meaning of didactic essay

Didacticism: Definition and Examples in Literature

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Ph.D., Rhetoric and English, University of Georgia
M.A., Modern English and American Literature, University of Leicester
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Didacticism is all about teaching and educating and the word didactic comes from a Greek term meaning the same. The term didacticism , when referring to writing, describes literature serving as a means to teach the reader something, whether that be morals or how to make stew. Some connotations of the word didactic can include an inference of being heavy-handed and preachy, but that manner is not a requirement for something to be didactic. That said, it certainly can preach as well as instruct or advise.

Key Takeaways Didacticism

Didactic text is instructional, not always preachy.
Before how-to videos and self-help books came fables, myths, and proverbs.
Literature that has an ethical message among its themes can be didactic, just as straightforward second-person instructional text can.

You'll often be able to tell didactic writing by sight, as it is nonfiction that makes use of the second-person point of view , using you or your and imperative sentences, as opposed to first-person point of view (I, we, our) and third person (he, she). However, it doesn't have to use second person, so third person usage doesn't automatically rule out the use of didactic text.

Didactic Writing Types

Didacticism has been around since before language was being written down or printed; as long as there's been something to instruct, there have been stories to deliver the lessons. Before the Aesopic fables , there were parables, myths, legends, and proverbs passed down from generation to generation to inspire and advise people how to live and instruct in practices to follow.

"One of the age-old functions of all folklore is education, and performers who would amuse us are just as often eager to teach us as well," said author Sandra K. Dolby. Whether it's "literature" depends on how narrowly you define that term, though. "On the other hand, there are those who would argue that 'literature' — true art — is never utilitarian, never purposeful, that writing intended to advise or persuade is communication or rhetoric but not literature." ("Self-Help Books: Why Americans Keep Reading Them." University of Illinois Press, 2005)

Others would disagree, noting that the world (and art) is rarely so black and white. They would cite works of literature as illustrative of didacticism when there's something to learn from them—such as William Golding's "Lord of the Flies" and Harper Lee's "To Kill a Mockingbird." These works make ethical arguments in their themes. In the former, the author portrays civilization and ethics/moral codes vs. barbarism. In the latter, Atticus Finch teaches his children about prejudice, courage, and doing the right thing, even when it's not a popular position.

Whether someone defines a particular work as literature or not, though, if it's instructional, it's definitely didactic writing.

Didacticism Examples

From " Advice to Youth" by Mark Twain : "Always obey your parents, when they are present. This is the best policy in the long run because if you don’t, they will make you... Now as to the matter of lying. You want to be very careful about lying; otherwise, you are nearly sure to get caught." Even if the speech he gave is satire, there's still truth in what he says. Humor as a convention can also make advice easier to take.

Compare Twain's voice with the more matter-of-fact tone used in "Camping Out" by Ernest Hemingway : "The simplest [bug repellant] perhaps is oil of citronella. Two bits’ worth of this purchased at any pharmacist’s will be enough to last for two weeks in the worst fly and mosquito-ridden country.

Rub a little on the back of your neck, your forehead, and your wrists before you start fishing, and the blacks and skeeters will shun you. The odor of citronella is not offensive to people. It smells like gun oil. But the bugs do hate it."

In Martin Luther King Jr.'s "I Have a Dream" speech , in addition to imploring leaders to pass civil rights-related laws, he also instructed Blacks protesting to make their voices heard in a peaceful way. Note the use of second person here as he speaks to the audience (using the imperative form in the first sentence with "you" understood before the word "let"): "Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred. We must forever conduct our struggle on the high plane of dignity and discipline. We must not allow our creative protest to degenerate into physical violence."

Other examples of didacticism in literature include Medieval morality plays. Writers of didactic essays from the Victorian era include Thomas De Quincey (1785–1859), Thomas Carlyle (1795–1881), Thomas Macaulay (1800–1859), and John Ruskin (1819–1900).

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didacticism

What is didacticism definition, usage, and literary examples, didacticism definition.

Didacticism (dahy-DAK-tik-iz-um) is a literary movement encompassing written works that both instruct and entertain. Didactic literature’s overarching philosophy is that reading should contain a lesson as well as a certain amount of pleasure. In didacticism, entertainment doesn’t necessarily refer to an edge-of-your-seat kind of interest; it simply means a work is readable and not solely academic in nature.

Though some readers and critics employ the adjective didactic disparagingly to describe writing that is overly preachy and without much explicit entertainment value, didacticism is a separate literary philosophy. Works that fall under its definition may certainly possess a heavy-handedness, such as moralizing or lecturing, but these qualities are not prerequisites, so long as there is some amount of both instruction and readability in a piece.

The word derives from the Greek didaktikós , meaning “skilled in teaching.” Didacticism has its roots in oral traditions, in which parables and myths offered listeners a source of entertainment along with moral lessons.

The Origins of Didacticism

Didacticism began before the written word. Early cultures dispersed knowledge and entertainment through oral storytelling. Spoken fables, parables, and myths were a means to educate as well as amuse. One generation passed them on to the next, and the stories altered slightly to reflect cultural changes and evolutions in attitude. Fairy tales are an early example of didacticism. They started as an oral tradition and eventually passed from culture to culture, with each society putting their own spin on the tales to ensure they captured their community’s norms. The first written fairy tale, believed to be “The Smith and the Devil,” dates to 1300 BCE.

Another early example is the poem “Works and Days” by Greek poet Hesiod, written around 700 BCE. The 800-line verse isn’t merely a poem; it is a farmer’s almanac that Hesiod used to teach his brother about agriculture. Athenian philosopher Xenophon wrote “On Horsemanship,” one of the earliest surviving examples of a didactic essay, around 350 BCE. The treatise details the proper care and training of horses.

Novels as a form didn’t come into being until the 11th century; one of the first didactic novels emerged around 100 years later, with Muslim scholar Ibn Tufayl’s Ḥayy ibn Yaqẓān . It concerns a boy living on an isolated island who learns about the natural world through his direct experience with it. Later, he meets another human—his first—and eventually shares his knowledge with the rest of the world.

As the influence of Christianity spread, so too did one of the most monumental works of didactic literature: The Bible . For Western culture, the Bible is both wisdom and entertainment—the exact definition of didacticism. It shapes their reading material, theatre, politics, and way of life.

This led to the development of morality plays, a theater genre based in didacticism, during the Middle Ages. Though these plays diminished in popularity during the early Tudor Era , Western writers and philosophers continued producing didactic literature. Scholars consider Puritan writer John Bunyan’s 1678 Christian allegory The Pilgrim’s Progress a classic didactic work; it is also the first novel written in English. In the Victorian Era , didactic essays were particularly popular.

In the 19th century, attitudes toward didacticism changed, with many viewing these types of work as too moralizing and hectoring. Edgar Allan Poe was one vocal critic of didacticism, calling it one of the worst heresies imaginable.

Types of Didactic Works

Didacticism defies literary genres. Didactic text appears in virtually every kind of writing, including:

Children’s literature
Fables and fairy tales
Poetry and verse

Morality Plays

Morality plays are theatrical dramas that make abundant use of didacticism. They started in Medieval Europe, where they evolved from staged interpretations of Bible stories called mystery plays. The Bible provided a major influence for early morality plays; popular themes often centered on one of the Seven Deadly Sins.

Morality plays contain allegorical characters who teach the audience moral lessons through plot -driven stories. In most morality plays, the central teaching involves a good versus evil struggle; the protagonist, who usually symbolizes the human race or a particular social group, learns the difference between—and the consequences of—right and wrong.

While morality plays largely fell out of favor at the beginning of the 17th century, contemporary playwrights still write them. Because of their clear-cut presentations of basic moral and ethical behavior, plays written for children are often, to some extent, morality plays. For instance, staged versions of beloved fairy tales like Little Red Riding Hood and Henny Penny are fun for kids to watch while teaching important lessons—respectively, that they should never talk to strangers and they should not believe everything they’re told.

Morality plays appear in more mature theatre as well. German playwright Bertolt Brecht is one of the most prominent modern writers to pen morality plays—and, by extension, didactic philosophy. In fact, Brecht developed his own version of morality plays with a new dramatic movement called epic theatre. Epic theatre emphasizes breaking down the actor-audience divide to engage audience members in ways that make them seek answers to big questions about morality, ethics, politics, social issues, and other subjects.

Didacticism’s Functions and Mechanisms

The function of didacticism is to teach and entertain. Didactic literature accomplishes these goals through compelling, engaging text. A didactic nonfiction work might utilize second-person point of view to immerse the reader in a more straightforward way. This approach uses the you and your pronouns and sentences that read like direct instructions to or insights about the reader. How-to books, self-help books, and instruction manuals are all common examples of this approach.

While second-person point of view is often an automatic giveaway that a text is didactic in nature, there is no formal requirement saying this is the only approach. Both first person ( I, me, my, we, our ) and third person ( he, she, they, them ) voices are also effective. However, they might make didacticism more difficult to spot.

Notable Didactic Authors

Throughout history, many writers have created didactic literature. The following is a list of some of the most prominent and their works.

Thomas Carlyle, On Heroes, Hero-Worship, and The Heroic in History
Thomas De Quincey, Confessions of an English Opium-Eater
Fyodor Dostoyevsky, Crime and Punishment
Theodore Dreiser, Sister Carrie
Thomas Hardy, Jude the Obscure
Doris Lessing, Re: Colonised Planet 5 , Shikasta (a.k.a. Shikasta )
Thomas Macaulay, The History of England from the Accession of James the Second
Iris Murdoch, Under the Net
Alexander Pope, “An Essay on Man”
Ayn Rand, The Fountainhead
John Ruskin, Modern Painters
Harriet Beecher Stowe, Uncle Tom’s Cabin
Edith Wharton, The Age of Innocence

Examples in of Didacticism in Literature

1. Aesop, Aesop’s Fables

The fables created by Greek storyteller Aesop are the most enduring examples of ancient didactic literature. They started out as popular tales in the oral tradition and weren’t written down until some 300 years after Aesop’s death in 564 BCE. There are 725 fables in total.

Among the most famous are “The Ant and the Grasshopper,” about a dawdling grasshopper who learns a lesson from an ant about the importance of hard work and planning ahead, and “The Tortoise and the Hare,” in which the creeping tortoise emerges the unlikely winner of a race against the overly boastful hare. As in all of Aesop’s fables, these characters act out broad but familiar dilemmas that most human beings will face at some time during their lives. They illustrate what can happen when one follows the less virtuous path, as well as what can happen on the more righteous one.

2. John Bunyan, The Pilgrim’s Progress

The Pilgrim’s Progress is a two-part allegory of Christian theology. In the first part, the protagonist, appropriately named Christian, goes on an epic journey through a dreamscape that takes him from his home to the City of Destruction, the Celestial City and, finally, Mount Zion. The City of Destruction symbolizes the earthly world, while the Celestial City denotes heaven. Along the way, obstacles abound, challenging Christian’s faith and underscoring the importance of sticking to one’s beliefs, sacrificing anything for salvation, and trusting in the divine will of God. This excerpt comes from the conclusion of Part 1:

Now when they were come up to the gate, there was written over it, in letters of gold,

“BLESSED ARE THEY THAT DO HIS COMMANDMENTS, THAT THEY MAY HAVE RIGHT TO THE TREE OF LIFE, AND MAY ENTER IN THROUGH THE GATES INTO THE CITY.”

Then I saw in my dream, that the shining men bid them call at the gate: the which when they did, some from above looked over the gate, to wit, Enoch, Moses, and Elijah, &c., to whom it was said, These pilgrims are come from the City of Destruction, for the love that they bear to the King of this place; and then the pilgrims gave in unto them each man his certificate, which they had received in the beginning: those therefore were carried in unto the King, who, when he had read them, said, Where are the men? To whom it was answered, They are standing without the gate. The King then commanded to open the gate, “That the righteous nation (said he) that keepeth the truth may enter in.” Isaiah 26:2.

3. Mark Twain, “Advice to Youth”

“Advice to Youth” is an 1882 essay by Mark Twain, intended as a satire of various adult mores and institutions. The style is intentionally overly didactic to emphasize the essay’s satirical nature.

Twain presents six tongue-in-cheek lessons to American youth: obey your parents, but only in their presence; respect strangers and one’s superiors—but others only selectively; go to bed and get up early, preferably with a lark as an alarm clock; lie sparingly until you’ve mastered the art of lying, then lie freely; practice care around guns, but, better yet, just handle unloaded ones; and don’t waste youth on trashy literature, only good books.

As a final skewering of conventional attitudes and homogeneity, Twain concludes the essay with this guidance:

Build your character thoughtfully and painstakingly upon these precepts, and by and by, when you have got it built, you will be surprised and gratified to see how nicely and sharply it resembles everybody else’s.

4. Herman Hesse, Siddhartha

Siddhartha is a short novel written in straightforward language, but its major philosophical themes make it an important work of didactic literature. It is the story of a young man, Siddhartha, who lives during the time of the Buddha and undertakes a similar journey of self-discovery. He meets many people during his adventures, each of whom teaches him a big lesson about life, death, human nature, enlightenment, or a similar mystery. Though inspired by Buddhism, Siddhartha is on a path uniquely his own that ultimately presents him with the reality of the separateness of the human experience—and how, paradoxically, the commonality of our separateness is something that connects us.

Siddhartha is just as instructional as it is narrative:

Siddhartha listened. He was now listening intently, completely absorbed, quite empty, taking in everything. He felt that he had now completely learned the art of listening. He’d often heard all this before, all these numerous voices in the river, but today they sounded different. He could no longer distinguish the different voices–the merry voice from the weeping voice, the childish voice from the manly voice. The all belonged to each other: the lament of those who yearn, the laughter of the wise, the cry of indignation and the groan of the dying. They’re all interwoven and interlocked, entwined in a thousand ways. And all the voices, all the goals, all the yearnings, all the sorrows, all the pleasures, all the good and evil, all of them together was the world.

Further Resources on Didacticism

Goodreads maintains a list of Popular Didactic Books .

LibraryThing has a directory of didactic literature and authors closely associated with the genre.

Juanita Feros Ruys of the University of Sydney challenges the idea that medieval didactic children's literature is "dull" and suggests a new way of reading these texts.

Washington State University has an overview of religious didactic literature of the Middle Ages.

Encyclopædia Britannica examines the life, work, and legacy of Hesiod , the "father of Greek didactic poetry."

Related Terms

Morality Play

Literary Devices

Literary devices, terms, and elements, didacticism, definition of didacticism.

Didacticism describes a type of literature that is written to inform or instruct the reader, especially in moral or political lessons. While they are also meant to entertain the audience, the aesthetics in a didactic work of literature are subordinate to the message it imparts. In modern times, “didactic” has become a somewhat pejorative way to describe a work of literature, as contemporary authors generally do not attempt to teach moral lessons through their writing. However, the original definition of didacticism did not carry this negative connotation.

The word didacticism comes from the Ancient Greek word διδακτικός ( didaktikos ), which meant “relating to teaching, education, or wisdom.”

Common Examples of Didacticism

Every textbook and “how-to” book is an example of didacticism, as their explicit purpose is to instruct and educate. Books written for children also often have a didactic intent, as they are often created to teach children about moral values. Religious sermons are also usually examples of didacticism, as the preacher is intending to use the religious text to give the congregation moral guidance. The following quote is one of the most famous Christian sermons ever delivered:

Natural men’s prudence and care to preserve their own lives, or the care of others to preserve them, do not secure them a moment. To this, divine providence and universal experience do also bear testimony. There is this clear evidence that men’s own wisdom is no security to them from death; that if it were otherwise we should see some difference between the wise and politic men of the world, and others, with regard to their liableness to early and unexpected death: but how is it in fact? Eccles. ii. 16. “How dieth the wise man? even as the fool.”

