. As a film director's command, it is attested from 1923. Meaning "excitement" is recorded from 1968. Phrase actions speak louder than words is attested from 1845.
19. dialogue: c.1225, "literary work consisting of a conversation between two or more people," from O.Fr. dialoge, from L. dialogus, from Gk. dialogos, related to dialogesthai "converse," from dia- "across" + legein "speak" (see lecture). Sense broadened to "a conversation" 1401. Mistaken belief that it can only mean "conversation between two persons" is from confusion of dia- and di-.
Including dialogues in stories creates imagery.
20. art: c.1225, "skill as a result of learning or practice," from O.Fr. art, from L. artem, (nom. ars) "art, skill, craft," from PIE *ar-ti- (cf. Skt. rtih "manner, mode;" Gk. arti "just," artios "complete;" Armenian arnam "make," Ger. art "manner, mode"), from base *ar- "fit together, join" (see arm (1)). In M.E. usually with sense of "skill in scholarship and learning" (c.1305),
I used to think art is born with. I did not have a talent of art. I just learned that it's a skill as a result of learning or practice. Now I have the hope to be artistic in the future. Hopefully I can learn the art of storytelling.
21. issue: c.1300, from O.Fr. issue "a way out, exit," from fem. pp. of issir "to go out," from L. exire, from ex- "out" + ire "go." Meaning "discharge of blood or other fluid from the body" is from 1526; sense of "offspring" is from 1377. Meaning "outcome of an action" is attested from 1382; legal sense of "point in question at the conclusion of the presentation by both parties in a suit" (1308 in Anglo-Fr.) led to transf. sense of "a point to be decided" (1836). Meaning "action of sending into publication or circulation" is from 1833. The verb meaning "to flow out" (c.1300) is from O.Fr. issu, pp. of issir; sense of "to send out authoritatively" is from 1601; that of "to supply (someone with something)" is from 1925.
Stories deal with different issues.
22. drama: 1515, from L.L. drama "play, drama," from Gk. drama (gen. dramatos) "play, action, deed," from dran "to do, act, perform." Dramatic "appropriate to drama" is from 1725. Dramatis personæ 1730, from L., lit. "persons of a drama."
23. literature: c.1375, from L. lit(t)eratura "learning, writing, grammar," originally "writing formed with letters," from lit(t)era "letter." Originally "book learning" (it replaced O.E. boccræft), the meaning "literary production or work" is first attested 1779 in Johnson's "Lives of the English Poets" (he didn't include this definition in his dictionary, however); that of "body of writings from a period or people" is first recorded 1812
Writing formed with letters and with good grammar and contents makes good literature . Many story tellers are good writers. Some tell stories from literature.
24: oral:1625, from L.L. oralis, from L. os (gen. oris) "mouth, opening, face, entrance," from PIE *os-/*ous- "mouth" (cf. Skt. asan "mouth," asyam "mouth, opening," Avestan ah-, Hittite aish, M.Ir. a "mouth," O.N. oss "mouth of a river," O.E. or "beginning, origin, front"). Psychological meaning "of the mouth as the focus of infantile sexual energy" (e.g. oral fixation) is from 1910. The sexual sense is first recorded 1948, in Kinsey
Oral tradition passed lots of stories to the next generation.
25. hero: 1387, "man of superhuman strength or courage," from L. heros "hero," from Gk. heros "demi-god" (a variant singular of which was heroe), originally "defender, protector," from PIE base *ser- "to watch over, protect" (cf. L. servare "to save, deliver, preserve, protect"). Sense of "chief male character in a play, story, etc." first recorded 1697. Fem. form heroine first attested 1659, from L. heroina, from Gk. heroine. First record of hero-worship is from 1774. Heroic verse (1617), decasyllabic iambic, is from It. Hero, the New York term for a sandwich elsewhere called submarine, grinder, poor boy (New Orleans), or hoagie (Philadelphia), is 1955, origin unknown, perhaps folk etymology of Gk. gyro, a type of sandwich.
We are all heros in our life journey. We should all respond to the call.
The End. Thank you for your patience.
Tuesday, April 28, 2009
Love storytelling
Looking for audience to listen to stories seems to be a problem in the modern society. I don't know if we could have an answer for it. After meeting all the great people here and knowing the advantages of storytelling. I started to ask myself how can I create a storytelling environment in my house or at my work when I go back to Taiwan. Wouldn't it be weird if we did not have that habit before?
I used to read books to my duaghter when she was in kindergarten. She used to ask me to read but then I became busier. I always told her I am too busy. Then she stopped asking. Now I am the one who uses computer all the time. I am sure soon she will do the same thing. As David Novak said horse riding is not a necessity but it's a pleasure. Storytelling may be transformed into a different style or performance.
I like to use David Clauch for my model because he is the one I always see in the office. Last fall he almost goes to every tale tellers in every school even though he does not need the practicum hours. I wish I have as much courage as he does. Sometimes I think I lost the audience's attention at school. He would say sometimes you think you lose them, but they are listening. (He is good at comforting people.) Jay O'callahan said he was telling stories to high school kids once. Two of them were walking at the back. He did not stop them because he did not want to stop the story. He thought he lost them but the teacher called him a week later and said one of the two told the story-45 minutes in class. The other one was trying to correct him. Once I had four people listen to my story in the chili cook out night. It's more than one hour drive (Val and Mary drove). We volunteered. I was a bit disappointed but I know if I am good engough, hopefully they will come back. Otherwise I may lose these four.
Simply turning off TV is not working. I used to do that. Then the children did not like to come to my house. Because they were not allowed to watch TV. They think there is no fun. I like the way Val introduced Lethan-a man who likes to kiss-he kisses life. The way of living may make a big difference.
Please keep the seed of storytelling in your heart. It maybe stressful in the beginning and hopefully we will enjoy it later. Many of our classmates have been doing it for years and years. I don't blame myself if I am not as good. I was planning to finish the program in a year but now I am thinking to stay for another year. I hope I can be a better storyteller-teacher. Students will enjoy my lessons in the future. Plant the seeds whenever and whererever you can.
Thank David Novak for telling the spider story. I have been praying for that. God heard my prayer. Now I am going to do my last assignment-etymologies. Since our assignment was posponed for a week. I thought this one is too.
I used to read books to my duaghter when she was in kindergarten. She used to ask me to read but then I became busier. I always told her I am too busy. Then she stopped asking. Now I am the one who uses computer all the time. I am sure soon she will do the same thing. As David Novak said horse riding is not a necessity but it's a pleasure. Storytelling may be transformed into a different style or performance.
I like to use David Clauch for my model because he is the one I always see in the office. Last fall he almost goes to every tale tellers in every school even though he does not need the practicum hours. I wish I have as much courage as he does. Sometimes I think I lost the audience's attention at school. He would say sometimes you think you lose them, but they are listening. (He is good at comforting people.) Jay O'callahan said he was telling stories to high school kids once. Two of them were walking at the back. He did not stop them because he did not want to stop the story. He thought he lost them but the teacher called him a week later and said one of the two told the story-45 minutes in class. The other one was trying to correct him. Once I had four people listen to my story in the chili cook out night. It's more than one hour drive (Val and Mary drove). We volunteered. I was a bit disappointed but I know if I am good engough, hopefully they will come back. Otherwise I may lose these four.
Simply turning off TV is not working. I used to do that. Then the children did not like to come to my house. Because they were not allowed to watch TV. They think there is no fun. I like the way Val introduced Lethan-a man who likes to kiss-he kisses life. The way of living may make a big difference.
Please keep the seed of storytelling in your heart. It maybe stressful in the beginning and hopefully we will enjoy it later. Many of our classmates have been doing it for years and years. I don't blame myself if I am not as good. I was planning to finish the program in a year but now I am thinking to stay for another year. I hope I can be a better storyteller-teacher. Students will enjoy my lessons in the future. Plant the seeds whenever and whererever you can.
Thank David Novak for telling the spider story. I have been praying for that. God heard my prayer. Now I am going to do my last assignment-etymologies. Since our assignment was posponed for a week. I thought this one is too.
Monday, April 27, 2009
etymology
1. story: "account of some happening," c.1225, "narrative of important events or celebrated persons of the past,"As a euphemism for "a lie" it dates from 1697. Story-teller is from 1709. Story-line first attested 1941.
History is full of his stories. There are many different types of stories.
2. myth: 1830, from Gk. mythos "speech, thought, story, myth," of unknown origin.
Myths are "stories about divine beings, generally arranged in a coherent system; they are revered as true and sacred; they are endorsed by rulers and priests; and closely linked to religion. Once this link is broken, and the actors in the story are not regarded as gods but as human heroes, giants or fairies, it is no longer a myth but a folktale. Where the central actor is divine but the story is trivial ... the result is religious legend, not myth." [J. Simpson & S. Roud, "Dictionary of English Folklore," Oxford, 2000, p.254]
There are many gods in Greek myth. I can never figure them out.
3. Folktale: I did not find this in the dictionary but I found folk. I guess folktale is the story about common people, men and tribe.
Folk: O.E. folc "common people, men, tribe, multitude," from P.Gmc. *folkom (cf. O.Fris. folk, M.Du. volc, Ger. Volk "people"), from P.Gmc. *fulka-, perhaps originally "host of warriors;" cf. O.N. folk "people," also "army, detachment;" and Lith. pulkas "crowd," O.C.S. pluku "division of an army," both believed to have been borrowed from P.Gmc. Some have attempted, without success, to link the word to Gk. plethos "multitude;" L. plebs "people, mob," populus "people" or vulgus. Superseded in most senses by people. Colloquial folks "people of one's family" first recorded 1715. Folksy "sociable, unpretentious" is 1852, U.S. colloquial, from folks + -y.
4. tale: O.E. talu "story, tale, the action of telling," from P.Gmc. *talo (cf. Du. taal "speech, language"), from PIE base *del- "to recount, count." The secondary Eng. sense of "number, numerical reckoning" (c.1200) probably was the primary one in Gmc., cf. teller (see tell) and O.Fris. tale, M.Du. tal "number," O.S. tala "number," O.H.G. zala, Ger. Zahl "number." The ground sense of the Mod.Eng. word in its main meaning, then, might have been "an account of things in their due order." Related to talk and tell. Meaning "things divulged that were given secretly, gossip" is from c.1350; first record of talebearer "tattletale" is 1478.
Tales are for telling. Gossip may come from telling tales.
5. Olio: modification of Spanish olla, a miscellaneous collection (as of literary or musical selections), a variety show
Olla Podrida is a rich highly seasoned stew of meat and vegetables usually including sausage and chick-peas that is slowly simmered and is a traditional Spanish and Latin-American dish
There are several storytellers telling stories in the olio show.
6. audience: from L. audentia"a hearing, listening" from audientum "to perceive" "hearing formal hearing or reception"
Storytellers need to involve the audience's attention.
6. legend: c.1340, from O.Fr. legende (12c.), from M.L. legenda "legend, story," lit. "(things) to be read," on certain days in church, etc., from neuter plural gerundive of L. legere "to read, gather, select" (see lecture). Used originally of saints' lives; extended sense of "nonhistorical or mythical story" first recorded 1613. Meaning "writing or inscription" (especially on a coin or medal) is from 1611; on a map, illustration, etc., from 1903.
A legend is a story coming down from the past ; especially : one popularly regarded as historical although not verifiable.
7. epic: 1589, from L. epicus, from Gk. epikos, from epos "word, story, poem." Extended sense of "grand, heroic" first recorded in Eng. 1731. The noun meaning "an epic poem" is first recorded 1706.
Epic is the historical story about a hero in the poetic form.
8. journey: c.1225, "a defined course of traveling," from O.Fr. journée "day's work or travel," from V.L. diurnum "day," noun use of neut. of L. diurnus "of one day" (see diurnal). As recently as Johnson (1755) the primary sense was still "the travel of a day." The verb is from c.1330. Journeyman (1424), "one who works by day," preserves the etymological sense. Its Amer.Eng. colloquial shortening jour (adj.) is attested from 1835.
Campbell discussed hero's journey in his book"The hero with a thousand faces." We are the heros on our own journeys. Different people responded to their calls differently.
9. shadow: O.E. sceadwe, sceaduwe, oblique cases of sceadu (see shade). As a designation of members of an opposition party chosen as counterparts of the government in power, it is recorded from 1906. Shadow of Death (Ps. xxiii:4, etc.) is Gk. skia thanatou, perhaps a mistranslation of a Heb. word for "intense darkness." Shadow-boxing is from 1924 (shadow-fight is attested from 1768; cf. also sciamachy). Shadowland "abode of ghosts and spirits" is attested from 1821. Shadowy "transitory, fleeting, unreal" is recorded from
10. tent: 1297, "portable shelter of skins or cloths stretched over poles," from O.Fr. tente (12c.), from M.L. tenta "a tent," noun use of fem. sing. of L. tentus "stretched," variant pp. of tendere "to stretch" (see tenet). The notion is of "stretching" hides over a framework. The verb meaning "to camp in a tent" is recorded from 1856. Tent caterpillar first recorded 1854.
11. symbol: c.1434, "creed, summary, religious belief," from L.L. symbolum "creed, token, mark," from Gk. symbolon "token, watchword" (applied c.250 by Cyprian of Carthage to the Apostles' Creed, on the notion of the "mark" that distinguishes Christians from pagans), from syn- "together" + stem of ballein "to throw." The sense evolution is from "throwing things together" to "contrasting" to "comparing" to "token used in comparisons to determine if something is genuine." Hence, "outward sign" of something. The meaning "something which stands for something else" first recorded 1590 (in "Faerie Queene"). Symbolic is attested from 1680.
There are many symbols used in the stories. The symbol of bird in the story could mean free.
To be continued...
History is full of his stories. There are many different types of stories.
2. myth: 1830, from Gk. mythos "speech, thought, story, myth," of unknown origin.
Myths are "stories about divine beings, generally arranged in a coherent system; they are revered as true and sacred; they are endorsed by rulers and priests; and closely linked to religion. Once this link is broken, and the actors in the story are not regarded as gods but as human heroes, giants or fairies, it is no longer a myth but a folktale. Where the central actor is divine but the story is trivial ... the result is religious legend, not myth." [J. Simpson & S. Roud, "Dictionary of English Folklore," Oxford, 2000, p.254]
There are many gods in Greek myth. I can never figure them out.
3. Folktale: I did not find this in the dictionary but I found folk. I guess folktale is the story about common people, men and tribe.
Folk: O.E. folc "common people, men, tribe, multitude," from P.Gmc. *folkom (cf. O.Fris. folk, M.Du. volc, Ger. Volk "people"), from P.Gmc. *fulka-, perhaps originally "host of warriors;" cf. O.N. folk "people," also "army, detachment;" and Lith. pulkas "crowd," O.C.S. pluku "division of an army," both believed to have been borrowed from P.Gmc. Some have attempted, without success, to link the word to Gk. plethos "multitude;" L. plebs "people, mob," populus "people" or vulgus. Superseded in most senses by people. Colloquial folks "people of one's family" first recorded 1715. Folksy "sociable, unpretentious" is 1852, U.S. colloquial, from folks + -y.
4. tale: O.E. talu "story, tale, the action of telling," from P.Gmc. *talo (cf. Du. taal "speech, language"), from PIE base *del- "to recount, count." The secondary Eng. sense of "number, numerical reckoning" (c.1200) probably was the primary one in Gmc., cf. teller (see tell) and O.Fris. tale, M.Du. tal "number," O.S. tala "number," O.H.G. zala, Ger. Zahl "number." The ground sense of the Mod.Eng. word in its main meaning, then, might have been "an account of things in their due order." Related to talk and tell. Meaning "things divulged that were given secretly, gossip" is from c.1350; first record of talebearer "tattletale" is 1478.
Tales are for telling. Gossip may come from telling tales.
