5.0 KiB
id, aliases, title, tags, authors, edition, publisher, subtitle, type, year, dg-publish
| id | aliases | title | tags | authors | edition | publisher | subtitle | type | year | dg-publish | ||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
|
Gregg Notehand |
|
|
Second | McGraw-Hill, Inc. | A Personal-Use Shorthand & Integrated Instruction in How to Make Notes | book | 1968 | false |
Gregg Notehand
Part One
1. Fundamental principles of notemaking
2-8. Notehand principles
9. Getting ready to study
10. Planning your study time
11. Select the right notebook for notemaking
12. Notemaking from reading
13. Rules for remembering what you read
14. Notehand recall
15. Finding the central idea in your reading
16. Finding the central idea in your reading (continued)
17. Selecting related ideas
18. Using the central idea to build your headings
19. Read before you make notes
20. Notehand recall
21. Making notes in your own words
22. Brevity in making notes in your own words
23. Organizing notes in narrative summaries
24. Organizing notes in outline form
25. Leave wide margins
26. Notehand recall
27. Use longhand headings in your notes
28. Use signals for "must remember" items
29. Making verbatim notes
30. The notemaker is an active listener
31. Getting the most out of your listening
32. Writing names in your notes
33. Notehand recall
34. Rules for effective listening
35. Rules for effective listening (continued)
36. Preserve difficult longhand spellings
37. Showing contrasts and comparisons in your notes
38. Definitions, background information, and examples
39. Notehand recall
40. Using notehand in original writing
41. Making rough drafts
42. Footnotes
43. Special uses of notehand in original writing
44. How to make notes for research papers
45. Getting ready to make notes from research
46. Making notes from research
47. Writing the research paper
48. Notehand recall
Part Two
49. Reviewing and preparing for examinations
50. Making derived notes
51. Making notes of class discussions
52. Making notes of other meetings and discussions
53. Making notes as a recorder
54. Writing the minutes
55. Indexing your notes
56. Disposition of your notes
57-70. Notehand principles
Key to Gregg Notehand
Index to Gregg Notehand
Gregg Notehand
Gregg Notehand is a simplified form of Gregg Shorthand. It is described in the namesake leslie-et-al_1968_gregg-notehand
Critiques
The lessons use sounds-like-(letter)-in-(word) type phoneme definitions, and generally suffer from a facile understanding of phonology. Totally unacceptable for a proposed alternative alphabet, but then the text does not understand that's what it's proposing.
leslie-et-al_1968_gregg-notehand#2-8. Notehand principles Silent letters omitted. In the English language many words contain letters that are not pronounced. In Notehand these silent letters are omitted, and only those sounds in a word are written that are actually pronounced. For example, in the word say, the y would not be written because it is not pronounced; say would be written s-a. The word face would be written f-a-s; the final e would be omitted because it is not pronounced, and the c would be represented by the s stroke because it is pronounced s.
What letters in the following words would not be written in Notehand because they are not pronounced?
- day
- eat
- main
- mean
- save
- steam
leslie-et-al_1968_gregg-notehand#2-8. Notehand principles Gregg Notehand is easy to learn---easier, actually, than longhand. Why? In longhand, there are many different ways of writing a given letter; in Gregg Notehand, there is only one way.
This is a baffling first paragraph. Without further clarification, the text seems to be implying that students learning longhand are expected to learn to read and write many forms of the same letter, where reality is the opposite.
In fact, it is plain to see from the lessons in the text that Gregg Notehand had far more individual character variation than is accepted of the English alphabet.
The text does not specify winding direction for circular forms (e.g. "a" and "e"), nor is the illustrator consistent between words. For many words, neither option is more intuitive, and the choice radically changes its form.
More damningly, in Lesson 26 we learn the "s" stroke is allowed to be written backwards.
It's a very strange choice, claiming that a shorthand is less ambiguous than the writing system it replaces. I'm sure its possible, but English doesn't have enough frills to cut off. Shorthand trades certainty for speed, that's the whole point.
Some words, especially those more than one syllable, I believe are illustrated incorrectly based on preceding text and examples. "Navy" is particularly egregious.