—“Sinners in the Hands of an Angry God,” written and delivered by Jonathan Edwards in 1741

Significance of Didacticism in Literature

While didacticism in literature is generally frowned up nowadays, it was a key feature of many ancient texts, and remained popular up until about the 18th century. It was seen as a benefit for the reading audience to have these texts to use as moral guidance. While there are examples of didacticism in more recent literature, they are fewer and further between. Edgar Allen Poe even went so far as to refer to didacticism as the worst thing an author could do in his treatise The Poetic Principal . Poe and others considered didacticism to be a detriment to the literature which it burdened down.

Examples of Didacticism in Literature

Here is a poor burdened sinner. I come from the City of Destruction, but am going to Mount Zion, that I may be delivered from the Wrath to come; I would therefore, Sir, since I am informed that by this Gate is the Way thither, know if you are willing to let me in?

( The Pilgrim’s Progress by John Bunyan)

John Bunyan’s novel The Pilgrim’s Progress is a famous didacticism example. Bunyan makes the allegory and lesson he is trying to impart clear: the main character’s name is Christian and he travels from the City of Destruction on his way to Mount Zion. Along the way, Christian comes up against many obstacles, and his journey through and around these obstacles helps to instruct the reading audience how to overcome obstacles themselves by leading moral lives. Bunyan makes the references to Biblical stories obvious so that readers could more easily grasp the moral lessons he was trying to teach therein.

So they established the rule that all poor people should have the alternative (for they would compel nobody, not they) of being starved by a gradual process in the house, or by a quick one out of it. With this view, they contracted with the waterworks to lay on an unlimited supply of water, and with a corn-factor to supply periodically small quantities of oatmeal, and issued three meals of thin gruel a day, with an onion twice a week and half a roll on Sundays.

( Oliver Twist by Charles Dickens)

Charles Dickens’s novel Oliver Twist , about an orphaned boy in poverty, is an example of a Victorian didactic novel. Dickens wanted to dramatize the difficulties that poor people had in society, thereby making the reading public more sympathetic. The point of didacticism in this novel was to change popular opinion and encourage a more moral viewpoint on the part of citizens of Dickens’s day. In the above excerpt, Dickens describes the horrible options available to poor people, which were either to die slowly inside the workhouse or quickly outside of it. Though poor people had some access to food inside the workhouse, it was meager and accompanied by such grueling work that they could not survive those conditions. Dickens wanted to motivate his reading public to more fully consider the issues in his day surrounding poverty.

If you can talk with crowds and keep your virtue, Or walk with Kings—nor lose the common touch, If neither foes nor loving friends can hurt you, If all men count with you, but none too much; If you can fill the unforgiving minute With sixty seconds’ worth of distance run, Yours is the Earth and everything that’s in it, And—which is more—you’ll be a Man, my son.

(“If” by Rudyard Kipling)

In the poem “If,” Rudyard Kipling lays out the different ways that his son can become a man, and to live well in the world. The above excerpt is the final stanza of the poem in which Kipling brings his lesson to a close. Here he provides the strong conclusion for both his son and any readers that if they just follow these guidelines they will have a good life, by Kipling’s standards. This is a didacticism example because it presents a clear message about how to live morally, at least in Kipling’s views.

Siddhartha learned a great deal from the Samanas; he learned many ways of losing the Self. He traveled along the path of self-denial through pain, through voluntary suffering and conquering of pain, through hunger, thirst and fatigue. He traveled the way of self-denial through meditation, through the emptying of the mind through all images. Along these and other paths did he learn to travel. He lost his Self a thousand times and for days on end he dwelt in non-being. But although the paths took him away from Self, in the end they always led back to it.

( Siddhartha by Hermann Hesse)

Of course, not all moral lessons in didactic literature align with Christian values. In his 20th century novel Siddhartha , Hermann Hesse explores the philosophy and moral teachings of Buddhism. In the above excerpt, the main character Siddhartha reflects on the different ways he has tried to achieve Enlightenment and lose the burdensome Self. However, there is more to it than just the things he lists as having tried, and the rest of the novel will bring him through different lessons that the reader can experience concurrently.

Test Your Knowledge of Didacticism

1. Which of the following statements is the best didacticism definition? A. A piece of literature meant to instruct or inform. B. A teacher. C. An annoying piece of literature that is impossible to enjoy. [spoiler title=”Answer to Question #1″] Answer: A is the correct answer.[/spoiler]

2. Why might an author decide to use didacticism examples in their works of literature? A. To show the author’s own superiority by understanding complex moral issues that they don’t expect the reader to understand. B. To help his or her reading audience live a moral life. C. To frustrate the reader by writing abstruse and esoteric lessons that the reader is unable to comprehend. [spoiler title=”Answer to Question #2″] Answer: B is the correct answer.[/spoiler]

3. How can we surmise that John Bunyan’s The Pilgrim’s Progress is a didactic text? A. All of the characters have allegorical names, like Christian, Goodwill, Mr. Worldly Wiseman, and Sloth. B. The plot of the novel has many Biblical allusions, and several scenes are very similar to Biblical stories. C. Christian goes through many trials and tribulations that show readers how to have moral lives themselves. [spoiler title=”Answer to Question #3″] Answer: C is the best answer. While it’s true that A and B are obvious signs that Bunyan means for the text to be didactic, an author could use these names or allusions without being didactic. The key is that Bunyan writes in such a way that the reader is supposed to learn from Christian’s struggles in order to live more morally. [/spoiler]

Didacticism

Didacticism definition.

Didacticism is a term that refers to a particular philosophy in art and literature that emphasizes the idea that different forms of art and literature ought to convey information and instructions, along with pleasure and entertainment.

The word didactic is frequently used for those literary texts that are overloaded with informative or realistic matter, and are marked by the omission of graceful and pleasing details. Didactic, therefore, becomes a derogatory term referring to the forms of literature that are ostentatiously dull and erudite. However, some literary texts are entertaining as well as didactic.

Didacticism in Morality Plays

Morality plays of medieval Europe were perhaps the best exemplars of didactic literature. These plays were a type of theatrical performance that made use of allegorical characters to teach the audience a moral lesson. The most common themes that were presented in morality plays were what are commonly known as “the seven deadly sins”: pride, lust, greed, envy, wrath, sloth and gluttony. Another theme that such plays exploited was that repentance and redemption were possible for a person, even when that person intentionally gave in to temptation. Historically, morality plays were a transitional step that lay between Christian mystery plays and the secular plays of the Renaissance theatre.

Examples of Didacticism in Literature

Example #1: pilgrim’s progress (by john bunyan).

John Bunyan’s Pilgrim’s Progress is one of the best didacticism examples in the form of spiritual allegory . The poem describes a religious and spiritual journey of a man on the way to deliverance.

The poem describes an ordinary sinner, “Christian,” who leaves the City of Destruction and travels towards Celestial City, where God resides, for salvation. On his way, he finds a companion, “Faithful,” who helps him on his way to the City.

On many occasions, many characters – “Hypocrisy,” “Apollyon,” “Worldly Wiseman,” and “Obstinate and Pliable” – try to discourage or stop him from achieving his goal. Finally, he reaches the Celestial City carried by Hopeful’s faith.

The moral or didactic lesson that this allegorical poem intends to instruct is that the road to Heaven is not easy, and it is full of obstacles. Moreover, a Christian has to be willing to pay any cost to achieve his salvation. Besides, a man is full of sin, but this does not stop him from achieving glory.

Example #2: Essay on Man (By Alexander Pope)

Alexander Pope’s Essay on Man is a moral treatise. It is a satirical verse that intends to instruct individuals in an indirect way by ridiculing vices of a society.

“Know then thyself, presume not God to scan The proper study of Mankind is Man. Placed on this isthmus of a middle state, A Being darkly wise, and rudely great: With too much knowledge for the Sceptic side, With too much weakness for the Stoic’s pride, He hangs between; in doubt to act, or rest; In doubt to deem himself a God, or Beast; In doubt his mind or body to prefer; Born but to die, and reas’ning but to err; Alike in ignorance, his reason such, Whether he thinks too little, or too much;”

The above excerpt is taken from the first verse paragraph of the second book of the poem. It clearly sums up the humanistic and religious principles of the poem.

Example #3: Animal Farm (By George Orwell)

George Orwell ’s Animal Farm is an allegory, or a moral and didactic tale, that uses animals on a farm to describe the overthrow of the last of the Russian Tsar, Nicholas-II, and exposes the evil of the Communist Revolution of Russia before WWII. Clearly, the actions of the various animals on the farm are used to expose the greed and corruption of the revolution. It also contains a depiction of how powerful people can alter the ideology of a society. One of the cardinal rules on the farm is:

“ All animals are equal but a few are more equal than others.”

The animals on the farm stand for different sections of the then-Russian society occupying Russia after the revolution. For example, “pigs” represents those who became the authority after the revolution; “Mr. Jones,” the owner of the farm, represents the overthrown Tsar Nicholas II; and “Boxer,” the horse, represents the laborer class. Didacticism in the novel permits Orwell to make his position on the Russian Revolution apparent, in order to expose its evils.

Function of Didacticism

Didacticism in literature aims at offering something additional to its readers, rather than merely offering pleasure and entertainment. Some critics may argue that didacticism may reduce literature to a tool for boring instructions, nevertheless it definitely gives readers a chance to improve their conduct, and comprehend evils which may lead him astray.

What is Didacticism? Definition, Examples of Didactic Literature

Home » The Writer’s Dictionary » What is Didacticism? Definition, Examples of Didactic Literature

Didacticism definition: Didact literature is a type in which was written for a particular purpose such as to teach a lesson.

What is Didacticism?

Didacticism refers to writing that is written for a particular purpose such as to teach a lesson in addition to providing entertainment. The lessons that these works teach may vary from moral, religious, political, or practical teachings.

Example of Didacticism

An example of didacticism would the tale told in the story “The Boy Who Cried Wolf” by Aesop. The story tells of a little boy who continues to cry out for help claiming that his flock is in danger of a wolf. However, he is only doing so as a source of entertainment. Unfortunately, one day there is an actual wolf, and when he cries, the cries are ignored and catastrophe occurs. In this story, the primary purpose is to teach the lesson that people should be honest in order to retain the trust of others.

Modern Examples of Didacticism

The Muslim holy book, the Qur’an , is an example of didactic literature. The stories told in this religious text serve the purpose to teach morality to its religious followers.

In addition to the Qur’an , the Bible can also be seen as didactic literature because its primary purpose is to persuade and teach readers to live moral lives.

The famous sermon “Sinners in the Hands of an Angry God” by John Edwards is another example of a didactic piece of writing. This sermon was given in order to scare his listeners of the Hell they would face if they didn’t accept Christ and ask for salvation.

The Function of Didacticism in Literature

The purpose of didacticism is to give readers a way to better themselves. This type of literature is written in order to give the audience specific moral conduct advice and is oftentimes aligned with a spiritual or religious belief.

Didactic Examples in Literature

George Orwell’s novella Animal Farm can be categorized as an example of didactic literature. In this famous tale, Orwell uses animal characters in order to represent leaders during the Russian Communist Revolution. These characters attempt to fix their society using the basis of communism; however, as history shows, the thirst for power will eventually consume the leaders. His purpose in doing so was to warn the world of the evils of this governmental corruption.

Another example of didacticism would be the poem “Pilgrim’s Progress” by John Bunyan. In this poem, a man’s journey to seek the salvation of God is told to the audience. Through this journey, it is taught that while it may not be a smooth journey, it is rewarding one.

Define didacticism in literature: While it may provide entertainment to the reader through the storytelling, didacticism is a type of literature that’s primary purpose is to teach a lesson (moral, political, religious, etc) to the reader.

Final Example:

Ray Bradbury’s Fahrenheit 451 could be categorized as didacticism. This story’s purpose is to enforce the lesson that society has the obligation to continue to embrace knowledge through the reading of books. It shows the dangers that may happen to a society that rejects such values as education.

English Studies

This website is dedicated to English Literature, Literary Criticism, Literary Theory, English Language and its teaching and learning.

Didacticism in Literature & Literary Theory

Didacticism, as a theoretical term in literature, refers to the deliberate inclusion of instructive or educational elements within a work of literature.

Etymology of Didacticism

Table of Contents

The term “didacticism” has its roots in ancient Greek. It derives from the Greek word “didaktikos,” which means “apt at teaching” or “related to teaching.” The word “didaktikos” is formed from the verb “didasko,” which means “to teach” or “to instruct.”

In English, “didacticism” refers to the practice or principles of teaching, instructing, or imparting moral or ethical lessons through literature, art, or other forms of communication.

It is often associated with works that have a clear educational or moral purpose, aiming to impart knowledge, values, or guidance to the audience. Didactic works are typically characterized by their intention to educate or convey a message, often in a straightforward or pedagogical manner.

Meanings of Didacticism

Definition of didacticism as a theoretical term.

Didacticism, as a theoretical term in literature, refers to the deliberate inclusion of instructive or educational elements within a work of literature. It involves the author’s intention to impart moral, ethical, or philosophical lessons to the reader, often employing a pedagogical style. Didacticism can manifest through direct teaching, moralizing, or the use of allegory and symbols to convey specific messages or guidance to the audience.

Didacticism: Theorists, Works and Arguments

Jean-Jacques Rousseau: Rousseau, a prominent philosopher, and educator, emphasized the didactic potential of literature in his educational philosophy.
John Locke: Locke, known for his influential treatises on education, discussed the role of didactic literature in moral and intellectual development.
Emile, or On Education by Jean-Jacques Rousseau (1762): In this work, Rousseau underscores the importance of didactic literature in shaping the character and values of the protagonist, Emile.
Some Thoughts Concerning Education by John Locke (1693): Locke’s treatise explores the educational benefits of literature and the role of books in imparting knowledge and values.

Arguments and Contributions:

Educational Role: Didacticism, as advocated by Rousseau and Locke, highlights literature’s capacity to educate and contribute to moral and intellectual development.
Moral and Ethical Guidance: Didactic literature serves as a means to provide readers, especially children and young adults, with moral and ethical guidance.
Critique of Didacticism: Some critics argue that excessive didacticism may lead to heavy-handed moralizing, potentially compromising the artistic quality of literature. This sparks ongoing debates about striking the right balance between instruction and artistic expression in literary works.

Didacticism and Literary Theories

Moral Criticism and Ethics: Didacticism often aligns with moral criticism, as it involves literature imparting moral or ethical lessons. Scholars in this field examine how literary works convey and critique moral values, ethical dilemmas, and societal norms.
Reader-Response Theory : Didacticism engages with reader-response theory by considering how readers interpret and respond to texts that aim to educate or convey specific messages. The role of the reader in receiving and internalizing didactic content is a focal point.
Psychoanalytic Literary Theory : In psychoanalytic theory, didacticism can be examined in terms of how it reflects the author’s or society’s collective psyche and moral values. Analysts may explore how characters’ responses to didactic elements reveal underlying psychological conflicts and defense mechanisms.
Marxist Literary Theory : Marxist theorists may analyze didacticism through the lens of class struggle and social critique. They consider how literature, particularly works with strong political or ideological messages, reflects and challenges the prevailing socio-economic order.
Feminist Literary Theory : Feminist scholars explore didacticism’s role in shaping and challenging gender roles, expectations, and societal norms. They examine how literary texts educate readers about gender-related issues and feminist perspectives.
Postcolonial Literary Theory: In postcolonial theory, didacticism can be examined in relation to the dissemination of colonial ideologies and resistance to them. Scholars analyze how literature serves as a tool for both colonial oppression and postcolonial education and empowerment.
Cultural Studies: Didacticism intersects with cultural studies in the exploration of how literature reflects and shapes cultural values, norms, and identities. Scholars investigate how didactic elements influence cultural narratives and power structures.
Aesthetic Theories: Didacticism often raises questions about the relationship between art and instruction. Aesthetic theorists may examine the tension between the didactic intent of a work and its artistic expression, considering how it impacts the overall aesthetic experience.
Historical and Contextual Analysis: Literary historians and contextual analysts study didacticism in relation to the historical, political, and cultural contexts in which works were created. They assess how didacticism reflects the concerns and ideologies of specific time periods.
Narratology: Didacticism can be analyzed in terms of narrative structure and how it shapes the progression of a story. Narratologists may explore how didactic elements influence the plot, characters, and thematic development in a literary work.