5. Olio: modification of Spanish olla, a miscellaneous collection (as of literary or musical selections), a variety show
Olla Podrida is a rich highly seasoned stew of meat and vegetables usually including sausage and chick-peas that is slowly simmered and is a traditional Spanish and Latin-American dish
There are several storytellers telling stories in the olio show.
6. audience: from L. audentia"a hearing, listening" from audientum "to perceive" "hearing formal hearing or reception"
Storytellers need to involve the audience's attention.
6. legend: c.1340, from O.Fr. legende (12c.), from M.L. legenda "legend, story," lit. "(things) to be read," on certain days in church, etc., from neuter plural gerundive of L. legere "to read, gather, select" (see lecture). Used originally of saints' lives; extended sense of "nonhistorical or mythical story" first recorded 1613. Meaning "writing or inscription" (especially on a coin or medal) is from 1611; on a map, illustration, etc., from 1903.
A legend is a story coming down from the past ; especially : one popularly regarded as historical although not verifiable.
7. epic: 1589, from L. epicus, from Gk. epikos, from epos "word, story, poem." Extended sense of "grand, heroic" first recorded in Eng. 1731. The noun meaning "an epic poem" is first recorded 1706.
Epic is the historical story about a hero in the poetic form.
8. journey: c.1225, "a defined course of traveling," from O.Fr. journée "day's work or travel," from V.L. diurnum "day," noun use of neut. of L. diurnus "of one day" (see diurnal). As recently as Johnson (1755) the primary sense was still "the travel of a day." The verb is from c.1330. Journeyman (1424), "one who works by day," preserves the etymological sense. Its Amer.Eng. colloquial shortening jour (adj.) is attested from 1835.
Campbell discussed hero's journey in his book"The hero with a thousand faces." We are the heros on our own journeys. Different people responded to their calls differently.
9. shadow: O.E. sceadwe, sceaduwe, oblique cases of sceadu (see shade). As a designation of members of an opposition party chosen as counterparts of the government in power, it is recorded from 1906. Shadow of Death (Ps. xxiii:4, etc.) is Gk. skia thanatou, perhaps a mistranslation of a Heb. word for "intense darkness." Shadow-boxing is from 1924 (shadow-fight is attested from 1768; cf. also sciamachy). Shadowland "abode of ghosts and spirits" is attested from 1821. Shadowy "transitory, fleeting, unreal" is recorded from
10. tent: 1297, "portable shelter of skins or cloths stretched over poles," from O.Fr. tente (12c.), from M.L. tenta "a tent," noun use of fem. sing. of L. tentus "stretched," variant pp. of tendere "to stretch" (see tenet). The notion is of "stretching" hides over a framework. The verb meaning "to camp in a tent" is recorded from 1856. Tent caterpillar first recorded 1854.
11. symbol: c.1434, "creed, summary, religious belief," from L.L. symbolum "creed, token, mark," from Gk. symbolon "token, watchword" (applied c.250 by Cyprian of Carthage to the Apostles' Creed, on the notion of the "mark" that distinguishes Christians from pagans), from syn- "together" + stem of ballein "to throw." The sense evolution is from "throwing things together" to "contrasting" to "comparing" to "token used in comparisons to determine if something is genuine." Hence, "outward sign" of something. The meaning "something which stands for something else" first recorded 1590 (in "Faerie Queene"). Symbolic is attested from 1680.
There are many symbols used in the stories. The symbol of bird in the story could mean free.
To be continued...
neologism
Neologism
The following definition is fromhttp://dictionary.reference.com/1. Compact disk: A small optical disk on which data such as music, text, or graphic images is digitally encoded.
2. Google: to search for information about a specific person through the Google search engine Download:
3. Gigs: gigabyte: a unit of computer memory or data storage capacity equal to 1024 megabytes.
4. Email: a system for sending messages from one individual to another via telecommunications links between computers or terminals.
5. Fax: facsimile: To transmit (printed matter or an image) by electronic means
6. Blackberry: a kind of cell phone that has more function
7. Cell phone: cellular phone: a mobile telephone system using low-powered radio transmitters, with each transmitter covering a distinct geographical area (cell), and computer equipment to switch a call from one area to another, thus enabling large-scale car or portable phone service.
8. Smart phone: a cell phone that can receive email, surf online…etc.
9. I-pod: (trademark) a pocket-sized device used to play music file
10. Podcast: A podcast is a series of audio or video digital-media files which is distributed over the Internet by syndicated download, through Web feeds, to portable media players and personal computers.
The followings are told by my niece who is 16. These are the words “young” people use now.
11. Orz: it looks like one person kneels on the ground, head down to the floor. It means you can’t do anything about it and why did you do that to me.
12. 3Q: Taiwanese English: means thank you..
13. 台客(Tai-Ke): means very Taiwanese: people with Tatoo, chew beetle nuts, smoke, wearing slippers, spit
14. 窩i尼 (o-i-ni): I love you (because of the pronounciation)
15. 奇蒙子(kimoji): Japanese: mood
16. OIC: oh! I see.
17. 88: sound of bye-bye: means bye bye
18. A: steal
19. OBS=歐巴桑: old woman or Mrs.(Japanese)
20.AKS=會氣死(Taiwanese) : angry to death
21. OEC＝好吃 (Japanese) yummyBMW＝長舌婦: Big Mouth Woman.
22. CU29＝今晚見 :See you tonight.
23. ㄆㄚ＝時髦: fashion
24. +ｕ＝加油 :go! Go!go!Ｄ=的 : ‘s
25. Ｃ＝是: go
26. ７＝去: go
27. Grass mud horse: a creature created in China-very cute: the pronunciation in Chinese means “fuck your mother” : people were complaining there is no freedom online in China told by Dr. Sobol
The following definition is fromhttp://dictionary.reference.com/1. Compact disk: A small optical disk on which data such as music, text, or graphic images is digitally encoded.
2. Google: to search for information about a specific person through the Google search engine Download:
3. Gigs: gigabyte: a unit of computer memory or data storage capacity equal to 1024 megabytes.
4. Email: a system for sending messages from one individual to another via telecommunications links between computers or terminals.
5. Fax: facsimile: To transmit (printed matter or an image) by electronic means
6. Blackberry: a kind of cell phone that has more function
7. Cell phone: cellular phone: a mobile telephone system using low-powered radio transmitters, with each transmitter covering a distinct geographical area (cell), and computer equipment to switch a call from one area to another, thus enabling large-scale car or portable phone service.
8. Smart phone: a cell phone that can receive email, surf online…etc.
9. I-pod: (trademark) a pocket-sized device used to play music file
10. Podcast: A podcast is a series of audio or video digital-media files which is distributed over the Internet by syndicated download, through Web feeds, to portable media players and personal computers.
The followings are told by my niece who is 16. These are the words “young” people use now.
11. Orz: it looks like one person kneels on the ground, head down to the floor. It means you can’t do anything about it and why did you do that to me.
12. 3Q: Taiwanese English: means thank you..
13. 台客(Tai-Ke): means very Taiwanese: people with Tatoo, chew beetle nuts, smoke, wearing slippers, spit
14. 窩i尼 (o-i-ni): I love you (because of the pronounciation)
15. 奇蒙子(kimoji): Japanese: mood
16. OIC: oh! I see.
17. 88: sound of bye-bye: means bye bye
18. A: steal
19. OBS=歐巴桑: old woman or Mrs.(Japanese)
20.AKS=會氣死(Taiwanese) : angry to death
21. OEC＝好吃 (Japanese) yummyBMW＝長舌婦: Big Mouth Woman.
22. CU29＝今晚見 :See you tonight.
23. ㄆㄚ＝時髦: fashion
24. +ｕ＝加油 :go! Go!go!Ｄ=的 : ‘s
25. Ｃ＝是: go
26. ７＝去: go
27. Grass mud horse: a creature created in China-very cute: the pronunciation in Chinese means “fuck your mother” : people were complaining there is no freedom online in China told by Dr. Sobol
etymologies
genre
1770, from Fr. genre "kind, sort, style," from O.Fr. (see gender). Used especially in Fr. for "independent style," as compared to "landscape, historical," etc.
tellers are familiar with many of this different types of stories to appeal to a different range of people.
plot
O.E. plot "small piece of ground," of unknown origin. Sense of "ground plan," and thus "map, chart" is 1551; that of "plan, scheme" is 1587, probably by accidental similarity to complot, from O.Fr. complot "combined plan," of unknown origin, perhaps a back-formation from compeloter "to roll into a ball." Meaning "set of events in a story" is from 1649. The verb is first attested 1589 in the sense of "to lay plans for" (usually with evil intent); 1590 in the lit. sense of "to make a map or diagram."
to keep the audience entertained a good plot will get you exactly what u want. to hear a story that is exciting and full of good plot turns and stays fresh is the best way to appeal to your audience
voice (n.)
c.1290, "sound made by the human mouth," from O.Fr. voiz, from L. vocem (nom. vox) "voice, sound, utterance, cry, call, speech, sentence, language, word," related to vocare "to call," from PIE base *wek- "give vocal utterance, speak" (cf. Skt. vakti "speaks, says," vacas- "word;" Avestan vac- "speak, say;" Gk. aor. eipon "spoke, said," epos "word;" O.Prus. wackis "cry;" Ger. er-wähnen "to mention"). Replaced O.E. stefn. Meaning "ability in a singer" is first attested 1607. Verb meaning "to express" (a feeling, opinion, etc.) first attested 1607. The noun in this sense (in ref. to groups of people, etc., e.g. Voice of America) is recorded from 1390.
to have a voice doesnt mean that you literally have to have a voice, you just have to have an opinion and express it
perform
c.1300, "carry into effect, fulfill, discharge," via Anglo-Fr. performir, altered (by infl. of O.Fr. forme "form") from O.Fr. parfornir "to do, carry out, finish, accomplish," from par- "completely" + fornir "to provide" (see furnish). Theatrical/musical sense is from 1610.
to showcase your craft is what an artist of any style and calaber wants for themselves
understand
O.E. understandan "comprehend, grasp the idea of," probably lit. "stand in the midst of," from under + standan "to stand" (see stand). If this is the meaning, the under is not the usual word meaning "beneath," but from O.E. under, from PIE *nter- "between, among" (cf. Skt. antar "among, between," L. inter "between, among," Gk. entera "intestines;" see inter-). But the exact notion is unclear. Perhaps the ult. sense is "be close to," cf. Gk. epistamai "I know how, I know," lit. "I stand upon." Similar formations are found in O.Fris. (understonda), M.Dan. (understande), while other Gmc. languages use compounds meaning "stand before" (cf. Ger. verstehen, represented in O.E. by forstanden ). For this concept, most I.E. languages use fig. extensions of compounds that lit. mean "put together," or "separate," or "take, grasp."
to understand is to be able to see where someone else is coming from. this is the best way to be able to appreciate someone because u see why they think or feel a certain way
inform
1320, "to train or instruct in some specific subject," from L. informare "to shape, form, train, instruct, educate," from in- "into" + forma "form." Sense of "report facts or news" first recorded 1386. Informative "instructive" is from 1655. Informer "one who gives information against another" (especially in ref. to law-breaking) is from 1503.
the whole purpose of telling stories is to inform someone about something, whether its the things your dog can do or how you fell off your bike
teach
O.E. tæcan (past tense and pp. tæhte) "to show, point out," also "to give instruction," from P.Gmc. *taikijanan (cf. O.H.G. zihan, Ger. zeihen "to accuse," Goth. ga-teihan "to announce"), from PIE *deik- "to show, point out" (see diction). Related to O.E. tacen, tacn "sign, mark" (see token). O.E. tæcan had more usually a sense of "show, declare, warn, persuade" (cf. Ger. zeigen "to show," from the same root); while the O.E. word for "to teach, instruct, guide" was more commonly læran, source of modern learn and lore. Teacher "one who teaches" emerged c.1300; it wa
teaching goes right along with informing because whenever anyone tells a story they automatically become a teacher
express (v.)
c.1386, from M.L. expressare, freq. of exprimere "represent, describe," lit. "to press out" (perhaps via an intermediary sense of something like "clay that takes form under pressure"), from ex- "out" + pressare "to press, push," from L. primere. The adj. is from L. expressus "clearly presented," pp. of exprimere; and it led to the n. (first attested 1619) meaning "special messenger." Sense of "business or system for sending money or parcels" is 1794. An express train (1841) originally ran to a certain station. Expressionist as an artist who seeks to portray the emotional effect of the subject is first recorded 1850; expressionism in this sense is from 1908. Expressway is 1945, from express highway (1938). s used earlier in a sense of "index finger" (c.1290).
to show someone how u feel is a truly honest and wieght lifting experience it is a real release to be truly honest about them
laugh (v.)
O.E. (Anglian) hlæhhan, earlier hlihhan, from P.Gmc. *klakhjanan (cf. O.N. hlæja, Ger. lachen, Goth. hlahjan), from PIE *klak-, of imitative origin (cf. L. cachinare "to laugh aloud," Skt. kakhati "laughs," O.C.S. chochotati "laugh," Gk. kakhazein).
"If I coveted nowe to avenge the injuries that you have done me, I myght laughe in my slyve." [John Daus, "Sleidanes Commentaries," 1560] The noun is first attested 1690, from the verb. Meaning "a cause of laughter" is from 1895; ironic use (e.g. that's a laugh) attested from 1930. Laughter is O.E. hleahtor, from P.Gmc. *hlahtraz (cf. O.N. hlatr, Ger. Gelächter). Nitrous oxide has been called laughing gas since 1842 (for its exhilarating effects). Laugh track "canned laughter on a TV program" is from 1966.
those who said that laughter is the best medicine were not lying. whenever u feel crummy someone can make you laugh and everything seems to lighten up
please (v.)
c.1325, "to be agreeable," from O.Fr. plaisir (Fr. plaire) "to please," from L. placere "to be acceptable, be liked, be approved," related to placare "to soothe, quiet," from PIE base *p(e)lag- "to smooth, make even" (cf. Gk. plax, gen. plakos "level surface," plakoeis "flat;" Lett. plakt "to become flat;" O.N. flaga "layer of earth;" Norw. flag "open sea;" O.E. floh "piece of stone, fragment;" O.H.G. fluoh "cliff"). Intransitive sense (e.g. do as you please) first recorded 1500; imperative use (e.g. please do this), first recorded 1622, was probably a shortening of if it please (you) (1388). Verbs for "please" supply the stereotype polite word ("Please come in," short for may it please you to ...) in many languages (Fr., It.), "But more widespread is the use of the first singular of a verb for 'ask, request' " [Buck, who cites Ger. bitte, Pol. prasze, etc.] Sp. favor is short for hace el favor "do the favor." Dan. has in this sense vær saa god, lit. "be so good."
we strive as a people to please each other, sometimes when they one who we should really worry about pleasing is ourself.
involve
1382, from L. involvere "entangle, envelop," lit. "roll into," from in- "in" + volvere "to roll" (see vulva). Originally "envelop, surround," sense of "take in, include" first recorded 1605. Involved "complicated" is from 1643.
to incorporate the audience in the story and make part of the story is a great tool to use instead of just keeping them outside the story realm
inspiration
c.1303, "immediate influence of God or a god," especially that under which the holy books were written, from O.Fr. inspiration, from L.L. inspirationem (nom. inspiratio), from L. inspiratus, pp. of inspirare "inspire, inflame, blow into," from in-"in" + spirare "to breathe" (see spirit). Inspire in this sense is c.1340, from O.Fr. enspirer, from L. inspirare, a loan-transl. of Gk. pnein in the Bible. General sense of "influence or animate with an idea or purpose" is from 1390. Inspirational is 1839 as "influenced by inspiration;" 1884 as "tending to inspire."
