Category Archives: Essays/Readings

This category often, but not always, designates a piece of my own writing on a topic on a variety of topics. So, if you are interested in listening to me bloviate, click on this category! The Essays/Readings category may also include extended quotes from books, particularly on pedagogy, literacy, terms of art, and philosophy.

Giovanni Boccaccio: The Decameron

“A collection of 100 tales by the Italian writer Giovanni Boccaccio (1313-75), completed in c.1353. Many of the tales were old at this time, and many later writers–including Chaucer and Shakespeare–borrowed stories from the collection. In the framework story, seven ladies and three gentlemen escape from Florence when the Black Death arrives in 1348, and spend their time each telling one tale per day for ten days (Decameron comes from the Greek deka, ‘ten’, and hemera, ‘day’). (There is comparable framework story in The Canterbury Tales.) A film version (1971) by Pier Paolo Pasolini (1922-75) concentrates on some of the earthier tales. A similar collection to Boccaccio’s entitled The Heptameron (1558) was ascribed to Margaret of Angouleme (1492-1549), queen of Navarre. The tales are said to have been related in seven days (Greek hepta, ‘seven’).”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

The Participle

“In grammatical description, the term for two non-finite VERB forms, the –ing participle (known traditionally as the present participle) and the –ed participle (known traditionally as the past participle or the passive participle).

The -ing (present) participle: This verb form ends with the inflection –ing and is used in combination with a form of the auxiliary form be for the progressive continuous, as in: am driving, was playing, will be going, has been talking. It is also used as the verb in an –ing participle clause as in: Marvin and Jane liked playing with their grandchildren; Despite his protestations, Stanley was not averse to having a birthday party; John and Linda were happy to see Daniel behaving himself during the meal; After giving her lecture, Venetia had lunch with me at the College; The young man driving me to the shopping center was Jeremy.

 The –ed (past) participle: This verb form ends with the inflection spelled –ed, -d, or –t for all regular verbs and many irregular verbs, but many irregular verbs form it with an –en or –n inflection (as in stolen, known) or with a change in the middle vowel (as in sung, in which it is often identical with the simple past form, as with sat), or a combination of the two methods (as with written). The –ed participle combines with a form of the auxiliary form have for the perfect: has cared, had said, may have walked. It combines with a form of the auxiliary be for the passive: is paid, was told, are being auctioned, could not have seen. It is also used as the verb in an –ed participle clause. I had my study redecorated; Asked for his opinion, Tom was non-committal; Among the objects recovered from the ship was a chair stamped with the captain’s initials.

Attributive Uses: Both participles may be used in the attributive position like an adjective, but only if the participle indicates some sort of permanent characteristic: running water, the missing link, a broken heart, lost property. The phrase The Laughing Cavalier is possible as the name of a picture (the man is laughing all the time), but Who is that laughing man? would be odd in most contexts. The –ed participle usually has a passive meaning (listed buildings, burnt almonds, written instructions), but it may also be used actively with some intransitive verbs (an escaped prisoner). Some participles that are not permanent enough to be used attributively alone are acceptable when modified (their long-awaited visit).

Participles and Word Formation: There is a range of usage between participles that which remain fully verbal (running in swiftly running water) and those that in some contexts are completely adjectival (interesting in a very interesting idea; disappointed in a very disappointed man). There are also some participle-like formations for which there are no corresponding verbs: an unexplained discrepancy, an unconvincing narrative, for which there are no conventional verbs *to unexplain and *to unconvince; a bearded man; a forested hillside; a blue-eyed man; a one-armed bandit are common constructions which are aspects of word-formation rather than grammar.

Participial Clauses: Traditionally known as participial phrases, such clauses function in various ways: (1) they can follow noun phrases (like abbreviated relative clauses): ‘The train (which is) now standing at Platform 5 is…,’ ‘The food (that was) served on the plane was….'(2) They can function rather like finite subordinate clauses, with or without a conjunction, and with various meanings, often of time (‘While running for the train, he lost his wallet’) reason (‘Jostled by the crowd, he did not really see what happened’), or result (‘The train started suddenly, throwing an elderly passenger to the floor’). (3)  They can follow an object verb of the senses: ‘We could all hear him singing in the bath;’ ‘He didn’t see that soap lying on the floor.’ Occasionally this multiplicity of functions may lead to ambiguity: ‘I witnessed a sergeant push his way past supporters drinking openly in the aisle’ (letter to Daily Telegraph, 27 May 1988).

The Dangling Participle: When a participial clause contains its own subject it is called an ABSOLUTE CLAUSE, as in ‘Weather permitting, we’ll go sailing this weekend.’ When, as is more usual, such a clause does not contain a subject, it normally refers grammatically to the subject of the main clause: in ‘I made my way, depressed, to the ticket office,’ it is clear who was depressed, and in ‘The woman on the chair beside was tipped onto my lap, complaining all the time’ it is clear who was complaining (both from Colin Thubron, Behind the Wall, 1987). Failure to maintain such a clear relationship leads to the so-called dangling, hanging, misrelated, or unattached participle, as in: ‘Her party was the first to discover that there were no sleepers left. The entire section had been booked. Faced with a forty-four-hour journey, this was far from good news’ (Patrick Marnham, So Far from God, 1985).