Didacticism in Literary Criticism

Didacticism

Didacticism definition.

Didacticism in Morality Plays

Examples of Didacticism in Literature

Example #1: pilgrim’s progress (by john bunyan).

Example #2: Essay on Man (By Alexander Pope)

Alexander Pope’s Essay on Man is a moral treatise. It is a satirical verse that intends to instruct individuals in an indirect way by ridiculing vices of a society.

“Know then thyself, presume not God to scan The proper study of Mankind is Man. Placed on this isthmus of a middle state, A Being darkly wise, and rudely great: With too much knowledge for the Sceptic side, With too much weakness for the Stoic’s pride, He hangs between; in doubt to act, or rest; In doubt to deem himself a God, or Beast; In doubt his mind or body to prefer; Born but to die, and reas’ning but to err; Alike in ignorance, his reason such, Whether he thinks too little, or too much;”

The above excerpt is taken from the first verse paragraph of the second book of the poem . It clearly sums up the humanistic and religious principles of the poem .

Example #3: Animal Farm (By George Orwell)

George Orwell’s Animal Farm is an allegory , or a moral and didactic tale, that uses animals on a farm to describe the overthrow of the last of the Russian Tsar, Nicholas-II, and exposes the evil of the Communist Revolution of Russia before WWII. Clearly, the actions of the various animals on the farm are used to expose the greed and corruption of the revolution. It also contains a depiction of how powerful people can alter the ideology of a society. One of the cardinal rules on the farm is:

“All animals are equal but a few are more equal than others.”

Function of Didacticism

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Introduction: Approaches to Didactic Literature—Meaning, Intent, Audience, Social Effect

2008, What Nature Does Not Teach: Didactic Literature in the Medieval and Early Modern Periods

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A bilingual ebook presentation of quotations from Cicero and Seneca for use in schools. Drawn from a larger collection, Particularly Great Latin, this version also adds a straight Latin presentation and a separate English one for pedagogical purposes.

Didactic or Didacticism in Creative Writing Explained with Examples, and How to Avoid it

So you’ve been told that your play, poetry, novel, or screenplay has moments that are didactic , and you want to get rid of this! This article will explain what this phrase means, and give you some literary techniques to overcome it.

What Does Didactic Mean?

Generally it has a pejorative meaning, especially in relation to creative writing . Pejorative just means negative.

It refers to when a passage of creative writing is obviously designed to teach .

It generally doesn’t refer to exposition . Exposition is when you tell your audience things they need to know about the story or the story world inside the tale.

For instance at the beginning of Star Wars when those big yellow letters appear.

Or when a character speaks in a way that is designed to fill the audience in about the events that have occurred prior to the commencement of the narrative.

Didacticism refers to when a story stops making its point subtly and starts making it too explicitly. This creates an uncomfortable feeling in the audience that they are being taught something or lectured to.

For instance, if you writing a story about the Irish famine of 1846, you might want your audience to understand how awful that event was, and you might want to blame the British empire for those events.

But if you just wheel a character in who says everything you want to say explicitly, the audience might feel they are being lectured to. So how do you overcome this problem ?

Show Don’t Tell to Avoid Didacticism

It’s probably true that most good stories have a moral, or are trying to make a certain point. If fact we require this of most tales in order for us to consider the tale worthwhile.

Take Schindler’s List for instance. It’s such a weighty tale because it makes the case that every human life is precious, and shows how disastrous it can be to stray from this philosophy.

It does this by following the experiences of one character , Oscar Schindler.

By showing us his reality, we see how awful the Nazis were, and we understand that the characters who try to save lives are the real heroes.

Spielberg showed us Oscar’s journey to make this point, rather than writing it in an essay, or simply telling us, or having a character tell us.

Thematic Argument

Many writers , like the writer of Looking For Nemo, discuss writing with a ‘thematic argument’ in mind.

The film Whiplash is another example of writing with a thematic argument. That film makes the case that artists must suffer in order to become truly great.

And then it makes the counter argument when we see how evil the teacher who believes this really is.

However in the final moment the film reverses this position again and demonstrates that people can either drop out the race for greatness and become regular citizens, or make the choice to truly suffer and attain greatness.

My point is, it does all this without ever explicitly saying ‘Artists must suffer to become great.’

The trick to avoiding didacticism is to have character’s speak language that is natural to them, and not have them say explicitly the points you are trying to make in your story.

Always find ways to dramatize your tale in a way that is compelling, and does not make your arguments explicitly, in order to avoid being accused of didacticism!

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What Is Didactic? (Essay Sample)

What is didactic.

The most basic definition of didactic is that it is meant to instruct something or to share a lesson. In art and literature, however, didactic refers to didacticism which is a philosophical framework that asserts the importance of conveying instructions and information as literature’s primary goal. Didactic text does not focus on offering recreation and pleasure but in telling an important argument or ideology. On the one hand, something didactic can be dull and simplistic, although on the other hand, it can combine the goals of sharing thoughts and remaining entertaining by responding to the specific tastes of the audience and respecting differences.

Medieval Europe is filled with didactic stories that have strongly moralistic or religious goals and themes. Many of the early plays talk about the evils of deadly sins, such as lust, envy, sloth, and pride. A good example of a didactic piece of literature is Pilgrim’s Progress by John Bunyan which talks about the spiritual journey of a man until he achieves redemption. One of the main points of the poem is that the road to becoming a Godly person is never easy but riddled with difficulties. Subsequently, only true believers with persistent dedication and unwavering faith can achieve the glory of God’s deliverance. While this poem has a beautiful message, it can come as lackluster to some people who dislike overtly didactic texts. They may also prefer stories that have higher entertainment value such as those with jokes or humorous characters and plots.

Many modern didactic literature works combine moral or ethical objectives and amusement. Perhaps a good illustration would be film, 12 Angry Men, directed by Sidney Lumet. Shown in 1957, the story is still very much attention-grabbing and exciting today because it is a courtroom drama. The jury deliberated the case of an 18-year-old boy who was alleged to stab his father. All of the jurors voted guilty on the preliminary hearing apart from Juror 8 who asserted that since the punishment was death, the defendant deserved further deliberation. Some jurors were irritated because they wanted to leave early for different reasons, like a Yankee game, and blatant discrimination against people from poor areas. The film is didactic as it teaches the significance of a jury’s thorough deliberation to arrive at rational and objective decisions. Nevertheless, it is entertaining as it has different characters with diverse personalities and motivations that affect them as jurors. The film shows the possibility of creating didactic works that are far from being boring but contain nuggets of wisdom.

Writers and students may ask the key to writing attention-grabbing, didactic texts particularly if they want to promote specific arguments or ways of thinking and living and here are some tips for them. First, think of the audience and how they are usually entertained. If they are used to sarcasm or dark humor, then this can be the tone of the work. Second, embed the lesson or idea underneath the themes. Perhaps an image that represents the idea can be shown alongside the characters or activities. The more covert the message is, the more deeply it may impact the viewers. Third, always consider how the audience will react and respond beforehand. Not all people are open to different ideas, especially those that contradict what they hold as permanently true. Do not write as if only you know the truth when different realities and truths exist. A didactic story that can make others think, if not change, can be achieved through a text that does not force people about one way of thinking but helps them consider another viewpoint.

Didactic means sharing a lesson, idea, or ideology to the audience. While it can be boring, there are ways of making didactic texts interesting even to those who would disapprove of the underlying message. As authors, you can make your work appealing by considering the audience and not forcing ideas head on. Be gentle with your audience and ensure that they will have a good time consuming your work so they may consider your message at the very least.

Didactics in a Changing World – Introduction

First Online: 28 January 2023

Cite this chapter

Florence Ligozat 5 ,
Kirsti Klette 6 &
Jonas Almqvist 7

Part of the book series: Transdisciplinary Perspectives in Educational Research ((TPER,volume 6))

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Thinking systematically about teaching and learning in relation to the knowledge contents and domains structured in the curriculum traditionally belongs to the broad field of Didactics in European countries. Far from being unified, this field is characterized by its fragmentation and broad interest linked to the historical evolution of educational goals in national contexts, but also to the diversity of institutional solutions in education as an academic discipline and in pre- and in-service teacher training structures. Building on different research traditions for conceptualizing the relationships between teaching, learning and the contents taught/learnt, this book pursues a threefold aim: (i) it presents certain recent theoretical developments of Didactics and, more particularly, the development of general subject didactics and comparative didactics ; (ii) it provides a sample of the diversity and complementarities of methodological approaches for the empirical study of teaching and learning in the classrooms; and (iii) it addresses certain societal challenges that didactic research faces in a changing world. This introduction first recalls some aspects of the development of research in Didactics in continental Europe to highlight the specificity and the complexity of this field. Then, we introduce the authors’ chapters, sketching the most salient relations between them within each part of this book.

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Didactics as a School Discipline: A Study of General Didactics Textbooks

The German Speaking Didactic Tradition

Reflecting on a Theoretical Approach from a Networking Perspective: The Case of the Documentational Approach to Didactics

The French term “les didactiques des disciplines” is sometimes translated by the English term “ Disciplinary didactics ” (e.g.,Schneuwly, 2021 ) to account for the cultural specificity of the subject-specific research on teaching and learning in the French-speaking context (where general didactics is not developed – see Ligozat, in Chap. 3 ). However, in this book, for the sake of clarity and the construction of a consistent international discourse about the research traditions in Didactics, the French authors have chosen to use the broad term “ Subject didactics ” (or subject didactique in Chap. 10 ) to stress the family resemblance with other similar trends in other countries (e.g. Fachdidaktik in German-speaking countries, las didácticas específicas in Spain, le didattiche disciplinari in Italy, etc.).

See the webpage on « Subject Didactic Research » developed at Charles university in Prague, Czech Republic: https://cuni.cz/UKEN-483.html

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Florence Ligozat

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Kirsti Klette

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Ligozat, F., Klette, K., Almqvist, J. (2023). Didactics in a Changing World – Introduction. In: Ligozat, F., Klette, K., Almqvist, J. (eds) Didactics in a Changing World. Transdisciplinary Perspectives in Educational Research, vol 6. Springer, Cham. https://doi.org/10.1007/978-3-031-20810-2_1

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[ dahy- dak -tik ]

didactic poetry.

a boring, didactic speaker.

Synonyms: pedagogical , donnish , preachy , pedantic

teaching or intending to teach a moral lesson.
didactics, (used with a singular verb) the art or science of teaching.

/ dɪˈdæktɪk /

intended to instruct, esp excessively
morally instructive; improving
(of works of art or literature) containing a political or moral message to which aesthetic considerations are subordinated

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Derived forms.

diˈdacticism , noun
diˈdactically , adverb

Other Words From

di·dacti·cal·ly adverb
di·dacti·cism noun
nondi·dactic adjective
nondi·dacti·cal·ly adverb
undi·dactic adjective

Word History and Origins

Origin of didactic 1

Example Sentences

It seems to have captured the quality of independence and self-determination without being didactic that kind of caught people’s imagination.

Instead, “TV Buddha” appears in a gallery crowded with other pieces, busy with didactics.

So she has chosen the path as her literary heroes, Charles Dickens and George Orwell: the entertaining but didactic novel.

Many schools seem to include both didactic sessions and practice sessions with simulated patients.

Will the next few hours be both didactic and entertaining, providing us with ample high and lowbrow cocktail party fodder?

A footnote toward the end of the book gives a short, wonderful history of human adornment, but the discussion remains didactic.

Your father hated didactic writings, hence this book had to be extremely playful ... I had to imagine him.

His plays are essentially didactic, being aimed at some weakness or iniquity of the social system.

In didactic poetry Lucretius was pre-eminent, and is regarded by Schlegel as the first of Roman poets in native genius.

This discussion is necessarily didactic and assertive for it is impossible to prove or disprove any of these postulates.

Some, as that of Sidi-Yusef-Hansali, are mild in their rites and of a purely didactic or religious nature.

With him the last spark of the didactic ideals of the Haskala has entirely vanished.

What is the Difference between Didactics and Pedagogy?

In simple terms, didactics is synonymous with teaching and instruction. And yet at the same time, a didactic approach involves a very structured and informed approach to teaching. But how does the term “didactics” differ from “pedagogy”?

What is the difference between didactics and pedagogy? While didactics is a discipline that is essentially concerned with the science of teaching and instruction for any given field of study, pedagogy is focused more specifically on the strategies, methods and various techniques associated with teaching and instruction. Pedagogy also refers to the ability of a teacher to match theoretical foundations or concepts with practical methods of knowledge transfer in education on language-related problems, while responding and adapting to the learning strategies of their students. Finally, didactics is teacher-centered and based on the sum of theoretical knowledge and practical experience . In comparison, pedagogy is learner-centred, since the teaching must be adapted to respond to the complexity of student needs.

Therefore, “didactics” is a more generalized term referring to the theory and practical applications behind the science of instruction . It can also be viewed as the foundation or principal steps and stages involved in the act of teaching, within a specific field. In the field of science, we speak of research, for instance, pertaining to the didactics of biology and medicine, for instance. In this context, the didactics of knowledge transfer often take place through teaching in a traditional setting (amphitheatre) at the onset, but most importantly through practical “hands on” sessions (practicum, laboratory or hospital settings) to prepare for professional insertion.

And yet, you may still be wondering how this definition of “didactics” differs from the term “pedagogy”. As you will see, the term “didactics” differs greatly from “pedagogy” in many significant ways. Before we answer this question, we must first consider the philosophical underpinnings of the German didactic tradition to better understand the origin of the word.

Didactics from a German perspective

From a teacher-centred approach and based on a philosophical foundation, Meyer (2007) explains that “the German didactic tradition focuses on teaching aims, subject matter, methods and the organisational frame of teaching and learning ” ( Meyer, M.A., 2007. “Didactics, Sense Making, and Educational Experience” in European Educational Research Journal, 6:26, 161-173. doi: 10.2304/eerj.2007.6.2.161 ). He cites Hericks ( Hericks, U. (2006) Professionalisierung als Entwicklungsaufgabe. Rekonstruktionen zur Berufseingangsphase von Lehrerinnen und Lehrern. Wiesbaden: VS Verlag für Sozialwissenschaften. ) who proposes that didactics is a discipline meant to assist teachers in their “voyage” from pre-service teaching to professionalism. With seasoned professional experience, teachers can evolve into teaching and learning experts who recognize the “emancipation” of their students through the act of knowledge transfer. This view supports the notion that the ultimate objective of the teacher is not only to teach students in a given subject but also and most importantly, to equip them with the necessary learning strategies so that they continue to learn independently and in the wider sense.

The Meaning of Didactics

What is the meaning of didactics? As mentioned earlier, “didactics” refers to the science of teaching (in relation to aims, subject matter, methods, and frameworks) within a specific field. Didactics is based on multiple theories of teaching, and in a wider sense, theory and the practical application of teaching and learning methods .

Textbooks and “do it yourself” (DIY) tutorials on YouTube or “how-to” books are all examples of “didacticism” since their ultimate purpose is to instruct and educate . Some would argue that the word ‘didactic’ can have both a positive and negative connotation. For example, someone who possesses a “didactic” personality is an individual who is naturally inclined to teach and instruct.

The word didactic can be associated with a positive or negative connotation . For example, a proud grandmother who shares her cultural recipes with her curious, entrepreneurial, and adventurous grandchildren is an example of a positive context. However, the following illustration will show how the word “didactic” can be associated with a rather subtle and negative connotation.