when a story has a moral, and someone takes away a special connection that inspires them to do something for the greater good, it is a huge consilation for the teller
think
O.E. þencan "conceive in the mind, think, consider, intend" (past tense þohte, p.p. geþoht), probably originally "cause to appear to oneself," from P.Gmc. *thankjan (cf. O.Fris. thinka, O.S. thenkian, O.H.G. denchen, Ger. denken, O.N. þekkja, Goth. þagkjan); O.E. þencan is the causative form of the distinct O.E. verb þyncan "to seem or appear" (past tense þuhte, pp. geþuht), from P.Gmc. *thunkjan (cf. Ger. dünken, däuchte). Both are from PIE *tong- "to think, feel" which also is the root of thought and thank. The two meanings converged in M.E. and þyncan "to seem" was absorbed, except for archaic methinks "it seems to me." Jocular pp. thunk (not historical, but by analogy of drink, sink, etc.) is recorded from 1876. Think-tank is 1959 as "research institute" (first ref. is to Center for Behavioral Sciences, Palo Alto, Calif.); it had been colloquial for "the brain" since 1905.
to make the person in audience think about something they hadnt thought about in years is a skill that many people dont possess but a storyteller can conjure these memories through a story
1770, from Fr. genre "kind, sort, style," from O.Fr. (see gender). Used especially in Fr. for "independent style," as compared to "landscape, historical," etc.
tellers are familiar with many of this different types of stories to appeal to a different range of people.
plot
O.E. plot "small piece of ground," of unknown origin. Sense of "ground plan," and thus "map, chart" is 1551; that of "plan, scheme" is 1587, probably by accidental similarity to complot, from O.Fr. complot "combined plan," of unknown origin, perhaps a back-formation from compeloter "to roll into a ball." Meaning "set of events in a story" is from 1649. The verb is first attested 1589 in the sense of "to lay plans for" (usually with evil intent); 1590 in the lit. sense of "to make a map or diagram."
to keep the audience entertained a good plot will get you exactly what u want. to hear a story that is exciting and full of good plot turns and stays fresh is the best way to appeal to your audience
voice (n.)
c.1290, "sound made by the human mouth," from O.Fr. voiz, from L. vocem (nom. vox) "voice, sound, utterance, cry, call, speech, sentence, language, word," related to vocare "to call," from PIE base *wek- "give vocal utterance, speak" (cf. Skt. vakti "speaks, says," vacas- "word;" Avestan vac- "speak, say;" Gk. aor. eipon "spoke, said," epos "word;" O.Prus. wackis "cry;" Ger. er-wähnen "to mention"). Replaced O.E. stefn. Meaning "ability in a singer" is first attested 1607. Verb meaning "to express" (a feeling, opinion, etc.) first attested 1607. The noun in this sense (in ref. to groups of people, etc., e.g. Voice of America) is recorded from 1390.
to have a voice doesnt mean that you literally have to have a voice, you just have to have an opinion and express it
perform
c.1300, "carry into effect, fulfill, discharge," via Anglo-Fr. performir, altered (by infl. of O.Fr. forme "form") from O.Fr. parfornir "to do, carry out, finish, accomplish," from par- "completely" + fornir "to provide" (see furnish). Theatrical/musical sense is from 1610.
to showcase your craft is what an artist of any style and calaber wants for themselves
understand
O.E. understandan "comprehend, grasp the idea of," probably lit. "stand in the midst of," from under + standan "to stand" (see stand). If this is the meaning, the under is not the usual word meaning "beneath," but from O.E. under, from PIE *nter- "between, among" (cf. Skt. antar "among, between," L. inter "between, among," Gk. entera "intestines;" see inter-). But the exact notion is unclear. Perhaps the ult. sense is "be close to," cf. Gk. epistamai "I know how, I know," lit. "I stand upon." Similar formations are found in O.Fris. (understonda), M.Dan. (understande), while other Gmc. languages use compounds meaning "stand before" (cf. Ger. verstehen, represented in O.E. by forstanden ). For this concept, most I.E. languages use fig. extensions of compounds that lit. mean "put together," or "separate," or "take, grasp."
to understand is to be able to see where someone else is coming from. this is the best way to be able to appreciate someone because u see why they think or feel a certain way
inform
1320, "to train or instruct in some specific subject," from L. informare "to shape, form, train, instruct, educate," from in- "into" + forma "form." Sense of "report facts or news" first recorded 1386. Informative "instructive" is from 1655. Informer "one who gives information against another" (especially in ref. to law-breaking) is from 1503.
the whole purpose of telling stories is to inform someone about something, whether its the things your dog can do or how you fell off your bike
teach
O.E. tæcan (past tense and pp. tæhte) "to show, point out," also "to give instruction," from P.Gmc. *taikijanan (cf. O.H.G. zihan, Ger. zeihen "to accuse," Goth. ga-teihan "to announce"), from PIE *deik- "to show, point out" (see diction). Related to O.E. tacen, tacn "sign, mark" (see token). O.E. tæcan had more usually a sense of "show, declare, warn, persuade" (cf. Ger. zeigen "to show," from the same root); while the O.E. word for "to teach, instruct, guide" was more commonly læran, source of modern learn and lore. Teacher "one who teaches" emerged c.1300; it wa
teaching goes right along with informing because whenever anyone tells a story they automatically become a teacher
express (v.)
c.1386, from M.L. expressare, freq. of exprimere "represent, describe," lit. "to press out" (perhaps via an intermediary sense of something like "clay that takes form under pressure"), from ex- "out" + pressare "to press, push," from L. primere. The adj. is from L. expressus "clearly presented," pp. of exprimere; and it led to the n. (first attested 1619) meaning "special messenger." Sense of "business or system for sending money or parcels" is 1794. An express train (1841) originally ran to a certain station. Expressionist as an artist who seeks to portray the emotional effect of the subject is first recorded 1850; expressionism in this sense is from 1908. Expressway is 1945, from express highway (1938). s used earlier in a sense of "index finger" (c.1290).
to show someone how u feel is a truly honest and wieght lifting experience it is a real release to be truly honest about them
laugh (v.)
O.E. (Anglian) hlæhhan, earlier hlihhan, from P.Gmc. *klakhjanan (cf. O.N. hlæja, Ger. lachen, Goth. hlahjan), from PIE *klak-, of imitative origin (cf. L. cachinare "to laugh aloud," Skt. kakhati "laughs," O.C.S. chochotati "laugh," Gk. kakhazein).
"If I coveted nowe to avenge the injuries that you have done me, I myght laughe in my slyve." [John Daus, "Sleidanes Commentaries," 1560] The noun is first attested 1690, from the verb. Meaning "a cause of laughter" is from 1895; ironic use (e.g. that's a laugh) attested from 1930. Laughter is O.E. hleahtor, from P.Gmc. *hlahtraz (cf. O.N. hlatr, Ger. Gelächter). Nitrous oxide has been called laughing gas since 1842 (for its exhilarating effects). Laugh track "canned laughter on a TV program" is from 1966.
those who said that laughter is the best medicine were not lying. whenever u feel crummy someone can make you laugh and everything seems to lighten up
please (v.)
c.1325, "to be agreeable," from O.Fr. plaisir (Fr. plaire) "to please," from L. placere "to be acceptable, be liked, be approved," related to placare "to soothe, quiet," from PIE base *p(e)lag- "to smooth, make even" (cf. Gk. plax, gen. plakos "level surface," plakoeis "flat;" Lett. plakt "to become flat;" O.N. flaga "layer of earth;" Norw. flag "open sea;" O.E. floh "piece of stone, fragment;" O.H.G. fluoh "cliff"). Intransitive sense (e.g. do as you please) first recorded 1500; imperative use (e.g. please do this), first recorded 1622, was probably a shortening of if it please (you) (1388). Verbs for "please" supply the stereotype polite word ("Please come in," short for may it please you to ...) in many languages (Fr., It.), "But more widespread is the use of the first singular of a verb for 'ask, request' " [Buck, who cites Ger. bitte, Pol. prasze, etc.] Sp. favor is short for hace el favor "do the favor." Dan. has in this sense vær saa god, lit. "be so good."
we strive as a people to please each other, sometimes when they one who we should really worry about pleasing is ourself.
involve
1382, from L. involvere "entangle, envelop," lit. "roll into," from in- "in" + volvere "to roll" (see vulva). Originally "envelop, surround," sense of "take in, include" first recorded 1605. Involved "complicated" is from 1643.
to incorporate the audience in the story and make part of the story is a great tool to use instead of just keeping them outside the story realm
inspiration
c.1303, "immediate influence of God or a god," especially that under which the holy books were written, from O.Fr. inspiration, from L.L. inspirationem (nom. inspiratio), from L. inspiratus, pp. of inspirare "inspire, inflame, blow into," from in-"in" + spirare "to breathe" (see spirit). Inspire in this sense is c.1340, from O.Fr. enspirer, from L. inspirare, a loan-transl. of Gk. pnein in the Bible. General sense of "influence or animate with an idea or purpose" is from 1390. Inspirational is 1839 as "influenced by inspiration;" 1884 as "tending to inspire."
when a story has a moral, and someone takes away a special connection that inspires them to do something for the greater good, it is a huge consilation for the teller
think
O.E. þencan "conceive in the mind, think, consider, intend" (past tense þohte, p.p. geþoht), probably originally "cause to appear to oneself," from P.Gmc. *thankjan (cf. O.Fris. thinka, O.S. thenkian, O.H.G. denchen, Ger. denken, O.N. þekkja, Goth. þagkjan); O.E. þencan is the causative form of the distinct O.E. verb þyncan "to seem or appear" (past tense þuhte, pp. geþuht), from P.Gmc. *thunkjan (cf. Ger. dünken, däuchte). Both are from PIE *tong- "to think, feel" which also is the root of thought and thank. The two meanings converged in M.E. and þyncan "to seem" was absorbed, except for archaic methinks "it seems to me." Jocular pp. thunk (not historical, but by analogy of drink, sink, etc.) is recorded from 1876. Think-tank is 1959 as "research institute" (first ref. is to Center for Behavioral Sciences, Palo Alto, Calif.); it had been colloquial for "the brain" since 1905.
to make the person in audience think about something they hadnt thought about in years is a skill that many people dont possess but a storyteller can conjure these memories through a story
Sunday, April 26, 2009
etymologies
listen
O.E. hlysnan "to listen," from P.Gmc. *khlusinon (cf. O.H.G. hlosen "to listen," Ger. lauschen "to listen"), from PIE base *kleu- "hearing, to hear" (cf. Skt. srnoti "hears," srosati "hears, obeys;" Avestan sraothra "ear;" M.Pers. srod "hearing, sound;" Lith. klausau "to hear," slove "splendor, honor;" O.C.S. slusati "to hear," slava "fame, glory," slovo "word;" Gk. klyo "hear, be called," kleos "report, rumor, fame glory," kleio "make famous;" L. cluere "to hear oneself called, be spoken of;" O.Ir. ro-clui-nethar "hears," clunim "I hear," clu "fame, glory," cluada "ears;" Welsh clywaf "I hear;" O.E. hlud "loud," hleoðor "tone, tune;" O.H.G. hlut "sound;" Goth. hiluþ "listening, attention"). The -t- probably is by influence of O.E. hlystan (see list (v.2)). For vowel evolution, see bury.
not only does a teller need to talk to his audience, he also needs to listen either literally or figuratively to what is going on in order to get better intune with the crowd
remember
c.1300, from O.Fr. remembrer (11c.), from L. rememorari "recall to mind, remember," from re- "again" + memorari "be mindful of," from memor "mindful" (see memory). Replaced native gemunan. The noun remembrance in the sense of "keepsake, souvenir" is recorded from 1425. Remembrance Day, the Sunday nearest Nov. 11 (originally in memory of the dead of World War I) is attested from 1921.
to remember or recall info is what storytellers do all the time. for everyone that has remembered something and recalled it to someone else is a storyteller
talk (n.)
c.1475, "speech, discourse, conversation," from talk (v.). Meaning "informal lecture or address" is from 1859. Talk of the town first recorded 1624. Talk show first recorded 1965; talk radio is from 1985.
talk (v.)
c.1225, talken, probably a dim. or frequentative form related to M.E. tale "story," ultimately from the same source as tale (cf. hark from hear, stalk from steal) and replacing that word as a verb. E.Fris. has talken "to talk, chatter, whisper." To talk shop is from 1854. To talk turkey is from 1824, supposedly from an elaborate joke about a swindled Indian. Talking head is from 1968. Talkative is first recorded 1432. To talk back "answer impudently or rudely" is from 1869.
talking does not necessarily mean verbally talking it could also mean talking with the expressions that the teller uses
culture
1440, "the tilling of land," from L. cultura, from pp. stem of colere "tend, guard, cultivate, till" (see cult). The figurative sense of "cultivation through education" is first attested 1510. Meaning "the intellectual side of civilization" is from 1805; that of "collective customs and achievements of a people" is from 1867. Slang culture vulture is from 1947. Culture shock first recorded 1940.
"For without culture or holiness, which are always the gift of a very few, a man may renounce wealth or any other external thing, but he cannot renounce hatred, envy, jealousy, revenge. Culture is the sanctity of the intellect." [William Butler Yeats]
to appreciate ones culture and use it to educate others is a wonderful trait in storytelling.
history
1390, "relation of incidents" (true or false), from O.Fr. historie, from L. historia "narrative, account, tale, story," from Gk. historia "a learning or knowing by inquiry, history, record, narrative," from historein "inquire," from histor "wise man, judge," from PIE *wid-tor-, from base *weid- "to know," lit. "to see" (see vision). Related to Gk. idein "to see," and to eidenai "to know." In M.E., not differentiated from story; sense of "record of past events" probably first attested 1485. Sense of "systematic account (without reference to time) of a set of natural phenomena" (1567) is now obs. except in natural history. What is historic (1669) is noted or celebrated in history; what is historical (1561) deals with history. Historian "writer of history in the higher sense," distinguished from a mere annalist or chronicler, is from 1531. The O.E. word was þeod-wita.
recalling ones history or the history of a people is why people tell stories in the first place. telling children of their past and helping them remember things that they might have forgotten is what normal people do to tell stories
O.E. hlysnan "to listen," from P.Gmc. *khlusinon (cf. O.H.G. hlosen "to listen," Ger. lauschen "to listen"), from PIE base *kleu- "hearing, to hear" (cf. Skt. srnoti "hears," srosati "hears, obeys;" Avestan sraothra "ear;" M.Pers. srod "hearing, sound;" Lith. klausau "to hear," slove "splendor, honor;" O.C.S. slusati "to hear," slava "fame, glory," slovo "word;" Gk. klyo "hear, be called," kleos "report, rumor, fame glory," kleio "make famous;" L. cluere "to hear oneself called, be spoken of;" O.Ir. ro-clui-nethar "hears," clunim "I hear," clu "fame, glory," cluada "ears;" Welsh clywaf "I hear;" O.E. hlud "loud," hleoðor "tone, tune;" O.H.G. hlut "sound;" Goth. hiluþ "listening, attention"). The -t- probably is by influence of O.E. hlystan (see list (v.2)). For vowel evolution, see bury.
not only does a teller need to talk to his audience, he also needs to listen either literally or figuratively to what is going on in order to get better intune with the crowd
remember
c.1300, from O.Fr. remembrer (11c.), from L. rememorari "recall to mind, remember," from re- "again" + memorari "be mindful of," from memor "mindful" (see memory). Replaced native gemunan. The noun remembrance in the sense of "keepsake, souvenir" is recorded from 1425. Remembrance Day, the Sunday nearest Nov. 11 (originally in memory of the dead of World War I) is attested from 1921.
to remember or recall info is what storytellers do all the time. for everyone that has remembered something and recalled it to someone else is a storyteller
talk (n.)
c.1475, "speech, discourse, conversation," from talk (v.). Meaning "informal lecture or address" is from 1859. Talk of the town first recorded 1624. Talk show first recorded 1965; talk radio is from 1985.
talk (v.)
c.1225, talken, probably a dim. or frequentative form related to M.E. tale "story," ultimately from the same source as tale (cf. hark from hear, stalk from steal) and replacing that word as a verb. E.Fris. has talken "to talk, chatter, whisper." To talk shop is from 1854. To talk turkey is from 1824, supposedly from an elaborate joke about a swindled Indian. Talking head is from 1968. Talkative is first recorded 1432. To talk back "answer impudently or rudely" is from 1869.
talking does not necessarily mean verbally talking it could also mean talking with the expressions that the teller uses
culture
1440, "the tilling of land," from L. cultura, from pp. stem of colere "tend, guard, cultivate, till" (see cult). The figurative sense of "cultivation through education" is first attested 1510. Meaning "the intellectual side of civilization" is from 1805; that of "collective customs and achievements of a people" is from 1867. Slang culture vulture is from 1947. Culture shock first recorded 1940.
