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.

Latin American Boom

“Latin American Boom: A term for the recognition and publication of Latin American fiction in Europe, the U.S., and Latin America during the 1960s. The ‘boom’ writers were innovative and experimental and yet also accessible, and included Gabriel Garcia Marquez, Carlos Fuentes, Mario Vargas Llosa, Jose Donoso, and Julio Cortazar. Guillermo Cabrera Infante is often considered part of the group. The reasons for the boom include attention and the awarding of prizes by publishers in Spain to Latin American authors; the Cuban Revolution (1959), which focused attention on the Americas; the exhaustion of the Nouveau Roman style and a renewed interest in vibrant storytelling; and the conjunction of imaginative work that engaged political and historical themes. Paradoxically, the fame of book writers has obscured the recognition of pre-boom writers like Onetti, Pinera, Lezama Lima, Lispector, Arguedas, and Arreola, while post-boom writers have found it hard to crack the commercial market, given the starlike promotion of the boom novelists. Notable exceptions are Isabel Allende and writers whose work has been made into successful U.S. films, plays, or musicals, such as Manuel Puig.”

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

Junk Sculpture

“Junk Sculpture: With Dada roots in the collages of Kurt Schwitters, which were created from trash collected from the streets, junk sculpture first appeared in the United States in the 1950s works of John Chamberlain and Robert Rauschenberg. It is a type of assemblage sculpture in which the sculptor uses materials cast off by modern urban culture and reassembles them with little or no comment. Junk sculpture has affinities to Arte Povera in Italy and similar movements in other European countries where it took on more nostalgic tones.”

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

Term of Art: Repetition Compulsion

“Repetition compulsion: In psychoanalysis, a type of compulsion characterized by a tendency to place oneself in dangerous or distressing situations that repeat similar experiences from the past. Sigmund Freud (1856-1939) introduced in 1914 in an article on ‘Remembering, Repeating, and Working-Through’ (Standard Edition, XII, pp. 147-56) and discussed it at length in his book Beyond the Pleasure Principle (1920). In analysis, the transference often contains elements that involve recreations of past conflicts with parents and other family members. Also called a compulsion to repeat.”

Excerpted from: Colman, Andrew M., ed. Oxford Dictionary of Psychology. New York: Oxford University Press, 2003.

Write It Right: Attain for Accomplish

“Attain for Accomplish. ‘By diligence we attain our purpose.’ A purpose is accomplished; success is attained.”

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

Rotten Reviews: A Clockwork Orange by Anthony Burgess

“’…The holy bearded veck all nagoy hanging on a cross’ is an example of the author’s language and questionable taste…. The author seems content to use a serious social challenge for frivolous purposes, but himself to stay neutral.”

 Times (London)

Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.    

Lettrism

“Lettrism: A phenomenon since the 1950s, lettrism is the juxtaposition of letters, words, signs, and pictographic symbols with visual effect as the primary concern and with the meaning (if any) of secondary importance. Concrete poetry is a form of lettrism, but here the verbal meaning is as important as the design. Also called typewriter art.”

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

Term of Art: Pronominal Possessive

“Pronominal Possessive: Possessive pronoun such as hers, its, and theirs.”

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

Term of Art: Schema

“Schema: A plan, diagram, or outline, especially a mental representation of some aspect of experience, based on prior experience and memory, structured in such a way as to facilitate (and sometimes to distort) perception, cognition, the drawing of inferences, or the interpretation of new information in terms of existing knowledge. The term was first used in a psychological sense by the English neurologist Sir Henry Head (1861-1940), who restricted its meaning to a person’s internal body image, and it was given its modern meaning by the English psychologist Sir Frederic Charles Bartlett (1886-1969) in his book Remembering: A Study in Experimental and Social Psychology [1932, p. 199] to account for the observation that errors in the recall of stories tend to make them more conventional, which Bartlett attributed to the assimilation of the stories to a pre-existing schemata. The concept of a frame, introduced in 1975 by the US cognitive scientist Marvin (Lee) Minsky (1927-2016), is essentially a schema formalized in artificial intelligence. A script is a schema of an event sequence.”

[From Greek schema a form, from echein to have]”

Excerpted from: Colman, Andrew M., ed. Oxford Dictionary of Psychology. New York: Oxford University Press, 2003

The Algonquin Wits: Heywood Broun on Taxation

“Any reasonable system of taxation should be based on the slogan of ‘Soak the rich.’”

Heywood Broun

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

Term of Art: Risk Aversion

“Risk aversion: A widespread characteristic of human preferences, first discussed in 1738 by the Swiss mathematician and physicist Daniel Bernoulli (1700-82), according to which most people tend to value gains involving risk less that certain gains of equivalent monetary expectation. A typical example is a choice between a sure gain of 50 units (Swiss francs, dollars, pounds sterling, or any other units) and a gamble involving a 50 percent probability of winning 100 units and a 50 percent probability of winning nothing. The two prospects are of equivalent monetary expected value, but most people prefer the sure gain to the gamble, which they typically value equally to a sure gain of about 35 units.”

Excerpted from: Colman, Andrew M., ed. Oxford Dictionary of Psychology. New York: Oxford University Press, 2003.