The massive production of 17th-century French fairy and folk tales and the 18th-century English nursery rhymes, such as the famous tales of Mother Goose, was meant to teach society in more than one way. This type of literature was written specifically for children (and adults alike), with a clear didactic intent. However, it was often somewhat underhanded in that it was also created to teach children (and again, adults) a stern lesson about societal behaviour, norms and moral values.

Didactic Method or Approach

What is a didactic method or approach? A didactic method is a teaching method that adheres to a scientific approach or educational style. The approach or method is often researched or studied and adopted by the teacher in order to engage the student and ultimately stimulate a virtuous learning process and transfer of knowledge in any given field of study.

For example in language didactics, the Content and Language Integrated Learning (CLIL) approach to language teaching is a very common approach used in European language classrooms ( Léon-Henri Di Pardo, D. CLIL in the Business English Classroom: From Language Learning to the Development of Professional Communication and Metacognitive Skills, University of Paris IV – La Sorbonne (Paris, France), 2015. ELTWorldOnline.com. Special Issue on CLIL. ).

A modern and innovative didactic approach to distance teaching and learning is the open learning and Massive Open Online Courses (MOOCs). Everyone has access to them and people can learn by themselves, in an unstructured manner. With unlimited access from across the globe, students are free to choose from various topics and domains of interest. And in addition, at some academic institutions, students can earn certificates and diplomas as they work through the online courses.

Didactic methods and their underlying principal theories focus on the baseline knowledge students possess, as well as their needs. These methods seek to improve upon this level and assist the teacher in conveying information, in the best possible way. A didactic method or approach is thus the very foundation or starting point in a lesson plan , where the overall goal is knowledge transfer, and as the Germans say, emancipation . The teacher, instructor or educator functions in this role as the authoritative figure, but also as both a guide and a resource for the students. Depending upon the chosen didactic approach, the teacher may adopt various roles in the classroom from the principal instructor, to mediator or observer ( source ).

Pedagogy and Pedagogues

Pedagogy is more related to the correlation between the teaching material (resources) or theoretical information (methods) and the intellectual capacity of students, as well as their individual needs. Think of pedagogy as being transversal in nature and pertaining to the method and practice of teaching and instruction, in particular in terms of the ability to match theoretical concepts (didactics of teaching and instruction) with practical methods (pedagogy) of knowledge transfer in education. This can be true for any given field of study.

A teacher is considered a bona fide “pedagogue” when they are capable of making a perfect match and succeeding in the act of knowledge transfer inside or outside the classroom . In the best-case scenario, students who are actively partaking and advancing in the learning experience are the end result of a successful instructor’s pedagogy. And yet, if students are having trouble understanding the lesson, this does not automatically mean that the teacher is a terrible pedagogue. There may be other factors involved, such as a student who is ill or tired, or students who are distracted or not able to hear the teacher or see the blackboard, etc.

On the contrary, with experience and time, teachers often naturally develop many metacognitive skills (critical and analytical thinking) with regard to their ability to recognize student lapses in the transfer of knowledge. With reflective teaching practices , they learn to automatically troubleshoot their lessons and adapt their pedagogical approach before, during and after a lesson. Therefore, pedagogy deals with the teacher’s cognizant act of teaching in the classroom, while adopting the best-suited supports (whiteboards or slide presentations) and resources (video and books) to better serve their students.

What is the difference between “didactics” and “pedagogy”?

Didactics refers to the science of teaching and instruction for any given field of study. Based on theoretical foundations, a didactic approach involves a very structured and informed approach to teaching and instruction. For more on the origin of the word “didactics”(see German reference above).

Pedagogy is transversal in nature and pertains to the correlation between methods and practices of teaching and instruction, in particular in terms of the ability to match theoretical concepts with practical methods of knowledge transfer in education.

What is “applied linguistics”?

Applied linguistics is a vast interdisciplinary field that identifies, investigates, and offers solutions to real-life problems related to language and communication (verbal or non-verbal). In terms of language studies, for example, linguists can be focused on the practical applications of teaching, translation, and speech therapy.

Dana Di Pardo Leon-Henri

Dana Di Pardo Léon-Henri is a senior researching lecturer with ELLIADD (EA 4661), currently teaching English for Special or Specific Purposes (ESP) at the University of Bourgogne Franche Comté at the UFR SLHS in Besançon, France. Her research is focused on ESP and LSP Language Teaching, foreign language learning and teaching, pedagogy, didactics, evaluation, artificial intelligence and language teaching, language policy and professional skills development at the higher education level.

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Efficient Didactic Strategies Used In Students’ Teaching Practice

A qualitative teaching-learning process that ensures efficiency and effectiveness involves the design and implementation of creative and innovative teaching strategies, capable of responding to the individual needs of students and ensuring their academic and, later, their social success. The present study makes a foray into the theoretical approach of teaching strategies, capturing within its definitions from the specialized literature and putting forward a personalized, complex definition of this pedagogical category. We mention that in the current pandemic context, we have had to reconsider our own teaching strategies during the Pedagogical Teaching Practice classes undertaken by the third-year students of the Pedagogy of Primary and Preschool Education specialization. The teaching practice of the students was achieved completely online on the Microsoft Teams platform, under the guidance and supervision of the practice coordinator teacher. The current study aims to present just such an efficient teaching strategy used during the Pedagogical Teaching Practice classes, a strategy that was conceived with the aim to focus on the student’s ability to reflect upon the pedagogical content discussed during the practice, their ability to explain, analyse and exemplify the content, developing a personal reflection process wherein they would be able to analyse their own learning practices as well as their teaching practices, exercising the metacognition of the students, their ability to make connections between different content, to structure and restructure the information received, and to organize and systematize the pedagogical knowledge. Keywords: Teaching practice students pedagogical knowledge efficient didactic strategies

Introduction

A qualitative academic learning-teaching process that ensures efficiency and effectiveness implies designing and using modern, creative, and innovative didactic strategies capable to satisfy the individual requirements of the students and ensure their academic and social success.

Literature Review

Didactic strategy – definitions in the specialized literature.

In a broad sense, didactic strategy refers to the manner in which actions are undertaken and improved upon, with the purpose of achieving a very well-defined goal. In the pedagogical sense, this refers to the suite of decisions that pertain to the set of decisions aimed at the good development and optimization of educational phenomena ( Oprea, 2008 ). The strategies outline the range of practical ways to achieve the intended goal and have the value of tools ( Cerghit, 2002 ). We have selected from the specialized literature some of the relevant definitions of didactic strategy: ‘a set of forms, methods, technical means and principles of use through which the contents are presented in order to achieve certain goals’ ( Ionescu & Chiş, 2001 ); ‘a group of two or more methods and procedures integrated within an operational structure, engaged at the level of the teaching-learning-assessment activity to achieve its general, specific and concrete pedagogical objectives at superior quality parameters’ ( Cristea, 2000 ).

We define modern teaching strategies as: systems of methods, procedures, means and forms of organizing educational activity integrated in a systemic vision in unitary and coherent operational structures, aimed at building learning experiences, training skills, abilities, competencies, and streamlining the instructive-educational process ( Bocoș & Jucan, 2019 ).

The didactic strategy should not be confused or compared with an algorithm characterised by a sequence of activities or operations that must be performed in a certain order so as to obtain the correct result. ‘The strategy differs from the algorithm in that it offers moments of choice in which the manifestation of an intelligent behaviour (possibly heuristic) is required’ ( Iucu, 2001, p. 98 ).

Constitutive elements of the didactic strategy within the Pedagogical Practice classes

In the current pandemic context, we had to reconsider our teaching strategies within the Pedagogical Practice classes of the third-year students specializing in the Pedagogy of Primary and Preschool Education. The teaching practice of the students was done exclusively online, on the Microsoft Teams Platform, under the guidance of the practice coordinator teacher. Thus, the modern teaching strategies used in the online teaching took into account the following constitutive elements: the types of learning experiences of students, teaching methods and procedures, teaching aids, learning styles requested or chosen, the students’ motivation for learning, the organization of instructional and educational content, configuration of learning tasks, the coordinating teacher’s directing and monitoring of learning, assessment and self-assessment methods, techniques and tests designed by the teacher, the forms of organization of the planned activities, etc.

Modern principles in approaching teaching strategies in Pedagogical Practice

In the current context, the specific principles of approaching the curriculum of the Pedagogical Practice classes for the third-year students through modern teaching strategies have been:

The principle of stimulating students’ reflection.

The principle of autonomy and individualization.

The principle of contextual learning.

The principle of collaborative learning.

The principle of prioritizing formative, dynamic evaluation.

Thus, throughout the semester, within the online teaching activities, carried out with the third-year students within the Pedagogical Practice discipline, we had in mind the development of:

the competencies of the students to reflect on the pedagogical contents conveyed within the practice, their capacity to explain, analyse and exemplify the pedagogical content;

developing a process of personal reflection on their own learning practices, but also teaching practices, while developing students' metacognition;

the ability to make connections between contents, to structure and restructure pedagogical information;

the ability to organize and systematize pedagogical knowledge.

The ability to reflect upon the content

Reflection is a mental process that, applied to the act of learning knowledge, stimulates the students to use critical thinking in examining the information presented to them, to question its validity and to draw conclusions based on the resulting ideas. This ongoing process allows students to narrow down the range of possible solutions and ultimately draw a conclusion. The result of this effort is to gain a better understanding of the concepts. Without reflection, content learning becomes devoid of the reorganization of thinking imposed by in-depth learning. The individual study situations in which the students found themselves during this period in which the learning takes place require time to reflect. During pedagogical practice, students think of themselves as learning individuals, while evaluating their own thinking processes used to decide which are the best strategies to use in class with students. They will then be able to apply this information again when faced with a future learning situation, either during teaching practice or in the classroom.

Ability to explain, analyse and exemplify the content to be taught

The possibility to understand the knowledge base of the activities is at the intersection between the content and the pedagogical elements and consists in the student's ability to transform the information of the content into forms that are pedagogically influential, but adaptable to the variety of skills.

Developing a process of personal reflection on one's own teaching and learning practices / metacognition training

Reflection means reviewing, reconstructing, restoring and critically analysing personal skills, followed by synthesizing these observations in order to establish changes that can improve one’s performance as a teacher. The learners, future teachers, observe their results and thus determine the causes of their success or failure. Reflection focuses on the problems they have in teaching, so that they are better able to understand their own learning behaviour and can improve their performance or help their colleagues in this regard. By promoting reflective practices at the group level, they learn to listen to others, which can make it easier for them to understand their own teaching-learning activity.

The ability to make connections between content, to structure and restructure information, the ability to organize and systematize knowledge

Using modern training strategies, students gain a new type of understanding of the goals of the educational process, the subject taught during the pedagogical practice classes, and pedagogical mechanisms in general.

The study framework in the online activities carried out in the Pedagogical Practice discipline is created to build the knowledge foundation, to explore new ideas, to acquire and synthesize information, to formulate and solve problem situations. Achieving them requires the creation of special learning situations, more relevant than just reading and heuristic conversation on new concepts. Thus, students learn best by studying, applying, reflecting on what they have studied, collaborating with colleagues, communicating the observations they make based on the teaching projects proposed by the practice coordinator ( Muste, 2016 ).

A suitable framework provides numerous opportunities for research and examination of teaching projects, for trial and testing, for discussing and evaluating the learning outcomes and teaching activity.

The combination of theory and practice is best achieved when problems arise to be solved in a real context, during the ongoing activity, in the environment where the research can be put into practice.

Research Method

The topic proposed to the students within the online teaching activities was centred around the design of the didactic activity in the primary cycle. The modern, interactive didactic strategy proposed in the teaching of the Pedagogical Practice implies the critical analysis, together with the students, of the different models of didactic projects through the prism of the following angles:

Making connections and subordinations between the different pedagogical concepts integrated by the didactic project, including through graphic models, schemes, figures.

Analysing the new content, i.e., the procedural structure of each type of lesson, through characterizations, explanations, highlights of its importance from a theoretical and applied perspective.

Asking questions about didactic design, reflection on design.

Issuing personal opinions about the efficient ways to achieve the lesson design.

Essentializing (summarizing) the design of each type of lesson.

Because we are in the field of cognitive constructivism we mention that we advocated for individual internal construction, for internal processes of managing, interpreting, understanding of the design activity, processes that lead to integration into cognitive schemes and structures, which in turn strengthen understanding of the design mechanism.

In the process of facilitating the understanding of design knowledge, important ideas from the content are identified, ideas that are then organized and integrated into previous cognitive structures. We have ensured that the approach to that content supports these components of the understanding process.

Analyses and Findings

The first step in approaching the content of didactic design in online activities is to record, together with students, important terms or phrases, terms that practically make up the skeleton of didactic design. The correct identification of these terms leads to a faster retention of the main ideas. With the help of these words, connections and subordinations are made between the different pedagogical categories.

The elaboration of the new knowledge related to the didactic design implies the use of the previous knowledge for the analysis and the understanding of the new content, but also the relation of the new knowledge with the already stored one. The organization of knowledge in this stage requires grouping the related information within structures and schemes, the schematization of the content based on the relations between the ideas, the graphic representation of the content through cognitive organizers.

Diagrams, graphs, figures provide an opportunity to present information in an abbreviated manner and are arranged on the page in such a way as to express the logical connection between ideas with the help of layout, rather than syntax. The ability of cognitive organizers to ensure structural organization for conceptual domains is their strong attribute. A diagram in a text highlights the concepts of that content and becomes a suggestive medium that directs attention in a certain way.

Using this modern strategy, the teacher-coordinator of the pedagogical practice only provides the necessary explanations, encourages research, facilitates, guides, stimulates. The coordinating practice teacher only builds upon, amplifies, and develops the cognitive constructions of the students. Their role is to create learning situations, and the student operates mentally upon them, manipulates the situations.

The proposed approach leads to the understanding of information and knowledge related to didactic design, to meanings, their internalization as representations and cognitive schemes, but also to the resolution of cognitive conflicts. This generates cognitive constructions on different types of lessons, information processing takes place, as well as the reflection process, stabilization, and clarification of controversies. The student examines the tasks, questions them, analyses them, etc. Also, this process involves the critical analysis of the material, by formulating questions with a clarifying role and by creating moments of reflection on the didactic design. Reflection is considered in studies on the functionality of metacognition as an essential activity in the performance of metacognitive activities and a fundamental quality of the performance thinker ( Ertmer & Newby, 1996 ; Leat & Lin, 2003 ).

The next step is to issue personal opinions on effective ways of learning, of studying the content of teaching design.

Recent studies ( Blakey & Spence, 1990 ; Gama, 2005 ) prove that subjects who are aware of their own metacognitive processes are more efficient in learning. Of course, in order to understand the cognitive process they went through in considering the content of the didactic design, the students must verbalize how they proceeded, what metacognitive strategies they used and evaluating their efficiency.

Through the proposed approach, the new content can be learned, being understood, because the student can connect the content with existing cognitive structures in a logical way, and understanding knowledge is thus a constructive activity, achieved by the student using cognitive strategies.

Our intentions have been aimed at a modern approach of teaching methodology in the current pandemic context, in university education, from the perspective of the student-centred paradigm (the structural dimension of the student-centred strategy: methods, procedures, means of training, forms of organization; the functional dimension of the student-centred strategy: flexible employment of methods, procedures, means and forms of organization and strategic choice according to skills, content, individual and group particularities).

Our goal is an in-depth study of the subject, but especially the implementation of modern teaching strategies during our activities with students, including online activities, because they develop: an active involvement in the learning and teaching process; critical thinking and observation; exploration of the environment and the discovering of personal solutions to various problems; imaginative and creative thinking capitalizing on inventiveness, fantasy, originality.