"For without culture or holiness, which are always the gift of a very few, a man may renounce wealth or any other external thing, but he cannot renounce hatred, envy, jealousy, revenge. Culture is the sanctity of the intellect." [William Butler Yeats]
to appreciate ones culture and use it to educate others is a wonderful trait in storytelling.
history
1390, "relation of incidents" (true or false), from O.Fr. historie, from L. historia "narrative, account, tale, story," from Gk. historia "a learning or knowing by inquiry, history, record, narrative," from historein "inquire," from histor "wise man, judge," from PIE *wid-tor-, from base *weid- "to know," lit. "to see" (see vision). Related to Gk. idein "to see," and to eidenai "to know." In M.E., not differentiated from story; sense of "record of past events" probably first attested 1485. Sense of "systematic account (without reference to time) of a set of natural phenomena" (1567) is now obs. except in natural history. What is historic (1669) is noted or celebrated in history; what is historical (1561) deals with history. Historian "writer of history in the higher sense," distinguished from a mere annalist or chronicler, is from 1531. The O.E. word was þeod-wita.
recalling ones history or the history of a people is why people tell stories in the first place. telling children of their past and helping them remember things that they might have forgotten is what normal people do to tell stories
neologisms
1. pilot- refers to the preview episode of a tv series
2. chat- talking online with someone who is somewhere else
3. touch screen- a screen on a phone that has no keys but is an interactive screen that responds to the touch of a finger
4. post file- to put a piece of information on the internet
5. vent- refers to releasing some frustration
6.networking- getting together with people who are like you in different groups on the internet
7. shot- to put a small amount of either coffee or alcohol in a drink
8. platform- a type of shoe that has a heel that is elevated on the bottom as well
9. file- some information that is on the hard drive of the computer in a certain place
10. fishnets- a type of hose that look like a net for catching fish that are usually black and you wear on your legs
11. square- someone who isnt cool; a geek, nerd
2. chat- talking online with someone who is somewhere else
3. touch screen- a screen on a phone that has no keys but is an interactive screen that responds to the touch of a finger
4. post file- to put a piece of information on the internet
5. vent- refers to releasing some frustration
6.networking- getting together with people who are like you in different groups on the internet
7. shot- to put a small amount of either coffee or alcohol in a drink
8. platform- a type of shoe that has a heel that is elevated on the bottom as well
9. file- some information that is on the hard drive of the computer in a certain place
10. fishnets- a type of hose that look like a net for catching fish that are usually black and you wear on your legs
11. square- someone who isnt cool; a geek, nerd
odd phrases
these phrases are both different and hilaarious to me at the same time:
1. moshing- term used to describe jumping around to the beat of the music at a metal show
2. thrash dancing- a type of dance that involves slinging your body to the beat of loud metal music
3. blu-ray- my brother buys these definition movies for their quality
4. man friend- from sex and the city the movie what u call a boyfriend that is a man
5. guess what? chicken squat! - my mom and granny used to say this all the time which means a joke to play on someone
6. btw-texting lingo for by the way
7. prolly- my friend alex uses this to mean probably when he texts
8. flavorawesome- my bud sierra uses this to mean a compliment when she said she liked my shirt
9. horse of a different color-wizard of oz, means thats completely different
10. running around like a chicken with your head cut off- frantic i frequently use this to descibe my stress
11. raining like a cow pissin on a flat rock- my mom uses this to describe when it rains hard and at a slant
12. sup-alex lingo for hey whats going on
13. campier- my bud james said this about sunshine day by the brady bunch im not quite sure what it means but it cracks me up
14. tootles- my friend bailey says this whenever she hangs up the phone
15. chow-chow- a type of food that we eat in the south my grandmother used to make it and evidently my friend megan just bought her first jar of it
16. woot!- my best friend, and my boyfriend use this term all the time to explain how happy they are about something love them it makes me smile
17. twilighter- the fans of the book series twilight they really are getting on my nerves when girls scream their heads off at the mere mention of a name thats a bit much
18. supposebly- this girl i used to work with would say this which was supposed to be supposedly with a d but she said it this way
19. whaaaa?!- this is used to mean what? the singer miley cyrus uses it all the time and im ashamed to say it i do too haha
20. dingus-saw it on an old cartoon on cartoon network one time and ive said it ever since its a name for someone, not nice
21. bombastic-a term in one of my boyfriend's favorite songs, mr. bombastic by shaggy
22.mediclorians- a term from star wars which are cells at work in beings to see how much of the force is within them
23. thwart- to over throw something, on cnn ticker
24. swatch- piece of fabric that acts as the blueprint for something that is being made, kimora: life in the fab lane
25. idk- i dont know in text terms, used by my bro, alex, most of the people i know
26. aerobic striptease-a new form of workout that is about using stripper moves to work out your body, on E! network ive always wanted to try this
27. devil horns- the metal hand sign where the the 3rd and 4th finger are held down by the thumb and the 2nd and pinkie are extended, they actually were originated by ronnie james dio cuz his gandmother just to use them on him to ward off the evil eye, an old superstition
28. profile status- facebook ability that shows friends what ur up to, half the time i dont know what im up to
29. embosile- someone who is silly adn stupid; futurama have used this term in my life hehe
30. manolos- shoes called manolo blahniks which are very expensive and are the chief shoe in sex and the city would love a pair myself
1. moshing- term used to describe jumping around to the beat of the music at a metal show
2. thrash dancing- a type of dance that involves slinging your body to the beat of loud metal music
3. blu-ray- my brother buys these definition movies for their quality
4. man friend- from sex and the city the movie what u call a boyfriend that is a man
5. guess what? chicken squat! - my mom and granny used to say this all the time which means a joke to play on someone
6. btw-texting lingo for by the way
7. prolly- my friend alex uses this to mean probably when he texts
8. flavorawesome- my bud sierra uses this to mean a compliment when she said she liked my shirt
9. horse of a different color-wizard of oz, means thats completely different
10. running around like a chicken with your head cut off- frantic i frequently use this to descibe my stress
11. raining like a cow pissin on a flat rock- my mom uses this to describe when it rains hard and at a slant
12. sup-alex lingo for hey whats going on
13. campier- my bud james said this about sunshine day by the brady bunch im not quite sure what it means but it cracks me up
14. tootles- my friend bailey says this whenever she hangs up the phone
15. chow-chow- a type of food that we eat in the south my grandmother used to make it and evidently my friend megan just bought her first jar of it
16. woot!- my best friend, and my boyfriend use this term all the time to explain how happy they are about something love them it makes me smile
17. twilighter- the fans of the book series twilight they really are getting on my nerves when girls scream their heads off at the mere mention of a name thats a bit much
18. supposebly- this girl i used to work with would say this which was supposed to be supposedly with a d but she said it this way
19. whaaaa?!- this is used to mean what? the singer miley cyrus uses it all the time and im ashamed to say it i do too haha
20. dingus-saw it on an old cartoon on cartoon network one time and ive said it ever since its a name for someone, not nice
21. bombastic-a term in one of my boyfriend's favorite songs, mr. bombastic by shaggy
22.mediclorians- a term from star wars which are cells at work in beings to see how much of the force is within them
23. thwart- to over throw something, on cnn ticker
24. swatch- piece of fabric that acts as the blueprint for something that is being made, kimora: life in the fab lane
25. idk- i dont know in text terms, used by my bro, alex, most of the people i know
26. aerobic striptease-a new form of workout that is about using stripper moves to work out your body, on E! network ive always wanted to try this
27. devil horns- the metal hand sign where the the 3rd and 4th finger are held down by the thumb and the 2nd and pinkie are extended, they actually were originated by ronnie james dio cuz his gandmother just to use them on him to ward off the evil eye, an old superstition
28. profile status- facebook ability that shows friends what ur up to, half the time i dont know what im up to
29. embosile- someone who is silly adn stupid; futurama have used this term in my life hehe
30. manolos- shoes called manolo blahniks which are very expensive and are the chief shoe in sex and the city would love a pair myself
Linguistic journal
Dear David,
These are the words that are new for me. Some of them are from conversations. I also ask people to give me some words for this assignment. I forgot three of them. I will ask them later. I hope this will do.
Linguistic journal
1. No one but chicken: at Ellen’s house: nobody there
2. Wild goose chase: asking for direction in an office : she did not want to send me to a wrong place
3. Hand down : at Ellen’s house : the best choice
4. A can of worms: in Delanna’s office : shouldn't have started
5. Sucker: in Delanna’s Office: got stuck with something
6. Recken: story book : think
7. T. M. I: linguistic class: too much information
8. F. Y. I.: email : for your information
9. Beach party? Bitch party: I was telling a friend the theme of the storytelling is “bitch party”. She was surprised. It was beach party. I pronounced short I instead of long i. It made a big difference.
10. Smoke like a chimney: at Ellen’s house : smoke a lot
11. Swim like a fish: at Ellen’s house : swim well
12. Buggy (grocery cart): at Ellen’s house : they were explaining things were called differently at different places
13. Hollow leg (eat a lot): at Ellen’s house: someone eats a lot but is thin
14. Second stomach (Japan): at Ellen’s house : in Japan they say second stomach
15. Big stomach king (Chinese): at Ellen’s house: in Taiwan we say the person is a big stomach king when someone eats a lot but is not always thin.
16. Time joke: at Ellen’s house: the joke is not very funny and it takes time to laugh
17. Can’t you smell the smoke : at Ellen’s house: think hard
18. Sled-toboggan (cap, knit cap): at Ellen’s house: They call sled “toboggan” in the north but people call a knit cap “toboggan” in the south
19. Pushing up daisies: church : dead
20. Buy the farm: church : dead
21. Kick the bucket: church : dead
22. Chewing the fat: church: talking to a friend
23. Put your nose into the grind stone:
24. Shoulder to the wheel
25. Get on the ball : church : get seriously about something
26. Handicapped: I was telling a friend that my daughter had a performance yesterday so I couldn’t do anything in the hall. He said you were handicapped.
27. Don’t get your panty in a wad : church : don’t get stressed
28. Unwed my underwear up : church : get passed the anxiety
29. You are almost on the home track: church: almost finish the semester
30. I don’t have a dog in the fight.: classroom: has no right to say anything about it
I ask my neighbor for some words when they had dinner in my apartment :
31. Marco-polo: to see if anyone is home
32. I.d.k.: my house : I don’t know
33. B4 : Before
34. L8R: Later
35. 2moro : tomorrow
36. LOL : Laughing out loud
37. TTYL: talk to you later
38. BRB: be right back
39. ABC gum: already chewed gum (from my daughter)
40. MSR: major supply rout ( used in the army)
41. POV: personally owned vehicle (used in the army)
42. AO: area operation (used in army)
43. Dogwood winter
44. Indian summer
45. ROFL : neighbor’s house: roll on floor laughing
46. LMAO: neighbor’s house: laugh my ass off
47. Discretion is the better part of valor: church: don’t need to share everything
48. Cooking with gas: cake decoration class: getting better
These are the words that are new for me. Some of them are from conversations. I also ask people to give me some words for this assignment. I forgot three of them. I will ask them later. I hope this will do.
Linguistic journal
1. No one but chicken: at Ellen’s house: nobody there
2. Wild goose chase: asking for direction in an office : she did not want to send me to a wrong place
3. Hand down : at Ellen’s house : the best choice
4. A can of worms: in Delanna’s office : shouldn't have started
5. Sucker: in Delanna’s Office: got stuck with something
6. Recken: story book : think
7. T. M. I: linguistic class: too much information
8. F. Y. I.: email : for your information
9. Beach party? Bitch party: I was telling a friend the theme of the storytelling is “bitch party”. She was surprised. It was beach party. I pronounced short I instead of long i. It made a big difference.
10. Smoke like a chimney: at Ellen’s house : smoke a lot
11. Swim like a fish: at Ellen’s house : swim well
12. Buggy (grocery cart): at Ellen’s house : they were explaining things were called differently at different places
13. Hollow leg (eat a lot): at Ellen’s house: someone eats a lot but is thin
14. Second stomach (Japan): at Ellen’s house : in Japan they say second stomach
15. Big stomach king (Chinese): at Ellen’s house: in Taiwan we say the person is a big stomach king when someone eats a lot but is not always thin.
16. Time joke: at Ellen’s house: the joke is not very funny and it takes time to laugh
17. Can’t you smell the smoke : at Ellen’s house: think hard
18. Sled-toboggan (cap, knit cap): at Ellen’s house: They call sled “toboggan” in the north but people call a knit cap “toboggan” in the south
19. Pushing up daisies: church : dead
20. Buy the farm: church : dead
21. Kick the bucket: church : dead
22. Chewing the fat: church: talking to a friend
23. Put your nose into the grind stone:
24. Shoulder to the wheel
25. Get on the ball : church : get seriously about something
26. Handicapped: I was telling a friend that my daughter had a performance yesterday so I couldn’t do anything in the hall. He said you were handicapped.
27. Don’t get your panty in a wad : church : don’t get stressed
28. Unwed my underwear up : church : get passed the anxiety
29. You are almost on the home track: church: almost finish the semester
30. I don’t have a dog in the fight.: classroom: has no right to say anything about it
I ask my neighbor for some words when they had dinner in my apartment :
31. Marco-polo: to see if anyone is home
32. I.d.k.: my house : I don’t know
33. B4 : Before
34. L8R: Later
35. 2moro : tomorrow
36. LOL : Laughing out loud
37. TTYL: talk to you later
38. BRB: be right back
39. ABC gum: already chewed gum (from my daughter)
40. MSR: major supply rout ( used in the army)
41. POV: personally owned vehicle (used in the army)
42. AO: area operation (used in army)
43. Dogwood winter
44. Indian summer
45. ROFL : neighbor’s house: roll on floor laughing
46. LMAO: neighbor’s house: laugh my ass off
47. Discretion is the better part of valor: church: don’t need to share everything
48. Cooking with gas: cake decoration class: getting better
Saturday, April 25, 2009
The Weird Side of English! Language Barriers..
Creative Answers to Science Questions:
1."When you breathe, you inspire. When you do not breathe, you expire."
2."H20 is hot water, and C02 is cold water."
3."When you smell an odorless gas, it is probably carbon monoxide."
4. "Nitrogen is not found in Ireland because it is not found in a free state."
5."Three kinds of blood vessels are arteries, vanes, and caterpillars.
6."The largest organ in the human body is the head."
7."Respiration is composed of two acts, first inspiration, then expectoration."
8."Dew is formed on leaves when the sun shines down on them and makes them perspire."
9."A super-saturated solution is one that holds more than it can hold."
10."The pistolof a flower is its only protections against insects."
11."Germinate means to become a naturalized German."
12."A planet is a body of Earth surrounded by sky."