With participles that attach themselves to the wrong noun, the effect may be momentarily confusing even if the writer’s meaning is clear: ‘[Sir Mortimer Wheeler’s] celebrity on television was so great that, boarding an empty bus late one rainy night when in a white tie with rows of medals, a conductress arranged with the driver to take him to the door of Wheeler’s small house off Haymarket’ (Anthony Powell, To Keep the Ball Rolling, 1982). Here, the meaning may be fairly obvious, but on first reading it is the conductress who boards the bus. In the following example, it is the lines that apparently provided the clues: ‘By taking a great many observations and analyzing them statistically, the lines gave crucial clues about the intervening space between us and the quasars, and therefore of the universe’s early history’ (in “Bonfire of the Cosmos,” Observer, 16 April, 1989). Sometimes, the pictures presented are simply absurd: ‘After traveling by road all day…, the 123-room Sahara is an air-conditioned all-mod-cons watering hole’ (Daily Telegraph, 22 September 1984); ‘There, coasting comfortably down the attractive green coastline, the town of Malacca with its prominent hill was very evident’ (Tim Severin, The Sinbad Voyage, 1982).

Participial Prepositions and Conjunctions: Apparent exceptions to the rule that participles should be properly attached are a number of participial forms that now function as prepositions, such as following in ‘There was a tremendous cleaning up to do following the storm,’ and including in ‘We all enjoyed ourselves, including the dog;’ and participle forms that are now conjunctions, such as providing (that) and provided (that) in ‘Everything will be all right providing/provided you don’t panic,’ and given in ‘Given the difficulties, I’d say it was a success.’”

Excerpted from: McArthur, Tom. The Oxford Concise Companion to the English Language. New York: Oxford University Press, 2005.

H. Lynn Erickson on Coherence in Curricula

“…But a coherent curriculum also fosters through the grades, in a deliberate and systematic design, increasing sophistication in critical content knowledge, conceptual understanding, and complex performance abilities. The current emphasis on meeting national and state standards requires thoughtful planning in curriculum design. We cannot afford to do dinosaurs and rain forests at three different grade levels. We need to use the precious time in schools to maximum advantage. This does not mean that we cannot do thematic, integrated units or bring relevance and active student engagement into the learning process. But it does signal the need for coherent curricular plans that achieve the desired outcomes for students–outcomes that are based on the realities of living, learning, and working in the 21st century, as well as the mandates of discipline-based standards and assessments.”

Excerpted from: Erickson, H. Lynn. Concept-Based Curriculum and Instruction: Teaching Beyond the Facts. Thousand Oaks, California: Corwin Press, 2002.

Term of Art: Individualized Reading

“An approach to reading instruction developed in the 1950s as an alternative to basic reading programs; emphasizes student selection of reading materials and self-pacing in reading. With this method, the teacher adjusts instruction to student needs during small-group work and in individual conferences.”

Excerpted from: Turkington, Carol, and Joseph R. Harris, PhD. The Encyclopedia of Learning Disabilities. New York: Facts on File, 2006.

114 Sura of the Koran

“There are 114 sura or ‘chapters’ within the Koran. These are named and numbered, but the names (such as The Cow or The Light) have no importance other than as a memory tag linked to some unusual feature. The chapters are not ordered by age of delivery or location (either Mecca or Medina), but in reverse length, so the shortest chapters begin the Koran and the longest end it. There is no narrative flow; indeed, at times one could almost imagine the Prophet’s revelations to be addressed to 114 different types of human, for each chapter is a development or a condensation of the same essential theme: how to live and love both mankind and God.”

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.

Abstract Expressionism

“An umbrella term which refers to that direction in abstract art characterized by spontaneous and individual abstract expression in a non-objective manner. While the term was first applied to certain of Vassily Kandinsky’s early experimental paintings, it mostly refers to artists working in the 1940s and 1950s, including Willem de Kooning and Jackson Pollock. Sharing a similar outlook rather than a style, these artists sought total freedom for psychic expression on the canvas. Believed by some to be the first truly American art, the movement is also called the New York School because its international center was New York City. The influence of abstract expressionism extended into the 1970s with Lyrical Abstraction.”

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

A Learning Support on Historical Ages and Eras

While I’ve used it for text for classroom posters, I’m not sure how otherwise useful this learning support on historical ages and eras really is in the classroom. Frankly, it’s a bit complicated and abstract for emergent and struggling readers.

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.

Abstract Art

“Art in which elements of form have been stressed in handling the subject matter–which may or may not be recognizable. Abstraction is a relative term; all artworks exist on a continuum between total abstraction and full representation. Vassily Kandinsky is generally credited with having created the first purely abstract artwork in 1910.”

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

On the Road

“A novel (1957) by Jack Kerouac (1922-69), based on several wild trips across the United States with Neal Cassady (1926-68). In it he used the term Beat Generation ‘to describe guys who run around the country in cars looking for odd jobs, girlfriends, and kicks.’ The book became the prose manifesto of the culture in evokes. Crossing media, it also helped to define the genre of the ‘road movie,’ in which the characters take to the road as an escape from something, and/or as a means of self-discovery. Male bonding between ‘buddies’ was a common element in such classics as Easy Rider (1969), at least until such feminist versions of the genre as Thelma and Louise (1991).

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

A Glossary of English Language Arts Terms

The other day, while rummaging around in a folder containing learning supports for English Language Arts lessons, I found this glossary of critical terms for use in English classes. I have no idea whence I excerpted this; the lack of citation troubles me. In any case, it is a list of conceptual terms mostly at the center of what English Language Arts teachers profess, and particularly, in many cases (aesthetic impact as a term of art comes immediately to mind) for advanced students.

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.