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Education, teacher, digital education, teacher education, childhood education, COVID-19, pandemic

Cite this article as:

Jucan, D. A. (2021). Efficient Didactic Strategies Used In Students’ Teaching Practice. In I. Albulescu, & N. Stan (Eds.), Education, Reflection, Development – ERD 2020, vol 104. European Proceedings of Social and Behavioural Sciences (pp. 159-164). European Publisher. https://doi.org/10.15405/epsbs.2021.03.02.17

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Didactic Guide: Teaching with Moral Instruction

What is moral instruction in teaching, why moral instruction matters in education, how to integrate moral instruction into your teaching, teaching strategies for moral instruction, activity ideas for teaching moral instruction, evaluating the impact of moral instruction, challenges and solutions in teaching moral instruction, case studies of effective moral instruction.

If you're a teacher, you know the power of a good lesson. But have you ever thought about the power of a moral lesson? Teaching isn't just about equations and spelling, it's also about instilling values in our students. In this blog, we'll talk about moral instruction in teaching—the definition of didactic, why it's important, and how to incorporate it into your classroom. So, grab a cup of tea and let's dive in!

When we talk about moral instruction in teaching, we're referring to the idea of embedding values, ethics, and morals into our lessons. It's about more than just telling students what's right and wrong—it's about showing them through examples, discussions, and activities. Think of it as the definition of didactic in action.

Moral instruction can cover a wide range of topics, from honesty and respect to empathy and kindness. It's about teaching students how to be good people, not just good students. Here's a brief look at what moral instruction can include:

Values: These are the big ideas we want our students to understand, like honesty, respect, responsibility, and kindness. They serve as the foundation for moral instruction.
Character Building: This is where we help students develop their personal qualities. It's about showing them how to be brave when they're scared, how to be kind when they're angry, and how to be responsible even when no one is watching.
Real-World Examples: This is where the definition of didactic really shines. By integrating real-world examples into our lessons, we can show students how these values play out in everyday life.

By incorporating moral instruction into our teaching, we can help shape not only our students' minds but also their hearts. And in a world that often feels a little less than kind, that's a lesson worth teaching.

At first glance, moral instruction might seem like a nice extra, something to sprinkle on top of your regular lessons. But if you dig a little deeper—into the definition of didactic, into the research, into your own experiences—you'll see it's much more than that. Here's why:

It Builds Character: Education isn't just about filling students' heads with facts. It's also about shaping their hearts. By teaching values like honesty, respect, and kindness, we can help students grow into responsible, caring adults.
It Enhances Learning: Believe it or not, moral instruction can actually make your lessons more effective. When students understand the "why" behind what they're learning, they're more likely to remember and apply it.
It Prepares Students for Real Life: The definition of didactic isn't just about teaching—it's about preparing students for life outside the classroom. By incorporating moral instruction into your teaching, you can help students navigate the complexities of the real world with integrity and compassion.

So, while moral instruction might involve a bit more work, the benefits are well worth it. By integrating values, character building, and real-world examples into your lessons, you can help your students become not just better learners, but better people too.

Now that we've explored the importance of moral instruction let's dive into how you can incorporate this into your teaching routine. Remember, it's not about teaching a separate "morals class," but about weaving moral instruction into your day-to-day lessons.

Start with Yourself: As a teacher, you're a role model whether you like it or not. Show your students what good moral behavior looks like through your own actions. If your attitude reflects respect, kindness and honesty, your students will follow suit.
Make it Relevant: When you're explaining the definition of didactic, you don't just tell your students that it means "intended to teach." You show them how it relates to their lives. The same goes for moral instruction. Use real-world examples and scenarios that your students can relate to.
Encourage Discussion: Moral instruction isn't about telling students what to think. It's about guiding them as they form their own opinions. Encourage open and respectful discussion around moral issues. This way, students learn to think critically about right and wrong.
Use Storytelling: Stories are powerful tools for teaching morals. They make abstract concepts concrete and engaging. Whether it's a classic fable, a contemporary novel, or a news article, use stories to illustrate moral lessons.

Remember, integrating moral instruction into your teaching isn't a one-time task. It's a continuous process that evolves with your students. But the more you practice, the more natural it will become—and the more impact you'll see in your students' behavior and learning.

Let's take our understanding of the definition of didactic a step further by exploring specific strategies you can employ to effectively teach moral instruction. These strategies will help you to craft engaging lessons that will resonate with your students.

Role-Playing: This strategy allows students to step into the shoes of others and explore different perspectives. By acting out scenarios, students learn empathy and gain insight into the complexities of moral dilemmas.
Teaching with Real-Life Examples: Using real-life examples makes moral instruction relevant and relatable. This could be as simple as discussing a current event or analyzing actions of a well-known person. This strategy makes moral concepts tangible and easier to understand.
Creating a Safe Space: Encourage open conversation in your classroom. Students should feel comfortable expressing their thoughts and opinions, even when they differ from their peers. A safe and respectful classroom environment encourages critical thinking and open dialogue.
Use of Thought-Provoking Questions: Don't just tell students what to think, challenge them with thought-provoking questions. This sparks discussion and encourages students to apply their moral reasoning skills.

These strategies work best when tailored to your students' unique needs. The key is to make moral instruction an engaging, interactive part of your classroom. Remember, the goal isn't to provide all the answers. Instead, your aim is to guide your students as they navigate their own moral journey.

Now that we've covered some strategies, how about we dive into some specific activities? These hands-on exercises can help your students understand the definition of didactic in a fun, engaging way.

Storytelling: Everyone loves a good story, right? Have your students create and share stories that highlight moral dilemmas. This encourages them to think deeply about ethical issues, and to consider different perspectives.
Moral Dilemma Debates: Present your class with a moral dilemma and have them debate both sides. This not only improves their argumentation skills, but also helps them understand the complexities of moral issues.
Journaling: Encourage your students to keep a journal in which they reflect on their own moral choices. This personal, reflective activity can help students gain self-awareness and understand the impact of their decisions.
Creating Art: Art can be a powerful tool for moral instruction. Have your students create artwork, such as paintings or sculptures, that represent a moral concept or dilemma. This encourages them to think creatively about moral issues.

Remember, the goal of these activities is not to dictate what's right or wrong, but rather to get your students thinking about moral issues in a deep, meaningful way. So, why not try out some of these activities in your classroom? You might be surprised by the insightful discussions and creative ideas your students come up with!

Just as with any teaching approach, it's important to measure the effectiveness of your moral instruction. But how can you gauge if your students are truly understanding and applying these moral lessons? Here are a few methods you can use:

Observation: One of the simplest ways to evaluate moral instruction is through observation. Keep an eye on your students' behaviors, interactions, and decisions. Are they demonstrating empathy, respect, and honesty in their actions?
Discussion: Facilitate class discussions on moral topics and listen carefully to your students' viewpoints. This can give you a sense of their understanding and can also spark further learning opportunities.
Reflection Papers: Ask your students to write reflection papers about the moral issues they've discussed and the decisions they've made. This can provide insight into their thought processes and moral reasoning.
Feedback: Don't forget to seek feedback from your students themselves. They can provide valuable insights into what's working and what might need tweaking in your moral instruction approach.

Remember, evaluating moral instruction may not always be straightforward. Unlike a math problem, there's often no single "correct" answer in moral issues. But by using these methods, you can get a better sense of how well your students are internalizing and applying moral concepts, which is the true definition of didactic success.

Teaching moral instruction isn’t always a stroll in the park. You might run into roadblocks along the way. But don’t worry, every challenge has a solution. Let's explore some of them.

Challenge: Diverse viewpoints: In any given classroom, you'll find a mix of beliefs and values. This diversity can make teaching moral instruction tricky.

Solution: Encourage open dialogue. Instead of pushing a specific moral viewpoint, foster an environment where students feel safe to express their thoughts and learn from each other. Remember, the definition of didactic learning involves understanding, not just memorizing.

Challenge: Connecting morals to real life: Students might struggle to see how moral concepts apply to their lives.

Solution: Use real-world examples. Bring in news stories, personal anecdotes, and relevant scenarios to demonstrate how morals play out in daily life.

Challenge: Time constraints: With so many subjects to cover, finding time for moral instruction can be a challenge.

Solution: Integrate moral instruction into other subjects. For example, discuss the moral dilemmas faced by characters in a novel you're studying, or the ethical implications of a historical event.

Remember, challenges are opportunities in disguise. They push us to be better, to find more effective ways to teach, and to truly embody the definition of didactic teaching.

Let's take a look at some case studies that shed light on how to put the definition of didactic into practice, specifically in the context of moral instruction.

Case Study 1: The Empathy Project

An elementary school teacher noticed that her students struggled to understand the feelings of others. She started the Empathy Project, where students were asked to step into the shoes of a classmate for a day—carrying their books, eating lunch together, and even completing their homework. This hands-on approach led to a noticeable increase in kind behavior among students, showing the power of experiential moral instruction.

Case Study 2: The Honesty Experiment

A high school teacher wanted his students to value honesty. He designed an experiment where students played a game that was easy to cheat at. However, the game was rigged so that cheating led to losing. Through this, students learned first-hand the consequences of dishonesty. This case study demonstrates how real-life situations can effectively teach moral lessons.

Case Study 3: The Environmental Ethics Program

A middle school science teacher wanted her students to understand the moral responsibility they have towards the environment. She launched an Environmental Ethics Program that included field trips to local parks, cleanup activities, and debates on environmental policies. The program resulted in students becoming more conscious of their actions and their impact on the environment, indicating that moral instruction can be seamlessly integrated into other subjects.

These case studies show that with creativity and dedication, we can make moral instruction engaging and tangible for our students. They help us better understand the definition of didactic teaching—learning through doing, understanding, and experiencing.

If you enjoyed exploring the concept of teaching with moral instruction, we encourage you to check out other workshops and resources on Daisie to help you in your educational endeavors. One workshop that might be of interest is ' How to Notion - Guide to Creative Documentation ' by Ansh Mehra. Though not directly related to didactics, this workshop will provide you with valuable tools and techniques for organizing and documenting your creative and educational journey, which can ultimately aid you in becoming a more effective teacher.

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What is the meaning of a didactic essay?

Any work that has a moral, stated or implied, or that teaches a lesson is didactic.

Bertoit Brecht believed in it. He wanted to change society throught theatre

this type resembles a sermon since it is serious,has the tone of a teacher explaining or trying to persuade and concentrates in giving valuable lessons in life.

A didactic story is one that aims to teach rather than to entertain.

A form of sermon that is serious in tone which aims to persuade and explain the topic leading to valuable lessons in life.

Theatre which intends to make a specific moral or political statement. Because it is superficial, such drama tends to be very dull.

Add your answer:

What is an example of a didactic ESSAY?

Elmer Gantry by Sinclair Lewis Mainstreet and Babbitt, both also by Sinclair Lewis Hawthorne's The Scarlet Letter Remember that didactic means the writer is writing so the reader will learn a lesson of great value about a specific topic. Take The Scarlet Letter and you discover the minister's hypocriscy.

What is the meaning of technique essay and examples?

define technique essay

What is the meaning of didantic?

I think you mean didactic,It means instructive i.e. especially excessively.

What are some literary types?

Epic, epyllion, homilectic, lyric, didactic, satire, essay, novel ...

The original meaning of the word essay' is which of these?

What is meaning of didactic communication.

INTERPERSONAL

Poetry that is not artistic in form or meaning is didactic?

No. Didactic is defined as inclined to teach or moralize excessively.

What is a word meaning made in two separate parts?

The meaning of formal essay.

The meaning of a formal essay is a short essay which has an impersonal tone. This type of essay is often written in prose.

How do you use didactic in a sentence?

His didactic method was superb.

What is a good sentence for didactic?

The teacher's lecture was didactic, aiming to impart knowledge and educate the students on the principles of physics.

Use didactic in a sentence?

The bible is a didactic collection of writings.

What is a didactic theme?

every theme concerned with an instructive activity is didactic.

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Deciphering the Essence of Joy: Understanding the Meaning of Happiness

This essay about the essence of joy explores how it transcends fleeting pleasures and external circumstances, rooted instead in inner peace and connection. It highlights the importance of empathy, resilience, and self-discovery in experiencing true happiness. Through simple moments and acts of kindness, joy manifests as a beacon of hope even in times of adversity. Ultimately, it emphasizes that happiness is found not in external achievements but in living a life guided by wisdom, compassion, and integrity, connecting us to ourselves and to the world around us.

How it works

In the tapestry of human experience, joy weaves its vibrant threads, illuminating the journey of life with its radiant hues. Yet, the essence of joy often eludes precise definition, residing in the intangible realm of emotions and perceptions. It is a subject of perennial fascination and inquiry, as ancient as humanity itself, yet endlessly enigmatic. To decipher the essence of joy is to embark on a profound exploration into the depths of the human spirit, to unravel the mysteries of happiness and uncover its true meaning.

At its core, joy transcends mere pleasure or fleeting happiness; it is a state of being that emanates from within, rooted in profound contentment and fulfillment. Unlike the ephemeral highs of pleasure, which are often dependent on external circumstances, joy springs forth from a wellspring of inner peace and harmony. It is not contingent upon wealth, status, or material possessions but flourishes in the fertile soil of gratitude, compassion, and connection.

To understand the meaning of happiness is to recognize that it is a multifaceted gem, refracting light in myriad ways. It encompasses moments of profound bliss and simple pleasures, the warmth of human relationships, the pursuit of meaningful goals, and the cultivation of inner virtues. Happiness is both a journey and a destination, a dynamic interplay between fleeting experiences of delight and enduring states of contentment.

In our modern world, the pursuit of happiness often takes on the guise of external achievement and consumption, leading many astray in a relentless quest for more. Yet, true joy cannot be found in the accumulation of wealth or the attainment of superficial markers of success. It is a subtle alchemy of the heart, requiring us to attune ourselves to the whispers of our soul and the rhythms of the natural world.

The essence of joy reveals itself in the simplest of moments: a shared smile, a tender embrace, the gentle caress of a breeze against our skin. It is woven into the fabric of everyday life, waiting to be discovered amidst the hustle and bustle of the mundane. In a world consumed by busyness and distraction, the pursuit of joy invites us to slow down, to savor the richness of each moment, and to cultivate a deeper sense of presence and awareness.

Moreover, joy is intimately intertwined with our capacity for empathy and compassion, as it flourishes in the soil of meaningful connections and acts of kindness. When we extend a helping hand to those in need or offer a listening ear to a friend in distress, we not only alleviate their suffering but also nurture our own sense of well-being. For in the act of giving, we receive, and in the embrace of others, we find solace and belonging.

Yet, the path to joy is not always smooth, for it is often obstructed by the shadows of fear, doubt, and pain. In moments of adversity and despair, the light of joy may seem dim, obscured by the heavy clouds of sorrow. And yet, it is precisely in these dark moments that the true essence of joy reveals itself, as a beacon of hope amidst the storm.

For joy is not the absence of suffering but rather the resilience of the human spirit in the face of adversity. It is the courage to find meaning and purpose in the midst of pain, to embrace life in all its complexity and uncertainty. It is the triumph of love over fear, of hope over despair, and of light over darkness.

In essence, deciphering the essence of joy is an invitation to delve deep into the depths of our own being, to uncover the wellsprings of happiness that lie dormant within us. It is a journey of self-discovery and self-transcendence, leading us to the realization that true joy resides not in the external world but in the sanctuary of our own hearts.

Ultimately, the meaning of happiness lies not in the pursuit of pleasure or the avoidance of pain but in the cultivation of a life well-lived, guided by principles of wisdom, compassion, and integrity. It is a journey of growth and transformation, of becoming more fully ourselves and awakening to the infinite possibilities that lie within us.

In the tapestry of human experience, joy weaves its vibrant threads, connecting us to ourselves, to each other, and to the vast cosmos that surrounds us. It is a reminder that we are not separate beings but interconnected strands in the web of life, bound together by the ineffable bonds of love and understanding.