13."A fossil is an extinct animal. The older it is, the more extinct it is."
14."To remove air from a flask, fill it with water, tip the water out, and put the cork in quick before the air can get back in."
15."The process of turning steam back into water again is called conversation."
16."Algebraical symbols are used when you do not know what you are talking about."
17."We believe that the reptiles came from the amphibians by spontaneous generation and the study of rocks."
18."English sparrows and starlings eat the farmer's grain and soil his corpse."
19."People shouldn't be allowed to shoot extinct animals."
20. "If conditions are not favorable, bacteria go into a period of adolescence."
21."A triangle which has an angle of 135 degrees is called an obscene triangle."
Source: http://idiocrasiesoflanguages.blogspot.com
Further weird things:
22."Because of the impropriety of entertaining guests of the opposite sex in the bedroom, it is suggested that the lobby be used for this purpose." (A sign in a Swiss hotel).
23."Ladies, leave your clothes here and spend the afternoon having a good time." (A sign in a laundry in Rome).
24."Members and non-members only." (A sign outside Mexico City's Mandinga Disco in the Hotel Emporio).
25."Shower of Happiness. Total Safety Guaranteed." (A label on an electric shower (to heat cold water) in Thailand).
26."Do not spit here and there." (A sign in Calcutta, India).
27."Commit No Nuisance." (A sign in Calcutta, India).
28."Dresses for Streetwalkers." (A junk mail ad in Germany).
29."Don't get into this." (A sign in Japan with the universal "do not enter" symbol).
30."Please leave your values at the front desk." (A sign in a Paris hotel).
31."Warning: Do not leave it in this place which may have a high temperature such as the car closed." (Instructions for a CD adapter for a car's tape player).
32."Dah Wong Path." (A sign for a park path in Hong Kong).
33."Caution Water on Road During Rain" (A sign in Malaysia).
34."Our staffs are always here waiting for you to patronize them." (From an advertisement for a hotel in Tokyo).
35."Please waste." (Signs on trash cans in an amusement park in Osaka, Japan).
36."Colorful dining space surrounded by stained glasses." (From an advertisement for a restaurant in Tokyo).
37."You are invited to take advantage of the chambermaid." (A sign in a Japanese hotel).
38."The flattening of underwear with pleasure is the job of the chambermaid." (A sign in a Yugoslavian hotel).
39."Specialist in women and other diseases." (A sign outside of Roman doctor's office).
40."Please take one step and crap twice." (A sign in a temple in China).
41. "Teeth extracted by the latest Methodists." (From an advertisement by a dentist in Hong Kong).
42."Ladies are requested not to have children in the bar." (A sign in a Norwegian cocktail lounge).
43."The manager has personally passed all the water served here." (A sign in a Acapulco hotel).
44."Take one of our horse driven city tours--we guarantee no miscarriages." (A sign in Czechoslovakian tourist agency).
45."We take your bags and send them in all directions." (A sign in a Copenhagen airline ticket office).
46."Stop. Drive sideways." (A detour sign in Japan).
47."In case of fire, do your utmost to alarm the hotel porter." (A sign in a Vienna hotel).
48."Here speeching American." (A sign in a Majorcan shop entrance).
Source: http://rinkwords.com
(Other funny language examples in earlier posts by Lisa Speer)
Sour
1."When you breathe, you inspire. When you do not breathe, you expire."
2."H20 is hot water, and C02 is cold water."
3."When you smell an odorless gas, it is probably carbon monoxide."
4. "Nitrogen is not found in Ireland because it is not found in a free state."
5."Three kinds of blood vessels are arteries, vanes, and caterpillars.
6."The largest organ in the human body is the head."
7."Respiration is composed of two acts, first inspiration, then expectoration."
8."Dew is formed on leaves when the sun shines down on them and makes them perspire."
9."A super-saturated solution is one that holds more than it can hold."
10."The pistolof a flower is its only protections against insects."
11."Germinate means to become a naturalized German."
12."A planet is a body of Earth surrounded by sky."
13."A fossil is an extinct animal. The older it is, the more extinct it is."
14."To remove air from a flask, fill it with water, tip the water out, and put the cork in quick before the air can get back in."
15."The process of turning steam back into water again is called conversation."
16."Algebraical symbols are used when you do not know what you are talking about."
17."We believe that the reptiles came from the amphibians by spontaneous generation and the study of rocks."
18."English sparrows and starlings eat the farmer's grain and soil his corpse."
19."People shouldn't be allowed to shoot extinct animals."
20. "If conditions are not favorable, bacteria go into a period of adolescence."
21."A triangle which has an angle of 135 degrees is called an obscene triangle."
Source: http://idiocrasiesoflanguages.blogspot.com
Further weird things:
22."Because of the impropriety of entertaining guests of the opposite sex in the bedroom, it is suggested that the lobby be used for this purpose." (A sign in a Swiss hotel).
23."Ladies, leave your clothes here and spend the afternoon having a good time." (A sign in a laundry in Rome).
24."Members and non-members only." (A sign outside Mexico City's Mandinga Disco in the Hotel Emporio).
25."Shower of Happiness. Total Safety Guaranteed." (A label on an electric shower (to heat cold water) in Thailand).
26."Do not spit here and there." (A sign in Calcutta, India).
27."Commit No Nuisance." (A sign in Calcutta, India).
28."Dresses for Streetwalkers." (A junk mail ad in Germany).
29."Don't get into this." (A sign in Japan with the universal "do not enter" symbol).
30."Please leave your values at the front desk." (A sign in a Paris hotel).
31."Warning: Do not leave it in this place which may have a high temperature such as the car closed." (Instructions for a CD adapter for a car's tape player).
32."Dah Wong Path." (A sign for a park path in Hong Kong).
33."Caution Water on Road During Rain" (A sign in Malaysia).
34."Our staffs are always here waiting for you to patronize them." (From an advertisement for a hotel in Tokyo).
35."Please waste." (Signs on trash cans in an amusement park in Osaka, Japan).
36."Colorful dining space surrounded by stained glasses." (From an advertisement for a restaurant in Tokyo).
37."You are invited to take advantage of the chambermaid." (A sign in a Japanese hotel).
38."The flattening of underwear with pleasure is the job of the chambermaid." (A sign in a Yugoslavian hotel).
39."Specialist in women and other diseases." (A sign outside of Roman doctor's office).
40."Please take one step and crap twice." (A sign in a temple in China).
41. "Teeth extracted by the latest Methodists." (From an advertisement by a dentist in Hong Kong).
42."Ladies are requested not to have children in the bar." (A sign in a Norwegian cocktail lounge).
43."The manager has personally passed all the water served here." (A sign in a Acapulco hotel).
44."Take one of our horse driven city tours--we guarantee no miscarriages." (A sign in Czechoslovakian tourist agency).
45."We take your bags and send them in all directions." (A sign in a Copenhagen airline ticket office).
46."Stop. Drive sideways." (A detour sign in Japan).
47."In case of fire, do your utmost to alarm the hotel porter." (A sign in a Vienna hotel).
48."Here speeching American." (A sign in a Majorcan shop entrance).
Source: http://rinkwords.com
(Other funny language examples in earlier posts by Lisa Speer)
Sour
Lisa hitting the wrong button!
Etymologies continued:
22.Regret-From the French "regretter" which originally meant, "lament over the dead."
23.Starve-From the Old English "steorfan" meaning "die." Related to the German for "die" "Sterben."
24.Stool-From the Old English "stol" meaning "throne."
25.Wit-From the Old English "witan" meaning to know; intelligence.
source: http://www.westegg.com/etymology
Neologisms:
1.tolerance juice-Concoction of alcohol used to help tolerate a person, place, or situation!
2.Tweet-Dropping-When a Twitter user has a one way supposed conversaiton with a celabrity when the user is really having a fake conversation with himself or herself.
3.recalculating rap-From car's GPS when the car changes direction, loses signal, etc.
4.ding dong ditch-To knock on an anonymous door and run away.
5.Facebook foreplay-Writing increasinglt sexy messages back and forth using Facebook, or a similar social networking site; the Facebook foreplay was hot, but in person it just wans't there.
6.boxset bully-Person who pushes you to watch large quantities of their favorite TV show by offering to lend you the massive DVD boxset.
7.flat out-To be extremely busy.
8.LDOC-Last Day of Class.
9.Controller thrower-A video game so frustrating that it will make you lose your temper and throw the controller.
10.lesbro-A man who has more friendships with lesbians than other women or men.
11.dejabrew-When starting to remember things you did last night while drinking an excessive amount of beer!
12.I-Peeper-Person who looks at someone's IPOD screen to see what it is they are listening to and then comments on it or uses the information for some other purpose.
13.Cheat Chain-When one kid copies from a smart kid in class, then another kid copies from him/her, and the someone copies off the kid who copied off the kid who copied from the smart kid, etc.
14.rebooty-A booty call made with an ex.
15.parade maker-A driver and or car that goes under the speed limit causing a backup of 20+ cars, creating frustration and your ability to be where you want to time.
16.you wastin my minutes-when you just don't feel like listening to someone anymore.
15.Marty McFly Complex-A character flaw of pride, in which an individual takes unnecessary risks or do dangerous acts if their courage is questioned, such as being called a chicken or a coward. (Marty McFly in Back to the Future)
17.drafternoon-Any time after noon when starting to drink beer.
18.DLS-Dirty Little Secret.
19.bale out-When someone's stress level explodes to epic proportions (Chris Bale on T4 set).
20.boss sandwich-An unfortunate configuration in which you find yourself sandwiched between two of your bosses.
21.VOCD-Volume Obsessive-Compulsive Disorder; beset with obsessions or compulsions or both to adjust the volume on the television!
(other neologisms entered in earlier blog entry by Lisa Speer)
Source of this entry:http://urbandictionary.com
22.Regret-From the French "regretter" which originally meant, "lament over the dead."
23.Starve-From the Old English "steorfan" meaning "die." Related to the German for "die" "Sterben."
24.Stool-From the Old English "stol" meaning "throne."
25.Wit-From the Old English "witan" meaning to know; intelligence.
source: http://www.westegg.com/etymology
Neologisms:
1.tolerance juice-Concoction of alcohol used to help tolerate a person, place, or situation!
2.Tweet-Dropping-When a Twitter user has a one way supposed conversaiton with a celabrity when the user is really having a fake conversation with himself or herself.
3.recalculating rap-From car's GPS when the car changes direction, loses signal, etc.
4.ding dong ditch-To knock on an anonymous door and run away.
5.Facebook foreplay-Writing increasinglt sexy messages back and forth using Facebook, or a similar social networking site; the Facebook foreplay was hot, but in person it just wans't there.
6.boxset bully-Person who pushes you to watch large quantities of their favorite TV show by offering to lend you the massive DVD boxset.
7.flat out-To be extremely busy.
8.LDOC-Last Day of Class.
9.Controller thrower-A video game so frustrating that it will make you lose your temper and throw the controller.
10.lesbro-A man who has more friendships with lesbians than other women or men.
11.dejabrew-When starting to remember things you did last night while drinking an excessive amount of beer!
12.I-Peeper-Person who looks at someone's IPOD screen to see what it is they are listening to and then comments on it or uses the information for some other purpose.
13.Cheat Chain-When one kid copies from a smart kid in class, then another kid copies from him/her, and the someone copies off the kid who copied off the kid who copied from the smart kid, etc.
14.rebooty-A booty call made with an ex.
15.parade maker-A driver and or car that goes under the speed limit causing a backup of 20+ cars, creating frustration and your ability to be where you want to time.
16.you wastin my minutes-when you just don't feel like listening to someone anymore.
15.Marty McFly Complex-A character flaw of pride, in which an individual takes unnecessary risks or do dangerous acts if their courage is questioned, such as being called a chicken or a coward. (Marty McFly in Back to the Future)
17.drafternoon-Any time after noon when starting to drink beer.
18.DLS-Dirty Little Secret.
19.bale out-When someone's stress level explodes to epic proportions (Chris Bale on T4 set).
20.boss sandwich-An unfortunate configuration in which you find yourself sandwiched between two of your bosses.
21.VOCD-Volume Obsessive-Compulsive Disorder; beset with obsessions or compulsions or both to adjust the volume on the television!
(other neologisms entered in earlier blog entry by Lisa Speer)
Source of this entry:http://urbandictionary.com
Lisa's Conglomeration of a Journal!
Etymologies:
1.Abacus-Derived from Greek word abax (sand tray); pebbles were laid out on sand for counting purposes!
2.Addict-Slaves of Roman soldiers who were awarded to them for heroic battle performance;
3.Ballot-Italian word for "small ball or pebble"; voting was once donne by casting pebble into box.
4.Bead-Old English word "gebed" meaning "prayer"
5.Biscuit-Mediaeval French 'Bis + cuit' meaning 'cooked twice'
6.Bulimia-Greek word meaning "ox" and "limos" meaning "hunger"; someone with Bulimia has the appetite of an ox.
7.Cab-Ancient Italian term for goat; first carriages "for public hire" bounced to the point of reminding people of goats romping on a hillside.
8.Cantar-From Latin "Cantare" meaning "to sing again"; meaning "to sing"
9.Catharsis-Early Modern English used in the sense of "vomiting"; originally from the Greek.
10.Chaos-From Greek "chainein" meaning "to yawn"; chaos was the "original yawning abyss" outside of the ordered universe we know.
12.Cheers-From the Greek "Kara" for "face"; the Latin "Cara"; and the Old French "Chiere" for the same. Be of good cheer means "Put on a happy face."
13.Cretin-From the French "Cretin" which originally meant "Christian."
14.Curfew-From the French "couvrir feu," literally, "cover fire"
15.Elite-From the Latin "elire" meaning "to choose" from which we also get the modern Spanish word meaning the same, "eligir".
16.Fowl-From the Old English "fugol" meaning "bird."
17.Hierarchy-Originally was medieval classification of angels into various ranks.
18.Hablar-Spanish (to speak); from Latin "Fabulare" meaning, "to tell fables."
19.Kampf(German)-Struggle; from the Latin "campus" for a type of fortification where Roman soldiers had military drills, from which we also have the English words "camp," "campus," and "champion." Subtle military overtones when talking of a "college campus."
20.Muscle-From the Latin "mus" (mouse); the little mouse that runs beneath the skin when you flex.
21.Pay-Latin origon;"pax" peace, by way of appease or pacify. "Pay" originally meant "pay off" to keep the peace.
1.Abacus-Derived from Greek word abax (sand tray); pebbles were laid out on sand for counting purposes!
2.Addict-Slaves of Roman soldiers who were awarded to them for heroic battle performance;
3.Ballot-Italian word for "small ball or pebble"; voting was once donne by casting pebble into box.
4.Bead-Old English word "gebed" meaning "prayer"
5.Biscuit-Mediaeval French 'Bis + cuit' meaning 'cooked twice'
6.Bulimia-Greek word meaning "ox" and "limos" meaning "hunger"; someone with Bulimia has the appetite of an ox.
7.Cab-Ancient Italian term for goat; first carriages "for public hire" bounced to the point of reminding people of goats romping on a hillside.
8.Cantar-From Latin "Cantare" meaning "to sing again"; meaning "to sing"
9.Catharsis-Early Modern English used in the sense of "vomiting"; originally from the Greek.
10.Chaos-From Greek "chainein" meaning "to yawn"; chaos was the "original yawning abyss" outside of the ordered universe we know.
12.Cheers-From the Greek "Kara" for "face"; the Latin "Cara"; and the Old French "Chiere" for the same. Be of good cheer means "Put on a happy face."
13.Cretin-From the French "Cretin" which originally meant "Christian."
14.Curfew-From the French "couvrir feu," literally, "cover fire"
15.Elite-From the Latin "elire" meaning "to choose" from which we also get the modern Spanish word meaning the same, "eligir".
