The Selection Of Significant detail

The Selection Of Significant detail

Speech 

There is a sense in which selection forms basis of any text. The most straightforward way to see this is when we describe what is before our eyes. How would you describe the room you are in now?

In theory you could go on mentioning details for ever: every speck of dust, or dimple in the wallpaper, is there. But you will not mention everything and will need to. A few details will do andthen you can leave it to the reader’s experience to fill in the rest. The trick is to make the details that you do choose call up the whole scene or situation. This is what is meant by their being ‘significant’. 

In the boxing commentary the commentator is constrained also by the medium. He does not have time to mention many details. He selects key items for mention in order to create an impression of the whole scene. In the radio commentary the commentator does not mention every blow, but picks out samples, so that we have the impression that coetzer is doing more attacking. A specimen number of key incidents stands in for the whole. Of course this requires judgement and knowledge from the commentator, as can be appreciated if we imagine someone with no knowledge of boxing being given the job of describing it. They would not know even what was significant to pick out for mention let alone terms such as.

Right over the top 

The technique of using a part to stand or the whole applies to details as well as overall strategy. Thus in text G para-wa- same picks out for mention every stream and every wood. Obviously he knew other thing as well such as ponds, fish teepees , eagles, his family and so forth. Jeffries (text E), also, make use of particular parts of the setting. His whole thesis is that p[art and whole are contained in each other.There is a sense in which selection forms basis of any text. The most straightforward way to see this is when we describe what is before our eyes. How would you describe the room you are in now? 

In theory you could go on mentioning details for ever: every speck of dust, or dimple in the wallpaper, is there. But you will not mention everything and will need to. A few details will do andthen you can leave it to the reader’s experience to fill in the rest. The trick is to make the details that you do choose call up the whole scene or situation. This is what is meant by their being ‘significant’. 

In the boxing commentary the commentator is constrained also by the medium. He does not have time to mention many details. He selects key items for mention in order to create an impression of the whole scene. In the radio commentary the commentator does not mention every blow, but picks out samples, so that we have the impression that coetzer is doing more attacking. A specimen number of key incidents stands in for the whole. Of course this requires judgement and knowledge from the commentator, as can be appreciated if we imagine someone with no knowledge of boxing being given the job of describing it. They would not know even what was significant to pick out for mention let alone terms such as. 

Right over the top 

The technique of using a part to stand or the whole applies to details as well as overall strategy. Thus in text G para-wa- same picks out for mention every stream and every wood. Obviously he knew other thing as well such as ponds, fish teepees , eagles, his family and so forth. Jeffries (text E), also, make use of particular parts of the setting. His whole thesis is that p[art and whole are contained in each other.