As we journey through life, may we be guided by the light of joy, illuminating our path with its radiant glow and infusing each moment with meaning and purpose. For in the end, it is not the destination that matters but the beauty of the journey itself, and the joy we discover along the way.

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A Modi Win Will Only Mean More Trouble for Indian Muslims

M ore than two years have passed since a picture of me, picked up from my personal social media handles, was put up with a price tag for auction on the internet. It was part of a website called Bulli Bai , a religious slur used for Muslim women in India.

Why was I targeted? Likely because of my reporting. The perpetrators wanted to shame and humiliate a journalist who was determined to expose the failures of the ruling Hindu nationalist Bharatiya Janata Party’s gender, caste, and religion-based violence. But more importantly, they wanted to shut up a Muslim woman who had dared to be vocal in Modi’s India.

When the photo was posted, I wondered how the main perpetrator , a 21-year-old student from Assam, who created Bulli Bai could be so consumed by his hatred that he felt compelled to auction Muslim women online for their outspoken criticism of the BJP—journalists, social workers, actors, and politicians. A recent meeting with my lawyer about my case against the Bulli Bai creators, who are still being investigated by the Delhi police, was a painful reminder of the targeted harassment faced by outspoken Muslim voices critical of the ruling BJP.

As the ongoing election in India is set to finish on June 1, it has once again offered deeper insight into how political dialogue is fueling this culture of hate.

Particularly, the political campaign of Prime Minister Narendra Modi’s BJP has leaned into anti-Muslim sentiment, progressively making Islamophobia one of the defining features of this election.

It was most prominently on display when Modi, in a thinly veiled reference to Muslims, referred to the 200 million Indian Muslim population as “infiltrators” at a BJP campaign rally while addressing voters in the Western state of Rajasthan on April 21. The Prime Minister also accused the opposition Congress party of planning to distribute the country’s wealth to Muslims.

Modi, in his speech, asked, “Earlier, when his [ former Prime Minister and Congress Party member Manmohan Singh’s] government was in power , he had said that Muslims have the first right on the country’s property, which means who they will collect this property and distribute it to—those who have more children, will distribute it to the infiltrators. Will the money of your hard work be given to the infiltrators? Do you approve of this?”

Read More: How India’s Hindu Nationalists Are Weaponizing History Against Muslims

This 2006 statement by former Prime Minister Manmohan Singh emphasizing that minorities, particularly Muslims , should have the first claim on resources to help uplift their socio-economic status, has been often quoted out of context in political rhetoric, distorting its original intent to uplift marginalized communities.

The reemergence of conspiracy theories like “Love Jihad,” alleging a covert agenda by Muslim men to ensnare and convert Hindu women, by Modi, has surged back into public attention, prominently surfacing at an election rally on May 28, days before the seventh and last phase of the ongoing elections, in the Eastern state of Jharkhand .

The alarming rhetoric about Muslim population growth too have dominated the election discourse, fueled by the BJP's top leader, Modi, who has been criticized for his Islamophobic remarks, evoking memories of Gujarat's 2002 riots. While he later denied singling out Muslims in an interview with an Indian news channel, his history of linking them to population growth fuels a Hindu-majoritarian conspiracy theory.

Following the 2002 anti-Muslim riots in Gujarat during his tenure as chief minister, Modi faced scrutiny regarding his administration's lack of assistance to relief camps, predominantly established by non-profit organizations and Muslim communities. During a campaign rally, Modi then insinuated that these camps might transform into "baby factories," implying that Muslims could potentially have families as large as 25 children.

In his Jharkhand rally in May of this year, Modi spoke of "unseen enemies" working to divide society and claimed that the opposition parties were playing into the hands of “infiltrators”. He warned against "Zalim (cruel) love," alluding to Love Jihad.

As the elections progressed, Modi’s speeches transformed slowly from issues such as “development” to anti-Muslim rhetoric. Unlike previous elections, Modi's campaign strategy this time has shifted towards overt Hindu-Muslim politics, drawing attention to his past record and raising concerns among Indian Muslims, as evidenced by the Election Commission's intervention in a campaign video by the BJP inciting hatred against Muslims.

The video, shared by BJP Karnataka wing with a cautionary message in Kannada, depicted a cartoon version of Congress’s Rahul Gandhi placing an egg marked "Muslims" into a nest alongside smaller eggs labeled with categories such as "Scheduled Castes," "Scheduled Tribes," and "Other Backward Castes.” The narrative unfolds as the "Muslim" hatchling is shown being nourished with financial resources, eventually growing larger and displacing the other hatchlings from the nest—implying that a Congress government will give away all resources to Muslims.

This came days after another animated video shared by the BJP’s official Instagram handle was removed on May 1 after a large number of users of the platform reported the video for “false information” and “hate speech.” The video repeats the BJP’s rhetoric on the Congress party, who they allege are“empowering people who belong to the very same community [of] invaders, terrorists, robbers and thieves [who] used to loot all our treasures” while the voice-over says, “If Congress comes to power, it will snatch all the money and wealth from non-Muslims and distribute them among Muslims, their favorite community.”

Despite its controversial content, the video amassed over 100 thousand likes before being removed.

Both videos come after claims by Modi during his campaign speeches that Congress was planning to “steal” reservations in educational institutes and government jobs among other benefits from Scheduled Castes, Scheduled Tribes, and Other Backward Castes and redistribute them to Muslims.

Modi may be the foremost leader, but he's not alone in setting the tone; other top-tier BJP leaders are also walking in his footsteps. Home Affairs Minister Amit Shah's remarks linking voting for the Congress party to "jihad" in the South Indian state of Telangana have also stirred controversy.

Read More: The Modi-fication of India Is Almost Complete

The India Hate Lab, a Washington D.C.-based group that documents hate speech against India’s religious minorities, in its report of 2023 paints a grim picture of rising hate speech incidents against Muslims, totaling 668 documented cases.

These incidents, often featuring calls for violence and spreading divisive theories, were predominantly concentrated in regions governed by the BJP, particularly during key election periods like in Rajasthan, Madhya Pradesh, Telangana, and Chhattisgarh. Additionally, the report highlighted stark differences in hate speech content between BJP and non-BJP-governed areas, with BJP leaders more frequently involved in non-BJP territories as they strive to expand political footholds.

When leaders resort to fear-mongering, it legitimizes the dehumanization of minorities, creating a fertile ground for extremists. This often isn’t just about one app or incident. It’s about the pervasive atmosphere of intolerance that such rhetoric by the BJP leaders breeds. And those who oppose this type of hate speech want to ensure that no one—regardless of their faith, gender, or caste—has to live in fear of being targeted for who they are.

Modi’s statement received widespread criticism from the opposition, the intelligentsia community including authors, writers, scholars, academics, and the minority Muslim population of India. The Congress party even filed a complaint with the Election Commission, alleging that Modi's remarks violate electoral laws that prohibit appeals to religious sentiments. Despite public outcry and demands from activists and citizens for action, the Election Commission has so far taken no appropriate action.

Modi's Islamophobic statements, which have fueled fears over and over again among India's Muslim population, must be viewed within the broader context of his party's strategies—which often invoke religious and communal sentiments to galvanize their voter base. And this time, the aim is to break all previous records by securing 400 plus seats in the 543 seat parliament.

If the BJP is able to secure such a huge majority in the parliament, Hindu majoritarianism will remain unchecked. The hostility towards the minorities could escalate even more, and opposition parties may bear the brunt of state agencies and crackdowns if they ask questions.

During Modi’s previous terms, Muslims have seen an increased marginalization and discrimination fueled by Hindu nationalist agendas—ranging from difficulty in securing a rented accommodation in urban cities, erasure of Muslim names from roads, cities and railway stations, to the underrepresentation in government jobs and discrimination and vandalism of shops of small Muslim vendors.

Today, India, a country which once took pride in its ganga-jamuni tehzeeb —a term used to refer to the fusion of Hindu-Muslim cultures—has become a global epicenter of divisive politics. While elections will come and go, the impact of the irresponsible words of Modi and the BJP will stay with the 200 million plus Muslims in the country.

These words have real and dangerous implications for the safety and security of India's Muslim population. Muslims in India currently face increased social ostracism, economic boycotts, and even physical violence. And another victory with an overwhelming majority will only mean more trouble.

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The Donald Trump I Saw on The Apprentice

For 20 years, i couldn’t say what i watched the former president do on the set of the show that changed everything. now i can..

On Jan. 8, 2004, just more than 20 years ago, the first episode of The Apprentice aired. It was called “Meet the Billionaire,” and 18 million people watched. The episodes that followed climbed to roughly 20 million each week. A staggering 28 million viewers tuned in to watch the first season finale. The series won an Emmy nomination for Outstanding Reality-Competition Program, and the Television Critics Association called it one of the best TV shows of the year, alongside The Sopranos and Arrested Development . The series—alongside its bawdy sibling, The Celebrity Apprentice —appeared on NBC in coveted prime-time slots for more than a decade.

The Apprentice was an instant success in another way too. It elevated Donald J. Trump from sleazy New York tabloid hustler to respectable household name. In the show, he appeared to demonstrate impeccable business instincts and unparalleled wealth, even though his businesses had barely survived multiple bankruptcies and faced yet another when he was cast. By carefully misleading viewers about Trump—his wealth, his stature, his character, and his intent—the competition reality show set about an American fraud that would balloon beyond its creators’ wildest imaginations.

I should know. I was one of four producers involved in the first two seasons. During that time, I signed an expansive nondisclosure agreement that promised a fine of $5 million and even jail time if I were to ever divulge what actually happened. It expired this year.

No one involved in The Apprentice —from the production company or the network, to the cast and crew—was involved in a con with malicious intent. It was a TV show , and it was made for entertainment . I still believe that. But we played fast and loose with the facts, particularly regarding Trump, and if you were one of the 28 million who tuned in, chances are you were conned.

As Trump answers for another of his alleged deception schemes in New York and gears up to try to persuade Americans to elect him again, in part thanks to the myth we created, I can finally tell you what making Trump into what he is today looked like from my side. Most days were revealing. Some still haunt me, two decades later.

Nearly everything I ever learned about deception I learned from my friend Apollo Robbins. He’s been called a professional pickpocket, but he’s actually a “perceptions expert.” Apollo has spent his life studying the psychology of how we distort other people’s perceptions of reality and has done so by picking pockets onstage for the entertainment of others. He is a master of deception, a skill that made him, back in the day, the so-called best-kept secret in Las Vegas. After “fanning” his marks with casual, unobtrusive touch designed to make them feel safe or at ease, Apollo determines where the items reside—the wallet inside a breast pocket, the Rolex fastened to a wrist—and he removes these items without detection. He’ll even tell you what he intends to steal before he does it. He does this not to hurt people or bewilder them with a puzzle but to challenge their maps of reality. The results are marvelous. A lot of magic is designed to appeal to people visually, but what he’s trying to affect is your mind, your moods, your perceptions.

As a producer working in unscripted, or “reality,” television, I have the same goal. Like Apollo, I want to entertain, make people joyful, maybe even challenge their ways of thinking. But because I often lack the cinematic power of a movie, with its visual pyrotechnics or rehearsed dialogue, I rely on shaping the perceptions of viewers, manipulating their maps of reality toward something I want them to think or feel.

The presumption is that reality TV is scripted. What actually happens is the illusion of reality by staging situations against an authentic backdrop. The more authentic it is to, say, have a 40-foot wave bearing down on a crab boat in the Bering Sea for Deadliest Catch , the more we can trick you into thinking a malevolent Russian trawler is out there messing with the crabber’s bait. There is a trick to it, and when it works, you feel as if you’re watching a scripted show. Although very few programs are out-and-out fake, there is deception at play in every single reality program. The producers and editors are ostensibly con artists, distracting you with grand notions while we steal from you your precious time.

But the real con that drove The Apprentice is far older than television. The “pig in the poke” comes from an idiom dating to 1555: “I’ll never buy a pig in a poke / There’s many a foul pig in a fair cloak.” It refers to the time-honored scam of selling a suckling pig at market but handing over a bag (the poke) to the purchaser, who never looks inside it. Eventually, he discovers he’s purchased something quite different.

Our show became a 21 st -century version. It’s a long con played out over a decade of watching Trump dominate prime time by shouting orders, appearing to lead, and confidently firing some of the most capable people on television, all before awarding one eligible person a job. Audiences responded to Trump’s arrogance, his perceived abilities and prescience, but mostly his confidence . The centerpiece to any confidence game is precisely that— confidence .

As I walk into my interview for The Apprentice , I inadvertently learn how important it is for every one of us involved to demonstrate confidence above all else.

I sit down with Jay Bienstock, the showrunner, who has one last producer position to fill and needs somebody capable and hardworking. His office is sparse, and the desk is strategically placed directly across from the couch, with a noticeable angle downward from his desk to whomever is seated across from him. (I’m recalling all of the quoted conversations here to the best of my ability; they are not verbatim.)

He is smiling and even laughing throughout the interview, but from the steep angle at which he gazes down on me, there is no mistaking who is in charge. He seems to like what he hears and offers to follow up with my agent. “But I have to check your references before I can hire you,” he says. “You’d be crazy not to,” I reply. He laughs, claps his hands together, and grins. “ THAT’S what I’m talking about,” he says. “That’s the confidence this show needs!”

I sit there, several inches below eyeline, and ponder what just happened. What, I wonder, is so “confident” about suggesting he’d be crazy to not check my references? Then it dawns on me. He thinks I meant “You’d be crazy not to hire me.” The signal to noise begins.

Listen to Bill Pruitt discuss this story on What Next , Slate’s daily news podcast:

Before I leave, I have to ask: Why Trump? Bienstock discovers that we both lived in New York for a time. Knowing what we know about Trump, selling the idea that intelligent people would compete to land a job working for him will be a challenge.

“The idea is to have a new and different billionaire every season—just like there’s a new and different island on Survivor . We reached out to Spielberg, Katzenberg, Geffen, among others,” he says. “Trump is the only one who agreed to sign on.” (Bienstock didn’t respond to a request for comment.)

“We’ll make it work,” Bienstock says confidently. I rise, shake his hand, and leave, and head over to Dutton’s bookstore to pick up a used copy of Trump’s The Art of the Deal . It is filled with takeaways about branding and strategizing but conveniently omits Trump bluffing his way through meetings with contractors, stiffing them when it is convenient to do so, and betraying his most trusted colleagues to get what he wants. (The book’s ghostwriter, Tony Schwartz, has since tried to get the bestseller recategorized in the Library of Congress as a work of fiction.)

Another show of confidence is the budget the series commands. It’s not as expensive as a scripted series, but for a reality show, the price is high. Never have I worked on a series with this level of funding, but the cost is justified. This needs to feel real.

New York City is the perfect—though expensive—backdrop. Trump’s actual offices are, however, less than telegenic. They are cramped, and a lot of the wood furniture is chipped or peeling. None of it is suitable to appear on camera. We need what grifters call the Big Store: a fake but authentic-looking establishment in which the con goes down. Trump Tower, at the time, is mostly condos and some offices situated in the high-rise. The mezzanine comprises vacant and overpriced retail space, all of it unfinished. Trump offers the space to the production—at a premium, naturally—and it is inside this location that we create our own “reception area” with doors leading to a fake, dimly lit, and appropriately ominous-feeling “boardroom.”

Next door, there’s the “suite” where the contestants will live, which is made to look like a trendy loft-style apartment they all share. The lodgings are made up of partitions surrounding tiny, hard bunks upon which the candidates sleep; the illusion comes from elegantly appointed common areas, where most of the interplay will go down.