16.Fowl-From the Old English "fugol" meaning "bird."
17.Hierarchy-Originally was medieval classification of angels into various ranks.
18.Hablar-Spanish (to speak); from Latin "Fabulare" meaning, "to tell fables."
19.Kampf(German)-Struggle; from the Latin "campus" for a type of fortification where Roman soldiers had military drills, from which we also have the English words "camp," "campus," and "champion." Subtle military overtones when talking of a "college campus."
20.Muscle-From the Latin "mus" (mouse); the little mouse that runs beneath the skin when you flex.
21.Pay-Latin origon;"pax" peace, by way of appease or pacify. "Pay" originally meant "pay off" to keep the peace.
Tuesday, April 21, 2009
Interview article for the Storytelling World "Storytelling World Presents: David Novak"
Dear David,
I just read your interview article "Storytelling World Presents: David Novak", which was written in 1993 in the Storytelling World. Your words gave me a deep impression about how I become a REAL storyteller. I would like to share this article with other classmates today.
You said, "when you tell a story you are presenting and performing something you are CREATING from your experience.. SO, the storyteller employing acting technique is merely finding ways to be clear, coherent, evocative, articulate, and engaging for the audience." Concerening stories as revealation, you states, "I have the opportunity to reveal to the audience My way of telling the story and in the process, perhaps the listener will hear or learn something new. Revelation is the force that draws the listener into the story or pulls the sotry forward." "I want to be ordinary so that I have the option of becoming extraordinary or so that the story can become extraordinary." "In order to make a REAL contribution to the story culture, I have to have a story, and I have to tell it with the HOPE that other people will tell it. I would like, at least in my lifetime, for my name to be associated with these stories. After I'm gone, however, it really doesn't matter as long as the story is out there. Who cares whether or not it was MY story?" I like you answer about "what is the role of today's storyteller?" "Only if we share our stories with each other, will we see the elephant. That is the role of storytellers in the world...helping others to see the elephant!"
I love reading your words and feel ashamed. I came here to be a storyteller. I am now lost because I do neither enjoy telling stories nor I CREATE my story world. I just mimick somebody's stories and retell stories with memorization. In addition I hate doing ARTIFICIAL performances with too much stress and pressure. I thought using stories in the English classroom get rid of some pressure about learning a language. I feel that is my misunderstanding. Now I have a deep dilema about being a storyteller. I wonder whether you can give me some thoughtful comments or advice for me to reborn a REAL and CREATIVE storyteller in the near future. Thanks!!!
Marian
I just read your interview article "Storytelling World Presents: David Novak", which was written in 1993 in the Storytelling World. Your words gave me a deep impression about how I become a REAL storyteller. I would like to share this article with other classmates today.
You said, "when you tell a story you are presenting and performing something you are CREATING from your experience.. SO, the storyteller employing acting technique is merely finding ways to be clear, coherent, evocative, articulate, and engaging for the audience." Concerening stories as revealation, you states, "I have the opportunity to reveal to the audience My way of telling the story and in the process, perhaps the listener will hear or learn something new. Revelation is the force that draws the listener into the story or pulls the sotry forward." "I want to be ordinary so that I have the option of becoming extraordinary or so that the story can become extraordinary." "In order to make a REAL contribution to the story culture, I have to have a story, and I have to tell it with the HOPE that other people will tell it. I would like, at least in my lifetime, for my name to be associated with these stories. After I'm gone, however, it really doesn't matter as long as the story is out there. Who cares whether or not it was MY story?" I like you answer about "what is the role of today's storyteller?" "Only if we share our stories with each other, will we see the elephant. That is the role of storytellers in the world...helping others to see the elephant!"
I love reading your words and feel ashamed. I came here to be a storyteller. I am now lost because I do neither enjoy telling stories nor I CREATE my story world. I just mimick somebody's stories and retell stories with memorization. In addition I hate doing ARTIFICIAL performances with too much stress and pressure. I thought using stories in the English classroom get rid of some pressure about learning a language. I feel that is my misunderstanding. Now I have a deep dilema about being a storyteller. I wonder whether you can give me some thoughtful comments or advice for me to reborn a REAL and CREATIVE storyteller in the near future. Thanks!!!
Marian
Sunday, April 19, 2009
etymology-"journal" "portfolio" "swap"
I list the words whose meaings were different in my word definition. The term "journal" is more broadly used. "Journal-writing has in recent years evolved from simply a matter of keeping a diary into a potentially intergral aspect of a learner's process of acquisition." (Brown 2007, p506). I never heard "swap" before. It is very interesting to me!!
journal
c.1355, "book of church services," from Anglo-Fr. jurnal "a day," from O.Fr. journal, originally "daily" (adj.), from L.L. diurnalis "daily" (see diurnal). Sense of "daily record of transactions" first recorded 1565; that of "personal diary" is 1610, from a sense found in French. Journalism is 1833 in Eng., likewise from Fr. (where it is attested from 1781).
"Journalism will kill you, but it keeps you alive while you're at it." [Horace Greely]
Journalist "one whose work is to write or edit public journals or newspapers" is from 1693. Journalese "language typical of newspaper articles or headlines" is from 1882.
portfolio
1722, from It. portafoglio "a case for carrying loose papers," from porta, imperative of portare "to carry" (see port (1)) + foglio "sheet, leaf," from L. folium (see folio). Meaning "collection of securities held" is from 1930.
swap
c.1300, "to strike, strike the hands together," possibly imitative of the sound of hitting. The sense of "exchange, barter, trade" is first recorded 1594, possibly from the practice of slapping hands together as a sign of agreement in bargaining. The noun in this sense is attested from 1625.
journal
c.1355, "book of church services," from Anglo-Fr. jurnal "a day," from O.Fr. journal, originally "daily" (adj.), from L.L. diurnalis "daily" (see diurnal). Sense of "daily record of transactions" first recorded 1565; that of "personal diary" is 1610, from a sense found in French. Journalism is 1833 in Eng., likewise from Fr. (where it is attested from 1781).
"Journalism will kill you, but it keeps you alive while you're at it." [Horace Greely]
Journalist "one whose work is to write or edit public journals or newspapers" is from 1693. Journalese "language typical of newspaper articles or headlines" is from 1882.
portfolio
1722, from It. portafoglio "a case for carrying loose papers," from porta, imperative of portare "to carry" (see port (1)) + foglio "sheet, leaf," from L. folium (see folio). Meaning "collection of securities held" is from 1930.
swap
c.1300, "to strike, strike the hands together," possibly imitative of the sound of hitting. The sense of "exchange, barter, trade" is first recorded 1594, possibly from the practice of slapping hands together as a sign of agreement in bargaining. The noun in this sense is attested from 1625.
Tuesday, April 14, 2009
tools for rubric
Play with this!!!
Rubric for paper
Here are some ideas: In addition to Del Hymes, I have many things under interpretation and fewer under evaluation.
Interpretation:
grooming, strokes, status
paralanguage
involvement strategies:
non verbal sounds
rhythm, tempo, pace, drawing out sounds
repetition, repeating figures of speech
phonemes, morphemes
verbal plumage
tools of discourse (alliteration, assonance, rhythm, ellipse, tropes, dialogue
sounds of speech
colloquial language, dialect
emotional range
open-ended discourse
metanarrative
surprise / break expectations
involvement behavior:
laughter
listening
body language
Grice's maxisms and the flouting of
place , reveal, relate
Evaluation:
So What??
making special?
Meaning?
socialty – creating a social (communal) identity?
Rubric for paper
Here are some ideas: In addition to Del Hymes, I have many things under interpretation and fewer under evaluation.
Interpretation:
grooming, strokes, status
paralanguage
involvement strategies:
non verbal sounds
rhythm, tempo, pace, drawing out sounds
repetition, repeating figures of speech
phonemes, morphemes
verbal plumage
tools of discourse (alliteration, assonance, rhythm, ellipse, tropes, dialogue
sounds of speech
colloquial language, dialect
emotional range
open-ended discourse
metanarrative
surprise / break expectations
involvement behavior:
laughter
listening
body language
Grice's maxisms and the flouting of
place , reveal, relate
Evaluation:
So What??
making special?
Meaning?
socialty – creating a social (communal) identity?
Storyteller Maxims
Edit:
Storyteller Maxims:
CS: Relevance ¬
CS: Quantity – as much information as required
CS: Quality - truthfulness
CS: Manner - clarity, brevity, order
FS: Production: the storyteller must produce a compelling narrative
FS: Interest: the storyteller must engage and maintain the interest of the listener
FS: Acknowledgement: The storyteller must acknowledge the listener by affecting conversational behaviors, metanarration, direct address.
FS: Reciprocity: the storyteller must be responsive to the actions and reactions of the audience.
FS: usefulness/meaningfulness: the storyteller must present narrative that has some use, purpose, function? i.e. to entertain, instruct, …?
FS: Mediation: the storyteller is responsible for delivering the story to the listener, maintaining a position of primary narrator and speaker?
Storyteller Maxims:
CS: Relevance ¬
CS: Quantity – as much information as required
CS: Quality - truthfulness
CS: Manner - clarity, brevity, order
FS: Production: the storyteller must produce a compelling narrative
FS: Interest: the storyteller must engage and maintain the interest of the listener
FS: Acknowledgement: The storyteller must acknowledge the listener by affecting conversational behaviors, metanarration, direct address.
FS: Reciprocity: the storyteller must be responsive to the actions and reactions of the audience.
FS: usefulness/meaningfulness: the storyteller must present narrative that has some use, purpose, function? i.e. to entertain, instruct, …?
FS: Mediation: the storyteller is responsible for delivering the story to the listener, maintaining a position of primary narrator and speaker?
Aesthetic Distance
This is a follow-up to the concept of aesthetic distance, a bit dated, but useful.
From "A Primer for Playgoers" by Edward Wright (1969):
Empathy and Aesthetic Distance
From the earliest theatre performance there must have been a relationship between two fundamental principles that are inevitable in the aesthetic experience. The exact names given them by our forefathers are unimportant. In more recent times we have come to think of them as empathy and aesthetic distance. With the coming of the realistic theatre these principles have taken on much greater importance, and in them one may sometimes find the reason for his appreciation or lack of it. Empathy means that the spectator experiences what he observes, both muscularly and emotionally. It happens inside him, although he does not suffer the full physical or emotional strain experienced by the characters on the stage. To him it is a vicarious emotion, though he may even to a small degree participate in the same physical action as the actor.
In contrast to empathy is a detachment that permits the observer's attention to be held and his emotions to be touched, although he is conscious all the while that he is only a spectator. Herbert S. Langfield has called this principle aesthetic distance. Every theatre production has some planned proportion of these two qualities. We must emphasize that emotion is involved in both. Our interest is there, perhaps even in equal degrees, but in one we are physically involved and in the other we are conscious of the fact that we are observing, not experiencing, what we see. We may be subconsciously evaluating it as a work of art.
The motion pictures have long since sensed the value of empathy and aesthetic distance. Every means of playing upon them has been used. Their melodramas have shown as much of the surface realism and personal physical reactions of the actors as was possible through the use of the close-up. Dramatic scenes are brought so close to reality that little is left to the imagination. A glance to right or left during a particularly strong sequence will show the contorted faces of the audience, the twisted handkerchiefs, and sometimes even overt bodily action. If one has been too similarly involved in the situation to make this observation, he need only recall the muscular tension felt when a given scene has dissolved or faded into one that suddenly changed the emotion. The motion picture has likewise found great use for detachment in its musical extravaganzas, huge spectacles, and historical panoramas where it can excel so brilliantly. In a less artistic instance, empathy is evident at an athletic contest. It has been felt at a football game when the spectator's team has the ball within inches of the goal and less than a minute left to play--his neighbors may almost be pushed from the bleachers in his effort to help the home team.
Empathy is not always so muscularly active. Women may empathize in the leading lady and men in the leading man. Likewise, each may subconsciously feel it in his or her attraction for the player of the opposite sex. For this reason, casting in itself becomes a vital issue, for beauty, grace, stature, voice, personality, and contrasts in coloring all take on their own importance in bringing about the proper empathic response to each player.
A danger of empathy is that one's emotion may be suddenly broken as he is snapped out of the situation he has come to accept or believe. This may be caused by a flickering lamp, a forgotten line or missed cue, a false cry or laugh, an extraneous sound, unstable furniture, or a characterization that the audience is unable to believe. Sometimes broken empathy comes from the audience or auditorium through coughing, a contrary reaction to an emotion by some individual, an overheated room, or some exterior element.
Normally, the melodrama will require a greater degree of empathy. Its loosely drawn characters permit the audience a greater leeway in self-identification, and the very nature of the situations carries a greater emotional force. Of the four play types, the least empathy is found in a farce, for here the spectator rarely wishes or needs to identify himself with the situation he observes. To be actually involved in such circumstances might be unpleasant, but observing them in someone else gives the audience a perspective, and this detachment, coupled with a feeling of superiority, brings about the unrestrained laughter that we associate with farce. The same may also be said for very high comedy and satire.
Empathy is found in varying degrees in comedy and tragedy. Both of these types are built on character, and when well written and performed can be so completely individual or removed from our own experience that there is little opportunity for self-identification and the empathy it supplies.
A play, if it is to accomplish its purpose, must happen in the audience. The degree to which it does happen is of vast importance and calls for a careful study by each artist, as well as some analysis by the spectator if he is to maintain a critical attitude.
Aesthetic distance is not the exact opposite of empathy, for it, too, involves emotional participation, but participation of a different nature. There is less of the muscular and more of the mental appreciation, although the personal aesthetic pleasure or enjoyment may be equal in degree. In the theatre it is most evident when we suddenly applaud a splendid piece of acting or a particular line. It involves recognizing the work of an artist and still believing in and being a part of a play, all the while conscious that it is a play and make-believe.
Artists have always been aware of the importance of this detachment. A painter puts his picture in a frame; the sculptor places his statue on a pedestal; the architect chooses to have his work set off with space about it. The conventional theatre of today depends upon an elevated stage, a picture frame created by the proscenium arch, a curtain, a brightly lighted stage, and a darkened auditorium. It has not always been thus. Aesthetic distance in the Greek and Shakespearean theatres was sustained by the language, the nobility of the characters, and the more formal presentation. During both the Elizabethan and the Restoration periods in England aesthetic distance was largely destroyed when spectators sat on the stage and oftentimes participated in the action of the play by answering back and injecting their personal remarks into the production itself. The same has been true in certain periods of other countries. It was David Garrick in England who restored it in the middle of the eighteenth century, when the spectators were driven from the stage.
In the eighteenth and nineteenth centuries, before the day of the realistic theatre, actors acted as actors and audiences appraised them and their art as individuals. Playwrights often wrote beautiful or dramatic speeches which were, likewise, praised as just that by the audience. The "tirade" in the French drama and the "purple passages" in many plays were applauded by the audience just as was the brilliantly played scene by a particular actor. The works of Corneille and Racine are fine examples of this type of theatre. This was purely aesthetic distance, with the artist's art being judged as art. Some actors planned on the applause and consciously played for it. The great Sarah Bernhardt was one of these. On the other hand Mrs. Fiske was often very angry when applause broke the scene. She was more interested in the audience's thinking of her as the character she was playing than as the artist playing the role. The same could be said for most of the playwrights who in the late nineteenth and twentieth centuries wrote in the realistic style.
Today much of the criticism we hear of the arena stage comes from those who are distracted by the proximity of the actors or by the spectators who can be seen on the opposite side of the playing arena. In one sense this might be considered a loss of empathic response, but it also is destructive of aesthetic distance.
