Monthly Archives: March 2020

Feminism

“Feminism: The progressive social movements of the 1960s produced their own academic and theoretical equivalents of revision and interpretation. The recognition of women’s historical oppression in a patriarchal society produced numerous reactions in the art world. In the early 1970s exhibitions that recovered ‘forgotten’ women artists began to establish a canon of great women artists. Judy Chicago produced The Dinner Party from craft techniques traditionally associated with women, such as needlepoint and ceramics. By using blatant female imagery, she and other sought to make explicitly ‘female’ works. By the late 1970s second-generation feminism coupled with a measure of psychoanalytic theory shifted the emphasis away from biological determinism to notions of self-identity. This approach was seen as more empowering, enabling both men and women to reexamine questions of gender and sexuality in contemporary art as well as in old masterworks previously rejected for their sexism. Contemporary artists working with this approach include Barbara Kruger and Cindy Sherman.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Everyday Edit: Eleanor Roosevelt

I need this morning to move on to other work on this blog, but before I do, I’ll publish one more post in its observance of Women’s History Month 2020, to with, this Everyday Edit worksheet on Eleanor Roosevelt. If you and your students find Everyday Edit work satisfying, let me remind you that you can find a yearlong supply of them under that hyperlink courtesy of the good people at Education World.

If you find typos in this document, thank the writer of them for showing students how to copyedit text; then fix them!

Term of Art: Antithesis

“Antithesis: (Greek: “Opposition”) Fundamentally, contrasting ideas sharpened by the use of opposite or noticeably different meanings. For example, Bacon’s apothegm (q.v.): ‘Crafty men contemn studies; simple men admire them; and wise men use them.’

It is common in rhetoric (q.v.) and was particularly favored by the Augustan poets and users of the heroic couplet (q.v.). These lines from Dryden’s Absalom and Achitophel are strongly antithetical:

‘Rais’d in extremes, and in extremes decry’d;

With Oaths affirm’d, with dying Vows deny’d.

Not weighed, or winnow’s by the Multitude;

But swallow’d in the Mass, unchew’d and Crude.

Some Truth there was, but dash’d and brew’d with Lyes;

To please the Fools, and puzzle all the Wise.

Succeeding times, did equal folly call,

Believing nothing, or believing all.’

Pope was an expert at the antithetical, as this compact example in his Moral Essays shows:

‘Less with than mimic, more a wit than wise.’

It is used frequently in prose to telling effect, as in this example from Dr. Johnson (in the London Chronicle, May 2nd, 1769) on the character of the Reverend Zachariah Mudge: ‘Though studious, he was popular; though argumentative, he was modest; though inflexible, he was candid; and though metaphysical, yet orthodox.’”

Excerpted from: Cuddon, J.A. The Penguin Dictionary of Literary Terms and Literary Theory. New York: Penguin, 1992.

A Lesson Plan on the Crime and Puzzlement Case “A Matter of Delicacy”

OK, pushing forward to blog post 3,000, here is a lesson plan on the Crime and Puzzlement case “A Matter of Delicacy.”

I open this lesson, to get young minds focused and working, with this Cultural Literacy worksheet on Langston Hughes. This scan of the illustration and questions of and for the case drives the lesson. Finally, here is the typescript of the answer key to solve the case.

Incidentally, I am just about to post a trove of supporting materials for the Crime and Puzzlement units over on the About Posts and Texts page, the link to which is just below the banner of this website.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Do Not Break Sentences in Two

[If you would like this quote as a Word document to use as a teaching and learning support, here it is.]

“6. Do not break sentences in two.

In other words, do not use periods for commas.

I met them on a Cunard liner many years ago. Coming home from Liverpool to New York.

She was an interesting talker. A woman who had traveled all over the world and lived in half a dozen countries.

In both these examples, the first period should be replaced by a comma and the following word begun with a small letter.
It is permissible make an emphatic word or expression serve the purpose of a sentence and to punctuate it accordingly.

Again and again he called out. No reply.

The writer must, however, be certain that the emphasis is warranted, lest a clipped sentence seem merely a blunder in syntax or in punctuation. Generally speaking, the place for broken sentences is in dialogue, when a character happens to speak in clipped or fragmentary way….”

Excerpted from: Strunk, William Jr., and E.B. White. The Elements of Style, Fourth Edition. New York: Longman, 2000.

Bellevue Hospital

Working in New York City, I often use this reading on Bellevue Hospital and its accompanying vocabulary-building and comprehension worksheet as make-up work for students who had fallen behind due to extended absences. To some, it was high-interest material, particularly those whose health needs had occasioned visit to that venerable  institution.

Did you know it was the first hospital in the United States to offer ambulance services? I always tried to ask students a couple of Socratic questions that would lead them to an understanding of the intransitive verb ambulate (i.e. “to move from place to place; WALK”), so that they understood that a person in need of an ambulance could not ove under their own power–hence the need for an ambulance.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Malcolm Forbes on Education

“Education’s purpose is to replace an empty mind with an open one.”

Malcolm S. Forbes (1919-1990)

Excerpted from: Howe, Randy, ed. The Quotable Teacher. Guilford, CT: The Lyons Press, 2003.

Converse (vi)

Last but not least this afternoon, since it’s on my desktop, here is a context clues worksheet on the (intransitive only) verb converse.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

7 Sages of Ancient Greece

 “Thales of Miletus * Biasof Priene * Heraclitus of Ephesus * Cleobolus of Lindos * Solon of Athens * Pittacus of Mytilene * Periander of Corinth

This is an acceptable list, though there are many variants, not least because the great kings of antiquity liked to keep seven sages—in Greek hepta sophoi, in Latin septem sapientes—around their courts.

There also seem to have been competitions for sage advice in verse, which allowed various pantheons of seven sages to be formed. This was especially true of the Pythian Games held in honour of Apollo, the god of wisdom. Some of the most pithy couplets were then carved on the porch of the Temple of Apollo at Delphi. The two best known, as reported by that great guidebook writer Pausanias, are ‘Know thyself’ and ‘Nothing in excess.’”

Excerpted from: Rogerson, Barnaby. Rogerson’s Book of Numbers: The Culture of Numbers–from 1,001 Nights to the Seven Wonders of the World. New York: Picador, 2013.

Term of Art: Portmanteau

“portmanteau: A single form which realizes two or more successive grammatical units, Typically of a morph, called a ‘portmanteau morph,’ seen as realizing morphemes: e.g. in French au theatre ‘to the theater,’ au is a single morph ([o]) which simultaneously realizes a preposition (elsewhere a) and the definite article (elsewhere le).”

Excerpted from: Matthews, P.H., ed. The Oxford Concise Dictionary of Linguistics. New York: Oxford University Press, 2014.