Category Archives: Quotes

As every second post on this site is a quote. You’ll find a deep and broad variety of quotes under this category, which overlap with several other tags and categories. Many of the quotes are larded with links for deeper reading on the subject of the quote, or connections between the subject of the quotes and other people, things, or ideas. See the Taxonomies page for more about this category.

Term of Art: Calque

“Calque [kalk] (noun): An imitative borrowing in language, or a word modeled on an aspect of range of meaning of a particular word in another language, e.g. the English measurement ‘foot’ from the Latin ‘pes.’ Also LOAN-TRANSLATION

‘The chapter is full of loanwords, calques, neologisms, as well as curious learning; it we are a as far away from the down-to-earthy broodings of Blok as it is possible to imagine.’” Anthony Burgess, Joysprick

Excerpted from: Grambs, David. The Random House Dictionary for Writers and Readers. New York: Random House, 1990.

Empaquetage

“Empaquetage: A special form of New Realism associated chiefly with Bulgarian artist Christo, which consists of packaging objects with common wrapping materials, especially plastic sheeting. The best known empaquetages (wrappings) have been done on buildings, although smaller objects (such as live women) and larger forms (such as cliffs) have been packaged.”

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

The Devil’s Dictionary: Teetotaler

“Teetotaler, n. One who abstains from strong drink, sometimes totally, sometimes tolerably totally.”

Excerpted from: Bierce, Ambrose. David E. Schultz and S.J. Joshi, eds. The Unabridged Devil’s Dictionary. Athens: The University of Georgia Press, 2000. 

Term of Art: Learning Modalities

“learning modalities: The way in which information is received and expressed, such as visual, tactile, auditory, or kinesthetic. Generally, individuals have strengths in a certain modality and learn better when information is presented through that channel. For example, an individual who whose strongest learning modality is visual will have difficulty learning information given by lecture alone, with no visual aids such as notes on the board.

Research shows that since people have different learning strengths, it is better to design lessons what use more than one modality, such as a combination of visual and auditory. This allows all learners, including those with learning disabilities, to access information using their strongest learning ability.”

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

Book of Answers: The Decameron

“What does the title of Boccaccio’s The Decameron (1350-52) mean? It means “ten days” and refers to the number of days the narrators spend telling stories. One hundred stories are told by seven women and three men during the Black Death of 1348.”

Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.

22 High-Leverage Practices for K-12 Teachers

Very quickly on this Friday morning, here is something that might be useful to teachers and parents, to wit a list of 22 high-leverage practices for K-12 teachers. This is something I transcribed several months ago from the American Federation of Teachers’ excellent quarterly American Educator so that I could place it in my planning book.

If you find typos, lapses in style or syntax, or any other errors in the prose, please advise. Since this is someone else’s work, I don’t seek peer review on it.

Graces

“Graces: In Roman mythology, the Gratiae, goddesses who embodied beauty and charm. Called by the Greeks the Charites, they were, by some accounts, named Aglaia (Brilliance), Thalia (the Flowering), and Euphrosyne (Joy), though their names and even their number varied. Although they were probably very early spirits of vegetation, they did not in classical times have any cult of importance. They are best known from their many appearances in art.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Write It Right: Involve for Entail

“Involve for Entail. ‘Proof of the charges will involve his dismissal.’ Not at all; it will entail it. To involve is, literally, to infold, not to bring about, nor cause to ensue. An unofficial investigation, for example, may involve character and reputation, but the ultimate consequence is entailed. A question, in the parliamentary sense, may involve a principal; its settlement one way or another may entail expense, or injury to interests. An act may involve one’s honor and entail disgrace.”

Excerpted from: Bierce, Ambrose. Write it Right: A Little Blacklist of Literary Faults. Mineola, NY: Dover, 2010.

Modernism

“Modernism: The philosophy of modern art. Nineteenth-century industrialization resulted in societal changes which radically altered institutions of patronage for artists. With the rise of museums and an expanding commercial art market, artists were freer to experiment with modes of expression. Art for Art’s Sake was the common credo as this avant-garde determined their own content, form, and medium. Movements and styles abounded, including: Cubism, Constructivism, Expressionism, Dada, Surrealism, Abstract Expressionism, and Minimalism. Modernist art criticism was centered on significant form. Painting (especially Abstract Expressionism) was thought to progress toward purity in its refinement of color and flatness. The deconstructive critique of such formalist emphasis exposed the ‘impurity’ of meaning, that is, the possibility of multiple interpretations and a relativization of value judgements. This decentering expanded the theoretical and artistic modes of basic importance to Postmodernism. See International Style.”

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

The Algonquin Wits: Herman J. Mankiewicz on Table Conversation

Mankiewicz once explained to a round table audience: ‘You know it’s hard to hear what a bearded man is saying. He can’t speak above a whisker.’”

Excerpted from: Drennan, Robert E., ed. The Algonquin Wits. New York: Kensington, 1985.