Some productions today in our conventional type of theatre make use of entrances down the aisles, and even seat some of the actors among the audience. There are those who want to "put the play in the lap of the audience," and undoubtedly some theatre experiences could be enhanced by so doing. Hellzapoppin, with Olson and Johnson, still holds some sort of record in this respect. Entertaining as this piece may have been to many people, no one has ever called it artistic. On the other hand, it is possible to use the entire auditorium as an acting area, if the actor can remain a part of the play and keep the proper and predetermined artistic balance of empathy and aesthetic distance. Too close an empathic contact with the production or the participants can prove embarrassing to the audience.
The type, nature, mood, or style of the play determines how much empathy and how much aesthetic distance is to be sought. That answer lies to some extent in the decision of each artist involved, but more especially with the director whose task it is to balance one against the other artistically. This balance is one of the most important aspects of a theatre production. It involves not only selection and arrangement, but the all-important problem of
being just real enough to make the audience share with the players the feelings, emotions, and thoughts of the characters, and yet to possess sufficient detachment to weep without real sorrow; in short, to share the emotions without actually experiencing their unpleasant aspects or becoming over-involved in the production. Therein lies much of the theatre's art.
From "A Primer for Playgoers" by Edward Wright (1969):
Empathy and Aesthetic Distance
From the earliest theatre performance there must have been a relationship between two fundamental principles that are inevitable in the aesthetic experience. The exact names given them by our forefathers are unimportant. In more recent times we have come to think of them as empathy and aesthetic distance. With the coming of the realistic theatre these principles have taken on much greater importance, and in them one may sometimes find the reason for his appreciation or lack of it. Empathy means that the spectator experiences what he observes, both muscularly and emotionally. It happens inside him, although he does not suffer the full physical or emotional strain experienced by the characters on the stage. To him it is a vicarious emotion, though he may even to a small degree participate in the same physical action as the actor.
In contrast to empathy is a detachment that permits the observer's attention to be held and his emotions to be touched, although he is conscious all the while that he is only a spectator. Herbert S. Langfield has called this principle aesthetic distance. Every theatre production has some planned proportion of these two qualities. We must emphasize that emotion is involved in both. Our interest is there, perhaps even in equal degrees, but in one we are physically involved and in the other we are conscious of the fact that we are observing, not experiencing, what we see. We may be subconsciously evaluating it as a work of art.
The motion pictures have long since sensed the value of empathy and aesthetic distance. Every means of playing upon them has been used. Their melodramas have shown as much of the surface realism and personal physical reactions of the actors as was possible through the use of the close-up. Dramatic scenes are brought so close to reality that little is left to the imagination. A glance to right or left during a particularly strong sequence will show the contorted faces of the audience, the twisted handkerchiefs, and sometimes even overt bodily action. If one has been too similarly involved in the situation to make this observation, he need only recall the muscular tension felt when a given scene has dissolved or faded into one that suddenly changed the emotion. The motion picture has likewise found great use for detachment in its musical extravaganzas, huge spectacles, and historical panoramas where it can excel so brilliantly. In a less artistic instance, empathy is evident at an athletic contest. It has been felt at a football game when the spectator's team has the ball within inches of the goal and less than a minute left to play--his neighbors may almost be pushed from the bleachers in his effort to help the home team.
Empathy is not always so muscularly active. Women may empathize in the leading lady and men in the leading man. Likewise, each may subconsciously feel it in his or her attraction for the player of the opposite sex. For this reason, casting in itself becomes a vital issue, for beauty, grace, stature, voice, personality, and contrasts in coloring all take on their own importance in bringing about the proper empathic response to each player.
A danger of empathy is that one's emotion may be suddenly broken as he is snapped out of the situation he has come to accept or believe. This may be caused by a flickering lamp, a forgotten line or missed cue, a false cry or laugh, an extraneous sound, unstable furniture, or a characterization that the audience is unable to believe. Sometimes broken empathy comes from the audience or auditorium through coughing, a contrary reaction to an emotion by some individual, an overheated room, or some exterior element.
Normally, the melodrama will require a greater degree of empathy. Its loosely drawn characters permit the audience a greater leeway in self-identification, and the very nature of the situations carries a greater emotional force. Of the four play types, the least empathy is found in a farce, for here the spectator rarely wishes or needs to identify himself with the situation he observes. To be actually involved in such circumstances might be unpleasant, but observing them in someone else gives the audience a perspective, and this detachment, coupled with a feeling of superiority, brings about the unrestrained laughter that we associate with farce. The same may also be said for very high comedy and satire.
Empathy is found in varying degrees in comedy and tragedy. Both of these types are built on character, and when well written and performed can be so completely individual or removed from our own experience that there is little opportunity for self-identification and the empathy it supplies.
A play, if it is to accomplish its purpose, must happen in the audience. The degree to which it does happen is of vast importance and calls for a careful study by each artist, as well as some analysis by the spectator if he is to maintain a critical attitude.
Aesthetic distance is not the exact opposite of empathy, for it, too, involves emotional participation, but participation of a different nature. There is less of the muscular and more of the mental appreciation, although the personal aesthetic pleasure or enjoyment may be equal in degree. In the theatre it is most evident when we suddenly applaud a splendid piece of acting or a particular line. It involves recognizing the work of an artist and still believing in and being a part of a play, all the while conscious that it is a play and make-believe.
Artists have always been aware of the importance of this detachment. A painter puts his picture in a frame; the sculptor places his statue on a pedestal; the architect chooses to have his work set off with space about it. The conventional theatre of today depends upon an elevated stage, a picture frame created by the proscenium arch, a curtain, a brightly lighted stage, and a darkened auditorium. It has not always been thus. Aesthetic distance in the Greek and Shakespearean theatres was sustained by the language, the nobility of the characters, and the more formal presentation. During both the Elizabethan and the Restoration periods in England aesthetic distance was largely destroyed when spectators sat on the stage and oftentimes participated in the action of the play by answering back and injecting their personal remarks into the production itself. The same has been true in certain periods of other countries. It was David Garrick in England who restored it in the middle of the eighteenth century, when the spectators were driven from the stage.
In the eighteenth and nineteenth centuries, before the day of the realistic theatre, actors acted as actors and audiences appraised them and their art as individuals. Playwrights often wrote beautiful or dramatic speeches which were, likewise, praised as just that by the audience. The "tirade" in the French drama and the "purple passages" in many plays were applauded by the audience just as was the brilliantly played scene by a particular actor. The works of Corneille and Racine are fine examples of this type of theatre. This was purely aesthetic distance, with the artist's art being judged as art. Some actors planned on the applause and consciously played for it. The great Sarah Bernhardt was one of these. On the other hand Mrs. Fiske was often very angry when applause broke the scene. She was more interested in the audience's thinking of her as the character she was playing than as the artist playing the role. The same could be said for most of the playwrights who in the late nineteenth and twentieth centuries wrote in the realistic style.
Today much of the criticism we hear of the arena stage comes from those who are distracted by the proximity of the actors or by the spectators who can be seen on the opposite side of the playing arena. In one sense this might be considered a loss of empathic response, but it also is destructive of aesthetic distance.
Some productions today in our conventional type of theatre make use of entrances down the aisles, and even seat some of the actors among the audience. There are those who want to "put the play in the lap of the audience," and undoubtedly some theatre experiences could be enhanced by so doing. Hellzapoppin, with Olson and Johnson, still holds some sort of record in this respect. Entertaining as this piece may have been to many people, no one has ever called it artistic. On the other hand, it is possible to use the entire auditorium as an acting area, if the actor can remain a part of the play and keep the proper and predetermined artistic balance of empathy and aesthetic distance. Too close an empathic contact with the production or the participants can prove embarrassing to the audience.
The type, nature, mood, or style of the play determines how much empathy and how much aesthetic distance is to be sought. That answer lies to some extent in the decision of each artist involved, but more especially with the director whose task it is to balance one against the other artistically. This balance is one of the most important aspects of a theatre production. It involves not only selection and arrangement, but the all-important problem of
being just real enough to make the audience share with the players the feelings, emotions, and thoughts of the characters, and yet to possess sufficient detachment to weep without real sorrow; in short, to share the emotions without actually experiencing their unpleasant aspects or becoming over-involved in the production. Therein lies much of the theatre's art.
Monday, April 13, 2009
open discussion
Here is a recent correspondance between Mi Ryoung and I. fyi:
Thank you Mi Ryoung - these are good points. Yes, we may be overgeneralizing, but that shows our need to get more specific. You make a good observation about social distance. The formal event very likely will involve more anonymous participants. How does that change the social transaction? Consider the event from a larger perspective: various unrelated individuals have selected to attend an event, perhaps purchased tickets, arriving with certain expectations of the event in terms of entertainment, use of time, and so on. The storyteller likewise arrives with certain expectations for the event: allotment of time for speaking, presumed interest of the listeners, and so on. Note how this compares with Bauman's observations on the changes in Ed Bell's storytelling as his storytelling persona moved from informal to formal storyteller, to a setting that allowed for more time and elaboration for an increasingly diverse and anonymous group of listeners.
Note Bell's own remarks about his choices as the context changed.
pg. 104:
"Above all, Bell considers it crucially necessary to maintain a keen awareness of the audience as he performs:
'When I add it there I look and watch people, how they receive it. You know, it doesn;t take long when you're talkin' for someone to tell how they receive what you're sayin', and, uh, I can almost all the time tell if that was good, better, or worse.' "
David
On Apr 12, 2009, at 10:39:59 PM, Marian wrote:
From: Marian
Subject: [READ 5190] New comment on The terms "Grooming" and "stroking" revisited by M....
Date: April 12, 2009 10:39:59 PM EDT
To: novateller@aol.com
Marian has left a new comment on your post "The terms "Grooming" and "stroking" revisited by M...":
Thanks Mary and David for your comments!!
It was ok when I used these terms for the analysis of conversational storytelling. while I am trying to use these terms in the storytelling event, i have a trouble in using the terms because of the following reasons. First, participants in the storytelling event are anonymous ("not known") and different from those in conversational storytelling. We don't know who they are. The terms "Grooming and stroking" should be used where the social distance is very close. Second, there are very few grooming and stroking behaviors from audience such as clapping and laughing. I wonder whether we can include audience verbal replies as grooming behaviors. To me, the terms are being used as "overgeneralization" in our classroom.
Thank you Mi Ryoung - these are good points. Yes, we may be overgeneralizing, but that shows our need to get more specific. You make a good observation about social distance. The formal event very likely will involve more anonymous participants. How does that change the social transaction? Consider the event from a larger perspective: various unrelated individuals have selected to attend an event, perhaps purchased tickets, arriving with certain expectations of the event in terms of entertainment, use of time, and so on. The storyteller likewise arrives with certain expectations for the event: allotment of time for speaking, presumed interest of the listeners, and so on. Note how this compares with Bauman's observations on the changes in Ed Bell's storytelling as his storytelling persona moved from informal to formal storyteller, to a setting that allowed for more time and elaboration for an increasingly diverse and anonymous group of listeners.
Note Bell's own remarks about his choices as the context changed.
pg. 104:
"Above all, Bell considers it crucially necessary to maintain a keen awareness of the audience as he performs:
'When I add it there I look and watch people, how they receive it. You know, it doesn;t take long when you're talkin' for someone to tell how they receive what you're sayin', and, uh, I can almost all the time tell if that was good, better, or worse.' "
David
On Apr 12, 2009, at 10:39:59 PM, Marian
From: Marian
Subject: [READ 5190] New comment on The terms "Grooming" and "stroking" revisited by M....
Date: April 12, 2009 10:39:59 PM EDT
To: novateller@aol.com
Marian has left a new comment on your post "The terms "Grooming" and "stroking" revisited by M...":
Thanks Mary and David for your comments!!
It was ok when I used these terms for the analysis of conversational storytelling. while I am trying to use these terms in the storytelling event, i have a trouble in using the terms because of the following reasons. First, participants in the storytelling event are anonymous ("not known") and different from those in conversational storytelling. We don't know who they are. The terms "Grooming and stroking" should be used where the social distance is very close. Second, there are very few grooming and stroking behaviors from audience such as clapping and laughing. I wonder whether we can include audience verbal replies as grooming behaviors. To me, the terms are being used as "overgeneralization" in our classroom.
Sunday, April 12, 2009
etymology: meta- in metanarration
meta-
prefix meaning 1. "after, behind," 2. "changed, altered," 3. "higher, beyond," from Gk. meta (prep.) "in the midst of, among, with, after," from PIE *me- "in the middle" (cf. Goth. miþ, O.E. mið "with, together with, among," see mid). Notion of "changing places with" probably led to senses "change of place, order, or nature," which was the principal meaning of the Gk. word when used as a prefix. Third sense, "higher, beyond," is due to misinterpretation of metaphysics (q.v.) as "transcending physical science."
metanarration (Bauman p98)
"By metanarration, I mean those devices that index or comment on the narrative itself (such as message, generic form and function, and discourse) or on the components or conduct of the storytelling event (including participants, organization, and action" (Babcock 1977).
metalanguage
In logic and linguistics, a metalanguage is a language used to make statements about statements in another language which is called the object language. Formal syntactic models for the description of grammar, e.g. generative grammar, are a type of metalanguage. More broadly, it can refer to any terminology or language used to discuss language itself—a written grammar, for example, or a discussion about language use.
prefix meaning 1. "after, behind," 2. "changed, altered," 3. "higher, beyond," from Gk. meta (prep.) "in the midst of, among, with, after," from PIE *me- "in the middle" (cf. Goth. miþ, O.E. mið "with, together with, among," see mid). Notion of "changing places with" probably led to senses "change of place, order, or nature," which was the principal meaning of the Gk. word when used as a prefix. Third sense, "higher, beyond," is due to misinterpretation of metaphysics (q.v.) as "transcending physical science."
metanarration (Bauman p98)
"By metanarration, I mean those devices that index or comment on the narrative itself (such as message, generic form and function, and discourse) or on the components or conduct of the storytelling event (including participants, organization, and action" (Babcock 1977).
metalanguage
In logic and linguistics, a metalanguage is a language used to make statements about statements in another language which is called the object language. Formal syntactic models for the description of grammar, e.g. generative grammar, are a type of metalanguage. More broadly, it can refer to any terminology or language used to discuss language itself—a written grammar, for example, or a discussion about language use.
Bauman's Formal devices (94-106pp)
David,
I think it would be good to cover Bauman's formal devices to analyze the storytelling event. The following terms are used;
Direct discourse
Syntactic parallelism
Thematic parallelism
Metanarration
Would it be possible to discuss these terms briefly in class? I am very interested in using "metanarration" in the analysis of the storytelling event. I am not sure I understand it well.
And what is the difference between narrated event vs. narrative texts vs. narrative events Bauman used? What is the difference between oral traditional performance and oral interpretative performance? (Sobol’s article_innterversion and inntertext)
I think it would be good to cover Bauman's formal devices to analyze the storytelling event. The following terms are used;
Direct discourse
Syntactic parallelism
Thematic parallelism
Metanarration
Would it be possible to discuss these terms briefly in class? I am very interested in using "metanarration" in the analysis of the storytelling event. I am not sure I understand it well.
And what is the difference between narrated event vs. narrative texts vs. narrative events Bauman used? What is the difference between oral traditional performance and oral interpretative performance? (Sobol’s article_innterversion and inntertext)
Friday, April 10, 2009
Rubric for paper
Here are some ideas: In addition to Del Hymes, I have many things under interpretation and fewer under evaluation.