During a tour of the set, I have my first encounter with Trump. I leave the suite and enter the gear room, the only vacant retail space that will remain unfinished. It is filled with equipment and crew members milling about. In walks a trio of men. In the middle is Trump, in a navy blue suit and scarlet tie. He’s surprisingly tall, and not just because of the hair. He is flanked by two even taller men. Bienstock makes introductions, and I watch as Trump shakes hands with everyone. I’d been told he would never do this, something about fearing unwanted germs. When it is my turn, I decide on the convivial two-hander and place my right hand into his and my left onto his wrist as we shake. His eye contact is limited but thorough. He is sizing me up. He looks like a wolf about to rip my throat out before turning away, offering me my first glimpse at the superstructure—his hairstyle—buttressed atop his head with what must be gallons of Aqua Net.

I watch as Trump saunters around the room, snatches up a fistful of M&Ms from the craft service table set aside for the crew, and shoves them into his mouth. Then he is gone, ushered away toward some important meeting he must attend, as if to say, to one and all present, This is unimportant .

Eventually, it’s time to roll cameras. When Trump is called to perform, we are filming the first scene of the first episode on the floor of the New York Stock Exchange, and he is about to deliver the first task. Filming inside this beacon of capitalism and wealth gives the series the legitimacy it needs. A con artist would call staging the scam inside a legitimate institution “playing a man against the wall.”

From the balcony overlooking the famed trading room floor, Trump will set up the entire premise of the show on camera and engage in a little banter with the other participants. This includes introducing his advisers, George Ross, an older, grouchy attorney devoted to Trump’s legal affairs, and Carolyn Kepcher, a perpetual skeptic who runs his hospitality units and one of his golf clubs. (They might be called “the shills,” others in on the con who will act as Trump’s eyes and ears.)

The contestants are there, lined up and zeroed in on by camera operators getting reaction shots to whatever it is Trump says. Although they mostly just stand and wait, they patiently go along with the proceedings. They are not in on the con. They act as “the little blind mice,” who, in fraudster terms, convey a sense of authenticity by reacting to the goings-on, like lab rats caught in a maze.

Nothing is scripted—except for what Trump needs to say. Cue cards are present, but mostly it is Bienstock running up, coaching Trump, tossing out suggestions from the script he has written for the man. The feeling is that while doing a fair job of repeating the necessary words verbatim, Trump also appears to be inadvertently shouting at the contestants. His hands shuttle back and forth as if holding an invisible accordion, a gesture now famous in memes .

Each episode is filmed over three days. For the first episode, the two teams of contestants, divided by gender, take to the streets to carry out the initial task of trying to sell lemonade for the most money. The women pulverize the men.

Having won, the women are invited upstairs for a direct look at Trump’s very own apartment in Trump Tower, a reward designed specifically to introduce viewers to the gaudy but elevated world of Donald Trump at home. The men, who lost, go back to the loft to await their fate at the hands of Trump. He will be sending one of them home.

Inside the now-empty boardroom set, a meeting with the producers is called for the first briefing of Trump before the anticipated firing. With Trump are his cronies, Ross and Kepcher. Trump is “too busy,” so they have each observed both teams in the field and make an assessment of who prevailed and who fell behind.

Now, this is important. The Apprentice is a game show regulated by the Federal Communications Commission. In the 1950s, scandals arose when producers of quiz shows fed answers to likable, ratings-generating contestants while withholding those answers from unlikable but truly knowledgeable players. Any of us involved in The Apprentice swinging the outcome of prize money by telling Trump whom to fire is forbidden.

Considering this, Bienstock wisely chooses to record these off-camera briefings in case the FCC ever rolls up on us. Rather than blurt out who they think should get canned, the two producers of that week’s episode—each following one team—are coached to equitably share with Trump the virtues and deficiencies of each member of the losing team. This renders a balanced depiction of how and why they lost. There are obvious choices of whom to fire, but we want it to be something of a horse race, to sustain the drama and keep people watching.

Satisfied he has what he needs, Trump dismisses the prefiring discussion with the wave of a hand, claiming he has places to be, let’s get on with it, etc. We proceed to set up for what will be our first boardroom.

The producers retreat to the adjacent control room to watch the event unfold. Per the show’s format, the losing team is summoned in anticipation of one of its members being sent home. Leaving their luggage in the reception area, the men walk into the boardroom, where Trump is flanked by Ross and Kepcher, waiting for them solemnly. Trump just frowns from a gigantic red leather chair, his eyeline noticeably well above those sitting across from him.

The men proceed to verbally go after one another like gladiators jousting before the emperor. Trump takes the conversation into potentially dangerous terrain, asking one contestant, who is Jewish, whether he believes in “the genetic pool.” The contestant’s retort is swift and resolute: He tells Trump that he does, in fact, have the genes, “just like you got from your father, Fred Trump, and your mother, Mary Trump.” It pours out of him. It is dramatic. It is good reality TV.

The project manager must then choose two of the men to come back to the boardroom with him while everyone else is dismissed. An off-camera prefiring consultation with Trump takes place (and is recorded), right before the three men are brought back for the eventual firing. We film Trump, Ross, and Kepcher deliberating and giving the pluses and minuses of each, remarking on how risky it was for one of the contestants to stand up for himself the way that he did. Trump turns back and forth to each, listening. His cronies stick to their stories and give added deferential treatment toward Trump, with Ross strategically reminding him, “You’ve been taking risks your entire life.”

Trump summons the three men back into the boardroom for final judging. Trump grills one and says, “I will let you stay.” ( Wow! we think. A benevolent leader. ) When he turns his attention to the other man—the one he asked about genetics—it looks clear. He is doomed. So much so that the man stands when Trump tells him, “It seems unanimous.” Trump then offhandedly tells him to sit down, calling him “a wild card,” echoing Ross’ earlier observation of the boss, Trump.

After this comes an unwieldy moment when, at the behest of Bienstock, Trump fumbles through a given line. “We have an elevator,” he says to the remaining contestant, named David, “that goes up to the suite and an elevator that goes down”—he pauses to recall the exact wording—“to the street. And, David, I’m going to ask you to take the down elevator.”

The men react and awkwardly rise. It is an unsatisfactory conclusion, given all the preceding drama.

From the control room, we all watch as the three men depart the boardroom. A quick huddle takes place between the producers and the executive from NBC. We bolt from the control room out into the boardroom and confer with Trump, telling him we will need him to say something more direct to conclude the moment when David is let go.

“Well, I’d probably just fire him,” Trump says. “Why not just say that?” Bienstock asks. “Fine,” Trump says.

We return to the control room. The three men from the losing team are brought back into the boardroom, and Trump repeats his line about the elevator, then turns to David, who already knows his fate, and adds, “David, you’re fired.”

The line insertion happened in a perilously scripted way, but it is deemed satisfactory. “You’re fired” becomes the expression we will stick with. It works. Trump comes off as decisive and to the point.

Later, Trump will try to trademark “You’re fired.” He is not successful.

Trump’s appearances make up so little of our shooting schedule that whenever he shows up to film, it isn’t just the wild-card on-camera moments we both hope for and are terrified of that put everyone on edge. It is the way he, the star (and half owner) of the show, targets people on the crew with the gaze of a hungry lion.

While leering at a female camera assistant or assessing the physical attributes of a female contestant for whoever is listening, he orders a female camera operator off an elevator on which she is about to film him. “She’s too heavy,” I hear him say.

Another female camera operator, who happens to have blond hair and blue eyes, draws from Trump comparisons to his own Ivanka Trump. “There’s a beautiful woman behind that camera,” he says toward a line of 10 different operators set up in the foyer of Trump Tower one day. “That’s all I want to look at.”

Trump corners a female producer and asks her whom he should fire. She demurs, saying something about how one of the contestants blamed another for their team losing. Trump then raises his hands, cupping them to his chest: “You mean the one with the …?” He doesn’t know the contestant’s name. Trump eventually fires her.

(In response to detailed questions about this and other incidents reported in this article, Steven Cheung, a spokesman for the Trump 2024 campaign, wrote, “This is a completely fabricated and bullshit story that was already peddled in 2016.” He said that it is surfacing now because Democrats are “desperate.”)

Trump goes about knocking off every one of the contestants in the boardroom until only two remain. The finalists are Kwame Jackson, a Black broker from Goldman Sachs, and Bill Rancic, a white entrepreneur from Chicago who runs his own cigar business. Trump assigns them each a task devoted to one of his crown-jewel properties. Jackson will oversee a Jessica Simpson benefit concert at Trump Taj Mahal Casino in Atlantic City, while Rancic will oversee a celebrity golf tournament at Trump National Golf Club in Briarcliff Manor, New York.

Viewers need to believe that whatever Trump touches turns to gold. These properties that bear his name are supposed to glitter and gleam. All thanks to him.

Reality is another matter altogether. The lights in the casino’s sign are out. Hong Kong investors actually own the place—Trump merely lends his name. The carpet stinks, and the surroundings for Simpson’s concert are ramshackle at best. We shoot around all that.

Both Rancic and Jackson do a round-robin recruitment of former contestants, and Jackson makes the fateful decision to team up with the notorious Omarosa, among others, to help him carry out his final challenge.

With her tenure on the series nearly over, Omarosa launches several simultaneous attacks on her fellow teammates in support of her “brother” Kwame. For the fame-seeking beauty queen, it is a do-or-die play for some much-coveted screen time. As on previous tasks, Ross and Kepcher will observe both events.

Over at Trump National Golf Club, where I am stationed, it is sunny and bright, set against luscious fall colors. I am driven up to the golf club from Manhattan to scout. With me are the other producers, all of whom are men. We meet Trump at one of the homes he keeps for himself on the grounds of the club.

“Melania doesn’t even know about this place,” he says out loud to us, snickering, implying that the home’s function is as his personal lair for his sexual exploits, all of which are unknown to his then-fiancée Melania Knauss.

We are taken around the rest of the club’s property and told what to feature on camera and what to stay away from. The clubhouse is a particularly necessary inclusion, and it is inside these luxurious confines where I have the privilege of meeting the architect. Finding myself alone with him, I make a point of commending him for what I feel is a remarkable building. The place is genuinely spectacular. He thanks me.

“It’s bittersweet,” he tells me. “I’m very proud of this place, but …” He hesitates. “I wasn’t paid what was promised,” he says. I just listen. “Trump pays half upfront,” he says, “but he’ll stiff you for the rest once the project is completed.”

“He stiffed you?”

“If I tried to sue, the legal bills would be more than what I was owed. He knew that. He basically said Take what I’m offering ,” and I see how heavy this is for the man, all these years later. “So, we sent the invoice. He didn’t even pay that,” he says. None of this will be in the show. Not Trump’s suggested infidelities, nor his aversion toward paying those who work for him.

When the tasks are over, we are back in the boardroom, having our conference with Trump about how the two finalists compare—a conversation that I know to be recorded. We huddle around him and set up the last moments of the candidates, Jackson and Rancic.

Trump will make his decision live on camera months later, so what we are about to film is the setup to that reveal. The race between Jackson and Rancic should seem close, and that’s how we’ll edit the footage. Since we don’t know who’ll be chosen, it must appear close, even if it’s not.

We lay out the virtues and deficiencies of each finalist to Trump in a fair and balanced way, but sensing the moment at hand, Kepcher sort of comes out of herself. She expresses how she observed Jackson at the casino overcoming more obstacles than Rancic, particularly with the way he managed the troublesome Omarosa. Jackson, Kepcher maintains, handled the calamity with grace.

“I think Kwame would be a great addition to the organization,” Kepcher says to Trump, who winces while his head bobs around in reaction to what he is hearing and clearly resisting.

“Why didn’t he just fire her?” Trump asks, referring to Omarosa. It’s a reasonable question. Given that this the first time we’ve ever been in this situation, none of this is something we expected.

“That’s not his job,” Bienstock says to Trump. “That’s yours.” Trump’s head continues to bob.

“I don’t think he knew he had the ability to do that,” Kepcher says. Trump winces again.

“Yeah,” he says to no one in particular, “but, I mean, would America buy a n— winning?”

Kepcher’s pale skin goes bright red. I turn my gaze toward Trump. He continues to wince. He is serious, and he is adamant about not hiring Jackson.

Bienstock does a half cough, half laugh, and swiftly changes the topic or throws to Ross for his assessment. What happens next I don’t entirely recall. I am still processing what I have just heard. We all are. Only Bienstock knows well enough to keep the train moving. None of us thinks to walk out the door and never return. I still wish I had. (Bienstock and Kepcher didn’t respond to requests for comment.)

Afterward, we film the final meeting in the boardroom, where Jackson and Rancic are scrutinized by Trump, who, we already know, favors Rancic. Then we wrap production, pack up, and head home. There is no discussion about what Trump said in the boardroom, about how the damning evidence was caught on tape. Nothing happens.

We go home and face the next phase of our assignment, the editing. In stitching the footage together, the swindle we are now involved in ascends to new levels.

Editing in a reality TV show is what script writing is to a narrative series. A lot of effort goes into the storytelling because, basically, in every single unscripted series—whether it’s a daytime talk show, an adventure documentary, or a shiny floor dance-off—there are three versions: There’s what happens, there’s what gets filmed, and there’s what gets cut down into 43 minutes squeezed between commercial breaks. Especially for a competition series, it’s important that the third version represent the first as much as possible. A defeated contestant could show up in the press and cry foul if they’re misrepresented. Best to let people fail of their own accord. That said, we look after our prized possessions in how we edit the series, and some people fare better than others.

We attend to our thesis that only the best and brightest deserve a job working for Donald Trump. Luckily, the winner, Bill Rancic, and his rival, Kwame Jackson, come off as capable and confident throughout the season. If for some reason they had not, we would have conveniently left their shortcomings on the cutting room floor. In actuality, both men did deserve to win.

Without a doubt, the hardest decisions we faced in postproduction were how to edit together sequences involving Trump. We needed him to sound sharp, dignified, and clear on what he was looking for and not as if he was yelling at people. You see him today: When he reads from a teleprompter, he comes off as loud and stoic. Go to one of his rallies and he’s the off-the-cuff rambler rousing his followers into a frenzy. While filming, he struggled to convey even the most basic items. But as he became more comfortable with filming, Trump made raucous comments he found funny or amusing—some of them misogynistic as well as racist. We cut those comments. Go to one of his rallies today and you can hear many of them.

If you listen carefully, especially to that first episode, you will notice clearly altered dialogue from Trump in both the task delivery and the boardroom. Trump was overwhelmed with remembering the contestants’ names, the way they would ride the elevator back upstairs or down to the street, the mechanics of what he needed to convey. Bienstock instigated additional dialogue recording that came late in the edit phase. We set Trump up in the soundproof boardroom set and fed him lines he would read into a microphone with Bienstock on the phone, directing from L.A. And suddenly Trump knows the names of every one of the contestants and says them while the camera cuts to each of their faces. Wow , you think, how does he remember everyone’s name? While on location, he could barely put a sentence together regarding how a task would work. Listen now, and he speaks directly to what needs to happen while the camera conveniently cuts away to the contestants, who are listening and nodding. He sounds articulate and concise through some editing sleight of hand.

Then comes the note from NBC about the fact that after Trump delivers the task assignment to the contestants, he disappears from the episode after the first act and doesn’t show up again until the next-to-last. That’s too long for the (high-priced) star of the show to be absent.

There is a convenient solution. At the top of the second act, right after the task has been assigned but right before the teams embark on their assignment, we insert a sequence with Trump, seated inside his gilded apartment, dispensing a carefully crafted bit of wisdom. He speaks to whatever the theme of each episode is—why someone gets fired or what would lead to a win. The net effect is not only that Trump appears once more in each episode but that he also now seems prophetic in how he just knows the way things will go right or wrong with each individual task. He comes off as all-seeing and all-knowing. We are led to believe that Donald Trump is a natural-born leader.

Through the editorial nudge we provide him, Trump prevails. So much so that NBC asks for more time in the boardroom to appear at the end of all the remaining episodes. (NBC declined to comment for this article.)