Interpretation:
grooming, strokes, status
paralanguage
involvement strategies:
(sound)
rhythm, tempo, pace, drawing out sounds
repetition, repeating figures of speech
phonemes, morphemes
verbal plumage
tools of discourse (alliteration, assonance, rhythm, ellipse, tropes, dialogue
sounds of speech
colloquial language, dialect
making special
emotional range
(meaning)
open-ended discourse
narrative
surprise / break expectations
involvement behavior:
laughter
listening
body language
Evaluation:
Grice's maxisms and the flouting of
place , reveal, relate
there must be other things for evaluation......
etymology
myth: 1830 from Greek mythos, "speech, story, myth," of unknown origin. Myths are "stories about divine beings, generally arranged in a coherent system; they are revered as true and sacred; they are endorsed by rulers and priests; and closely linked to religion. Once the link is broken, and the actors in the story are not regarded as gods but as human heros, giants, fairies, it is no longer a myth but a folktale. Where the central central actor is divine but the story is trivial...the result is religious legend, not myth. (J. Simpson & S Roud, Dict. of Eng. Folklore. 2000.
etymology
legend :O. Fr. legende (12c), from M.L. legenda, "legend, story" lit. "things to be read" on certain days in church, etc., L. legere "to read, gather, select. Originally used of saints' lives, extended sense of nonhistoric or mythical story, first recorded in 1613. Meaning "writing or inscription" (on coin or medal) is from 1611, on a map, illustration, etc. is from 1903.
Wednesday, April 8, 2009
Blog Journal Entry
Etymologies
emotion
1579, "a (physical) moving, stirring, agitation," from M.Fr. emotion, from O.Fr. emouvoir "stir up," from L. emovere "move out, remove, agitate," from ex- "out" + movere "to move" (see move). Sense of "strong feeling" is first recorded 1660; extended to "any feeling" 1808. Emote is a 1917 back-formation. Emotional "liable to emotion" is from 1857.
The original meaning for this word surprises me. I thought that feeling would come first.
refine
1582, of metals, 1588 of manners, from re-, intensive prefix + obs. fine (v.) "make fine," from fine (adj.) "delicate" (q.v.). Cf. Fr. raffiner, It. raffinare, Sp. refinar. General and fig. sense is recorded from 1596; of sugar, from 1613. Refinery in various senses is first recorded 1727. Refinement "act or process of refining" is from 1611; meaning "fineness of feeling" is from 1708.
When considering the terms for this assignment, this word didnt come to mind initially. When I thought about it, what great storytellers, or professionals in any field for that matter, are trying to do is make their stories better. Refining is a part of the process for anyone who is truly good at something
reaction
1611, from re- "again, anew" + action (q.v.). Modeled on Fr. réaction, older It. reattione, from M.L. reactionem (nom. reactio), from L.L. react-, pp. stem of reagere "react," from re- "back" + agere "to do, act" (see act). Originally scientific; physiological sense is attested from 1805; psychological sense first recorded 1887; general sense of "action or feeling in response" (to a statement, event, etc.) is recorded from 1914. The verb react is attested from 1644.
feel (v.)
To get a reaction from the audience is what the teller strives for . Whether it be anger, laughter, tears, etc...
The sense in O.E. was "to perceive through senses which are not referred to any special organ." Sense of "be conscious of a sensation or emotion" developed by c.1290; that of "to have sympathy or compassion" is from 1605; feeling (n.) "emotion" is first recorded 1369; feelings "tender or sensitive side of one's nature" is 1771
Both the noun and the verb form are used in storytelling. using the senses a teller can experience their audience all different ways.
Neologisms
clutch-a small purse that can be carried in one's hand, fake- referring to a person who isnt truthful, eco-friendly-referring to a product that is good for the environment and earth
Odd terms
Emotalk about a weird word I see people like this all the time, guys with their hair cut at a slant, flipped to the side, girls jeans and tight black shirts on, aite- a friend of mine uses this term, which means alright i laugh like crazy when he says this its so great, tween- the area of age between 10 and 13 when the little girls are crazy about hanna montana and the jonas brothers, meh- yet another term from my really good friend what a wonderful vocabulary he has, You little peckerwood-my granny used to joke around with me all the time and call me this. its so southern. barista-the people who wait on you at starbucks. honestly i think this sounds like bastile, like theyre prison guards or something, quarter of a century club-a term i use to describe being 25 at last. i used this term to annoy my friends when they turned 25
emotion
1579, "a (physical) moving, stirring, agitation," from M.Fr. emotion, from O.Fr. emouvoir "stir up," from L. emovere "move out, remove, agitate," from ex- "out" + movere "to move" (see move). Sense of "strong feeling" is first recorded 1660; extended to "any feeling" 1808. Emote is a 1917 back-formation. Emotional "liable to emotion" is from 1857.
The original meaning for this word surprises me. I thought that feeling would come first.
refine
1582, of metals, 1588 of manners, from re-, intensive prefix + obs. fine (v.) "make fine," from fine (adj.) "delicate" (q.v.). Cf. Fr. raffiner, It. raffinare, Sp. refinar. General and fig. sense is recorded from 1596; of sugar, from 1613. Refinery in various senses is first recorded 1727. Refinement "act or process of refining" is from 1611; meaning "fineness of feeling" is from 1708.
When considering the terms for this assignment, this word didnt come to mind initially. When I thought about it, what great storytellers, or professionals in any field for that matter, are trying to do is make their stories better. Refining is a part of the process for anyone who is truly good at something
reaction
1611, from re- "again, anew" + action (q.v.). Modeled on Fr. réaction, older It. reattione, from M.L. reactionem (nom. reactio), from L.L. react-, pp. stem of reagere "react," from re- "back" + agere "to do, act" (see act). Originally scientific; physiological sense is attested from 1805; psychological sense first recorded 1887; general sense of "action or feeling in response" (to a statement, event, etc.) is recorded from 1914. The verb react is attested from 1644.
feel (v.)
To get a reaction from the audience is what the teller strives for . Whether it be anger, laughter, tears, etc...
The sense in O.E. was "to perceive through senses which are not referred to any special organ." Sense of "be conscious of a sensation or emotion" developed by c.1290; that of "to have sympathy or compassion" is from 1605; feeling (n.) "emotion" is first recorded 1369; feelings "tender or sensitive side of one's nature" is 1771
Both the noun and the verb form are used in storytelling. using the senses a teller can experience their audience all different ways.
Neologisms
clutch-a small purse that can be carried in one's hand, fake- referring to a person who isnt truthful, eco-friendly-referring to a product that is good for the environment and earth
Odd terms
Emotalk about a weird word I see people like this all the time, guys with their hair cut at a slant, flipped to the side, girls jeans and tight black shirts on, aite- a friend of mine uses this term, which means alright i laugh like crazy when he says this its so great, tween- the area of age between 10 and 13 when the little girls are crazy about hanna montana and the jonas brothers, meh- yet another term from my really good friend what a wonderful vocabulary he has, You little peckerwood-my granny used to joke around with me all the time and call me this. its so southern. barista-the people who wait on you at starbucks. honestly i think this sounds like bastile, like theyre prison guards or something, quarter of a century club-a term i use to describe being 25 at last. i used this term to annoy my friends when they turned 25
The terms "Grooming" and "stroking" revisited by Marian
I read your comments on my first assignment carefully. I agree with you in your comments, "If we have "involvement strategies", it seems we must have a concomitant "involvement response". This is where the consideration of groomong and stroking comes in: as signs of listener involvment. Even so, the concepts of grooming and stroking are not fully developed". You commented, "Grooming is more concerened with "currying favor" whereas stroking is concerend with acknowledgement."
I looked up the definition of "grooming"From Wikipedia again. The term "grooming" is essentially related with direct and physical activity including cleaning, shaving, combing, and licking etc. I wonder whether the term is REALLY appropriate to interprete the involvement activities between storyteller and the audience. Because the involveme activities are neither direct nor physically touched. They are more indirect and mentally touched to someone's heart.
I am not sure that the status and ranking of participants in the storytelling event can be interpreted in terms of "grooming" and "stroking". It would be better if we have some reference for that. Since you are the person that wants to apply these terms into the storytelling event, you must PURSUDAE me with examples which covers the original meaning. In order to do my assignment to use those terms in the analysis, I myself must somehow be confirmed.
Most of listeners' responses are laughing or clapping without any "touched" involvement. If there are groomings between human beings (see below), they are very intimate and physically touched between lovers, between parents and children, between families, and between close friends. In other words, the grooming behavior occurs when the social relationship is very close. However, the social distance between storyteller and the audience is not close at all. In addition,storytellers' involvement strategies mainly consist of verbal and body gestures alone on the stage without any touch.
Would it be ok for us to ignore the literal and original meaning of grooming and stroking? In addition the grooming behaviors are mainly concerend with animals rather than human beings (see below).
David,
I am getting lost and very confused. Please help me and make me clear about my confusion if you can. Tannen talked abouth involvement in discourse and involvement strategies but did not mention the terms "grooming" and "stroking" at all. I can understand what and how you desribe the stroytelling event. But we still need to be very careful to adopt the new terms to interpret the event. A couple of my main concers are Cited From Wikipedia below. I would like to hear how my classmates think of my revisit. Your comments and feedback are welcome!!!
Cited From Wikipedia
All animals regularly clean themselves to keep their fur, feathers, scales, or other skin coverings in good condition. This activity is known as personal grooming, preening, or auto-grooming and is a form of hygiene.
Many social animals groom each other, an activity known as social grooming, mutual grooming, or allo-grooming. Items removed during social grooming are identical to those removed by personal grooming. Social grooming also takes the form of stroking, scratching, and massaging. Grooming in humans typically includes bathroom activities such as primping: washing and cleansing the hair, combing it to extract tangles and snarls, and styling. It can also include cosmetic care of the body, such as shaving.
A few empirical studies of human social grooming exist. They rely on self-report survey and experimental methodology of adults living primarily in the U.S. and other Western cultures. People report grooming romantic partners more than grooming people they have other types of relationships with like family members, friends, and strangers. Grooming is associated with increased relationship satisfaction, trust, and experience of family affection while growing up. People who groom, as opposed to touch each other without grooming, are perceived to be better potential parents, more in love with the person they have groomed and more caring and committed to them. Women, but not men, tend to think people who have groomed one another are romantically involved. People also think that if people who have groomed one other are romantically involved, they are in a long-term relationship rather than one that has just begun. Human mutual grooming plays a role in pairbonding.
I looked up the definition of "grooming"From Wikipedia again. The term "grooming" is essentially related with direct and physical activity including cleaning, shaving, combing, and licking etc. I wonder whether the term is REALLY appropriate to interprete the involvement activities between storyteller and the audience. Because the involveme activities are neither direct nor physically touched. They are more indirect and mentally touched to someone's heart.
I am not sure that the status and ranking of participants in the storytelling event can be interpreted in terms of "grooming" and "stroking". It would be better if we have some reference for that. Since you are the person that wants to apply these terms into the storytelling event, you must PURSUDAE me with examples which covers the original meaning. In order to do my assignment to use those terms in the analysis, I myself must somehow be confirmed.
Most of listeners' responses are laughing or clapping without any "touched" involvement. If there are groomings between human beings (see below), they are very intimate and physically touched between lovers, between parents and children, between families, and between close friends. In other words, the grooming behavior occurs when the social relationship is very close. However, the social distance between storyteller and the audience is not close at all. In addition,storytellers' involvement strategies mainly consist of verbal and body gestures alone on the stage without any touch.
Would it be ok for us to ignore the literal and original meaning of grooming and stroking? In addition the grooming behaviors are mainly concerend with animals rather than human beings (see below).
David,
I am getting lost and very confused. Please help me and make me clear about my confusion if you can. Tannen talked abouth involvement in discourse and involvement strategies but did not mention the terms "grooming" and "stroking" at all. I can understand what and how you desribe the stroytelling event. But we still need to be very careful to adopt the new terms to interpret the event. A couple of my main concers are Cited From Wikipedia below. I would like to hear how my classmates think of my revisit. Your comments and feedback are welcome!!!
Cited From Wikipedia
All animals regularly clean themselves to keep their fur, feathers, scales, or other skin coverings in good condition. This activity is known as personal grooming, preening, or auto-grooming and is a form of hygiene.
Many social animals groom each other, an activity known as social grooming, mutual grooming, or allo-grooming. Items removed during social grooming are identical to those removed by personal grooming. Social grooming also takes the form of stroking, scratching, and massaging. Grooming in humans typically includes bathroom activities such as primping: washing and cleansing the hair, combing it to extract tangles and snarls, and styling. It can also include cosmetic care of the body, such as shaving.
A few empirical studies of human social grooming exist. They rely on self-report survey and experimental methodology of adults living primarily in the U.S. and other Western cultures. People report grooming romantic partners more than grooming people they have other types of relationships with like family members, friends, and strangers. Grooming is associated with increased relationship satisfaction, trust, and experience of family affection while growing up. People who groom, as opposed to touch each other without grooming, are perceived to be better potential parents, more in love with the person they have groomed and more caring and committed to them. Women, but not men, tend to think people who have groomed one another are romantically involved. People also think that if people who have groomed one other are romantically involved, they are in a long-term relationship rather than one that has just begun. Human mutual grooming plays a role in pairbonding.
Marian's Neologism 5-"Globish"
Have you heard about "Globish". The term is a portmanteau of the words "Global" and "English". It is another type of English like British English, Canadian English, and Australian English. Who uses the Globish? Can you guess? By non-native speakers of English. Non-native speakers of English create their own English for their convenience to communicate with each other in trade, business, conferences, and so on. They say that the Globish is much easier to understand than authentic English. Would it be possible that "Globish" becomes another language which is different from authentic English? How do you think?
Marian's Neologism 4-"Podcasting"
The term is a portmanteau of the words "iPod" and "broadcast".
A podcast is a series of digital media files, usually digital audio or video, that is made available for download via Web syndication. The syndication aspect of the delivery is what differentiates podcasts from other files accessible by direct download or streaming: it means that special software applications, generically known as podcatchers (such as Apple Inc.'s iTunes or Nullsoft's Winamp), can automatically identify and retrieve new files associated with the podcast when they are made available, and that these files can be stored locally on the user's computer or other device for offline use. This is done by the podcatcher accessing a centrally-maintained Web feed, which lists files associated with a certain podcast.
Like the term broadcast, podcast can refer either to the content itself or to the method by which the content is syndicated; the latter is also called podcasting. A podcaster is the person who creates the content.
The term is a portmanteau of the words "iPod" and "broadcast",[1] the Apple iPod being the brand of portable media player for which early podcasting scripts were developed (see history of podcasting), allowing podcasts to be automatically transferred from a personal computer to a mobile device after they are downloaded.[2] Despite the source of the name, it has never been necessary to use an iPod, or any other form of portable media player, to use podcasts; the content can be accessed using any computer capable of playing media files.[3] As more mobile devices other than iPods became able to synchronize with podcast feeds, a backronym developed where podcast stood for "Personal On Demand broadCAST."[4][5][6]
A podcast is a series of digital media files, usually digital audio or video, that is made available for download via Web syndication. The syndication aspect of the delivery is what differentiates podcasts from other files accessible by direct download or streaming: it means that special software applications, generically known as podcatchers (such as Apple Inc.'s iTunes or Nullsoft's Winamp), can automatically identify and retrieve new files associated with the podcast when they are made available, and that these files can be stored locally on the user's computer or other device for offline use. This is done by the podcatcher accessing a centrally-maintained Web feed, which lists files associated with a certain podcast.
Like the term broadcast, podcast can refer either to the content itself or to the method by which the content is syndicated; the latter is also called podcasting. A podcaster is the person who creates the content.
The term is a portmanteau of the words "iPod" and "broadcast",[1] the Apple iPod being the brand of portable media player for which early podcasting scripts were developed (see history of podcasting), allowing podcasts to be automatically transferred from a personal computer to a mobile device after they are downloaded.[2] Despite the source of the name, it has never been necessary to use an iPod, or any other form of portable media player, to use podcasts; the content can be accessed using any computer capable of playing media files.[3] As more mobile devices other than iPods became able to synchronize with podcast feeds, a backronym developed where podcast stood for "Personal On Demand broadCAST."[4][5][6]
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