When it comes to the long con, the cherry on top is the prologue to the premiere. It’s a five-minute-long soliloquy delivered by Trump at the beginning of the first episode, the one titled “Meet the Billionaire.” Over a rousing score, it features Trump pulling out all the stops, calling New York “ my city” and confessing to crawling out from under “billions of dollars in debt.” There’s Trump in the back of limousines. Trump arriving before throngs of cheering crowds outside Trump Tower. Trump in his very own helicopter as it banks over midtown—the same helicopter with the Trump logo that, just like the airplane, is actually for sale to the highest bidder. The truth is, almost nothing was how we made it seem.

So, we scammed. We swindled. Nobody heard the racist and misogynistic comments or saw the alleged cheating, the bluffing, or his hair taking off in the wind. Those tapes, I’ve come to believe, will never be found.

No one lost their retirement fund or fell on hard times from watching The Apprentice . But Trump rose in stature to the point where he could finally eye a run for the White House, something he had intended to do all the way back in 1998. Along the way, he could now feed his appetite for defrauding the public with various shady practices.

In 2005 thousands of students enrolled in what was called Trump University, hoping to gain insight from the Donald and his “handpicked” professors. Each paid as much as $35,000 to listen to some huckster trade on Trump’s name. In a sworn affidavit, salesman Ronald Schnackenberg testified that Trump University was “fraudulent.” The scam swiftly went from online videoconferencing courses to live events held by high-pressure sales professionals whose only job was to persuade attendees to sign up for the course. The sales were for the course “tuition” and had nothing whatsoever to do with real estate investments. A class action suit was filed against Trump.

That same year, Trump was caught bragging to Access Hollywood co-host Billy Bush that he likes to grab married women “by the pussy,” adding, “When you’re a star, they let you do it.” He later tried to recruit porn actor Stormy Daniels for The Apprentice despite her profession and, according to Daniels, had sex with her right after his last son was born. (His alleged attempt to pay off Daniels is, of course, the subject of his recent trial.)

In October 2016—a month before the election—the Access Hollywood tapes were released and written off as “locker room banter.” Trump paid Daniels to keep silent about their alleged affair. He paid $25 million to settle the Trump University lawsuit and make it go away.

He went on to become the first elected president to possess neither public service nor military experience. And although he lost the popular vote, Trump beat out Hillary Clinton in the Electoral College, winning in the Rust Belt by just 80,000 votes.

Trump has been called the “reality TV president,” and not just because of The Apprentice . The Situation Room, where top advisers gathered, became a place for photo-ops, a bigger, better boardroom. Trump swaggered and cajoled, just as he had on the show. Whom would he listen to? Whom would he fire? Stay tuned. Trump even has his own spinoff, called the House of Representatives, where women hurl racist taunts and body-shame one another with impunity. The State of the Union is basically a cage fight. The demands of public office now include blowhard buffoonery.

I reached out to Apollo, the Vegas perceptions expert, to discuss all of this. He reminded me how if a person wants to manipulate the signal, they simply turn up the noise. “In a world that is so uncertain,” he said, “a confidence man comes along and fills in the blanks. The more confident they are, the more we’re inclined to go along with what they suggest.”

A reality TV show gave rise to an avaricious hustler, and a deal was made: Subvert the facts, look past the deficiencies, deceive where necessary, and prevail in the name of television ratings and good, clean fun.

Trump is making another run at the White House and is leading in certain polls. People I know enthusiastically support him and expect he’ll return to office. It’s not just hats, sneakers, a fragrance, or Bibles. Donald Trump is selling his vision of the world, and people are buying it.

Knowing all they know, how could these people still think he’s capable of being president of the United States?

Perhaps they watched our show and were conned by the pig in the poke.

Trump called ‘Apprentice’ contestant a racist slur, former producer says

Bill Pruitt, who served as a producer on the reality show, said in an online essay that Trump used the slur when discussing who would win the show’s first season. “‘Yeah,’ he says to no one in particular, ‘but, I mean, would America buy a [n-word] winning?’” Pruitt wrote.

Former president Donald Trump used a racist slur while discussing a contestant on “The Apprentice” during a recorded conversation two decades ago, a former producer for the show wrote in a new essay .

The producer, Bill Pruitt, said Trump made the comment while deciding between a Black finalist, Kwame Jackson, and a White finalist, Bill Rancic, in the finale of the show’s first season, which aired in 2004. As Trump adviser Carolyn Kepcher, who served as a judge on the show, began advocating for Jackson, Trump winced multiple times and questioned Jackson’s performance on the show, Pruitt wrote.

“I mean, would America buy a [n-word] winning?” Trump asked, according to Pruitt in his essay that Slate published Thursday.

Trump ultimately picked Rancic and awarded him a job at the Trump Organization. The reality competition series ran for 15 seasons, helping make Trump a household name before his first presidential campaign in 2016. Trump is the presumptive Republican nominee in 2024, again running against President Biden after losing to him in 2020.

Trump’s campaign said Pruitt’s account was a “completely fabricated … story that was already peddled in 2016.”

“Nobody took it seriously then, and they won’t now, because it’s fake news,” Trump campaign spokesman Steven Cheung said in a statement to The Post. “Now that Crooked Joe Biden and the Democrats are losing the election and Black voters are rejecting their policies, they are bringing up old fake stories from the past because they are desperate.”

Trump has a long history of espousing antagonistic views toward African Americans. He declined to apologize in 2019 for taking out ads in 1989 that targeted the Central Park Five, a group of Black and Latino men who were wrongly convicted of raping a jogger in New York City. And Trump gained political notoriety during Barack Obama’s presidency by embracing the false claim that Obama — the nation’s first Black president — was ineligible to be president because he was not a natural-born citizen.

During the first year of his presidency, Trump drew widespread condemnation when he said there were “ very fine people on both sides ” of a 2017 white nationalist and supremacist rally in Charlottesville that turned violent.

Despite his history, Trump has been making increasing appeals to Black voters in his race against Biden, including during a South Bronx rally last week .

Pruitt, one of four producers who worked on the show in its first two seasons, said he was bound by an “expansive nondisclosure agreement” that expired this year. He would have faced a $5 million fine or possibly jail time if he violated the agreement, he said.

Pruitt said the conversation was recorded as part of the show’s efforts to ensure such off-air deliberations did not run afoul of federal regulations for game shows.

Jackson, the contestant Pruitt says Trump described using the slur, said in a 2016 interview with Salon that at the time he was on the show, he did not think race played a role in his loss to Rancic. But Jackson said he later came to believe race factored into the outcome.

Jackson spoke out against Trump’s 2016 candidacy in the interview , saying he has “no interest in supporting someone who I think is, at his core, racist.”

The essay also described multiple instances in which Trump made sexist remarks about the appearance of women working on the show. Trump once told a female camera operator to get off an elevator because she was “too heavy,” Pruitt recalled. Trump also told other people on the set that another female camera operator was a “beautiful woman” who is “all I want to look at,” according to the former producer.

There has been intrigue for years surrounding possible unreleased tapes from “The Apprentice,” especially after the 2016 campaign. Weeks before that election, a recording surfaced from a 2005 hot-mic conversation with “Access Hollywood” co-anchor Billy Bush in which Trump boasted about kissing, groping and trying to have sex with women.

The creator of “The Apprentice,” celebrity producer Mark Burnett, said at the time that he “does not have the ability nor the right to release footage or other material from ‘The Apprentice.’ ”

Trump said in a 2018 social media post that Burnett told him there were “NO TAPES of the Apprentice” where he used the same racist slur that Pruitt attributed to him. Trump called it a “terrible and disgusting word.” At the time, Trump was responding to claims by former White House aide Omarosa Manigault-Newman — once a contestant on the show — that there was a tape of him using the slur during the show’s filming.

Efforts to reach Burnett for comment Thursday through multiple publicly listed points of contact were unsuccessful.

Pruitt’s account comes as Biden is working to shore up his support among Black voters against Trump in their November election rematch. Biden and Vice President Harris, who is Black, visited Philadelphia on Wednesday to launch an initiative called “Black Voters for Biden-Harris.”

Responding to Pruitt’s essay, Biden’s campaign said it was more proof that Trump is a “textbook racist who disrespects and attacks the Black community every chance he gets, and the most ignorant man to ever run for president.”

“No one is surprised that Donald Trump, who entered public life by falsely accusing Black men of murder and entered political life spreading lies about the first Black president, reportedly used the N-word to casually denigrate a successful Black man,” Biden campaign spokesperson Jasmine Harris said in a statement. “Anyone notice a pattern?”

Election 2024

Get the latest news on the 2024 election from our reporters on the campaign trail and in Washington.

Who is running?: President Biden and Donald Trump secured their parties’ nominations for the presidency . Here’s how we ended up with a Trump-Biden rematch .

Presidential debates: Biden and Trump agreed to a June 27 debate on CNN and a Sept. 10 debate broadcast by ABC News.

Key dates and events: From January to June, voters in all states and U.S. territories will pick their party’s nominee for president ahead of the summer conventions. Here are key dates and events on the 2024 election calendar .

Abortion and the election: Voters in about a dozen states could decide the fate of abortion rights with constitutional amendments on the ballot in a pivotal election year. Biden supports legal access to abortion , and he has encouraged Congress to pass a law that would codify abortion rights nationwide. After months of mixed signals about his position, Trump said the issue should be left to states . Here’s how Biden’s and Trump’s abortion stances have shifted over the years.

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Guest Essay

Do You Want a ‘Unified Reich’ Mind-Set in the White House?

A photo of Donald Trump raising his fist in the air. His arm is obscuring his face from the side.

By David Austin Walsh

Dr. Walsh is a postdoctoral associate at the Yale program for the study of antisemitism and the author of “Taking America Back: The Conservative Movement and the Far Right.”

It is hard to be shocked by Donald Trump anymore. The former president’s trial over hush money paid to a porn star has made history, and his performance in court has been so farcical that Mr. Trump was threatened with jail time for contempt of court. He has called his political enemies “vermin” and said that immigrants are “poisoning the blood” of America. Mr. Trump’s transgressions against American political norms are by now almost a cliché.

Yet when Mr. Trump posted on Monday a video on his Truth Social account that featured mock headlines about his re-election in 2024, including one that predicted that “what’s next for America” was the “creation of a unified reich,” it was a shock of a different order, a suggestion that our country was on a glide path toward Nazi Germany in a second Trump term.

Mr. Trump’s penchant for flirting with authoritarianism and fascism is well known — he praised the neo-Nazi marchers in Charlottesville, Va., in 2017, has dined with the white supremacist Nick Fuentes and, of course, instigated the Jan. 6 riot. But the “unified reich” video shows a different kind of danger in another Trump presidency.

The Associated Press reported that the references in the video “appear to be a reference to the formation of the modern Pan-German nation, unifying smaller states into a single reich, or empire, in 1871.” A Trump campaign representative claimed that the video was posted by a campaign staff member while the candidate was in court. That underscores the bigger problem in the Republican Party today, one that goes far beyond Mr. Trump: a generation of young Republican staff members appears to be developing terminal white nationalist brain. And they will staff the next Republican administration.

This is a problem that other Republican candidates have faced as well. Last July the Ron DeSantis campaign fired a speechwriter and former National Review contributor, Nate Hochman, for promoting a pro-DeSantis video featuring Nazi imagery ; and scores of Republican aides on Capitol Hill have been outed by reporters as “groypers” — a term used to describe fans of Mr. Fuentes.

Not every young Republican campaign staff member is a fascist. But the far right is a significant part of the Republican Party’s political coalition. Mr. Trump sailed through the G.O.P. primaries and has probably secured the nomination. The presence of so many extremist elements in positions of power and influence is the price to be paid in the party’s bargain with MAGAism: Representatives Marjorie Taylor Greene and Paul Gosar addressed a white nationalist conference in 2022, and an investigative report from 2020 found that at least 12 Trump administrative aides had ties to neo-Nazi and anti-immigrant hate groups.

The contemporary American right might not be a monolith, but it functions like a “ popular front ,” which traditionally refers to the broad coalition between leftists and liberals in the 1930s unifying against a common fascist enemy. But similar dynamics existed on the right throughout the 20th century and continue.

This is not a new dynamic in conservative politics. The popular-front approach was the staple organizing principle of the American right during the 20th century. In fact, the right-wing popular front gave birth to modern conservatism, unifying a disparate group of right wingers, including luminaries like Senator Joseph McCarthy, Gen. Douglas MacArthur and William F. Buckley Jr. and more obscure — and more radical — figures like the magazine owner Russell Maguire, the classics professor Revilo Oliver and the American Nazi Party chief George Lincoln Rockwell. What bound this motley coalition together was shared opposition to communism, socialism and New Deal liberalism.

Extremists and fascist sympathizers could be found even in the commanding heights of the movement — and other conservatives knew it. Mr. Maguire, a Connecticut businessman and arms manufacturer, purchased The American Mercury magazine in 1952 and turned it into one of the most influential conservative journals of its day, inveighing against the threat of international communism, creeping liberalism and collectivism. It was perhaps the most widely read conservative magazine of its era, with a circulation of over 100,000 at its peak in the mid-1950s (by contrast, Mr. Buckley’s National Review struggled to reach 20,000 readers by the end of the decade).

But Mr. Maguire was also an outspoken antisemite who helped distribute books claiming that a Jewish plot threatened to subvert America. The editor of The American Mercury, William Bradford Huie, defended his professional relationship with the publisher because Mr. Maguire’s money was helping to get the conservative message out. “If suddenly I heard Adolf Hitler was alive in South America and wanted to give a million dollars to The American Mercury,” he told a reporter, “I would go down and get it.”

Still, there were political limits to openly embracing the swastika only a few years after World War II, which suggests that appeals to a “unified reich” will backfire on the Trump campaign. Both Mr. Maguire and Mr. Buckley had employed Mr. Rockwell at their magazines in the late 1950s. Mr. Rockwell, who according to his autobiography had embraced Nazism as early as 1951, approached Mr. Maguire in the late 1950s to finance a “slow, secret Nazi buildup” throughout the country. To Mr. Rockwell’s dismay, Mr. Maguire — a millionaire — offered him only $1,000. The political costs of organizing under the swastika were too high.

After Mr. Rockwell began making public appearances as a Nazi, he quickly became one of the most hated men in the country. Ironically, many of his political stances — opposition to the civil rights movement, support for segregation and intense antipathy to communism — were relatively popular in America in the 1960s, but explicitly tying those politics to Nazi imagery was a dead end. Whatever behind-the-scenes political influence Mr. Rockwell amassed working for The American Mercury or National Review was extinguished when he embraced the swastika.

Times have changed. While the far right has not been the decisive political force that put Mr. Trump in office, he has benefited from its support in some states — and has never paid a clear political price for boosting extremists. Despite his extensive record of political extremism, Mr. Trump still won over 74 million votes in 2020 and has maintained a consistent polling edge over President Biden in 2024.

Contemporary far-right activists like Mr. Fuentes clearly see Mr. Trump’s campaign as another opportunity to build power and influence. And unlike in decades past — where the far right was an important part of the right-wing popular front but did not exert hegemonic control — MAGAism is today the dominant strain in conservative politics.

If elected, Mr. Trump has promised to not govern as a dictator “except for Day 1” of his administration and to “root out the communists, Marxists, fascists and the radical-left thugs.” These are not empty words; the Heritage Foundation’s Project 2025 proposals are a road map to use executive authority to purge the federal government and replace current civil servants with conservative loyalists.

The likeliest candidates for those positions are campaign staff members and other activists. Given that it now seems to be almost commonplace for Republican staff members to have ties to white nationalists and neo-Nazis and that the Texas G.O.P. recently voted against barring them from associating with antisemitic individuals or groups, we should be very concerned about the potential role of far-right aides in a second Trump administration.

A unified reich in America may still be just a fantasy, but those fantasists could soon be in positions of real power.

David Austin Walsh is a postdoctoral associate at the Yale program for the study of antisemitism and the author of “ Taking America Back : The Conservative Movement and the Far Right.”

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here’s our email: [email protected] .

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