Category Archives: Reference

These are materials for teachers and parents, and you’ll find, in this category, teachers copies and answer keys for worksheets, quotes related to domain-specific knowledge in English Language Arts and social studies, and quotes on issues of professional concern. See the Taxonomies page for more about this category.

A Learning Support on Using That and Which

Here is a learning support on using that and which in declarative sentences from Paul Brians’ book, Common Errors in English Usage, which he has helpfully and generously published on the Washington State University website.

I confess that I don’t find this short passage particularly helpful in using these two words, bound up as they are with restrictive and nonrestrictive clauses in sentences (a lesson on which is forthcoming on this blog). That said, this document, like several others of its type, contains only a couple of short paragraphs. So, as a Microsoft Word document with a lot of open space, it is yours to do with as you wish or need.

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.

Germanic Art

“Germanic Art: Art of the migrating Germanic tribes from the 4th to the 9th centuries. Characterized by the near absence of the human figure and preference for animal forms (zoomorphic ornament) and lacertine. Metalwork and jewelry were specialties. Also called barbaric art. See VISIGOTHIC ART.”

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

Write It Right: Business for Right

“Business for Right. ‘He has no business to go there.’”

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

Thorstein Veblen on Conspicuous Consumption and Status

“Conspicuous consumption of valuable goods is a means of reputability to the gentleman of leisure.”

Thorstein Veblen, The Theory of the Leisure Class ch. 4 (1899)

Excerpted from: Schapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.

Term of Art: Stative Verb

“Stative Verb: A category of verb that contrasts with dynamic verb in the aspect system of a language, and relates to state and not action: in English such verbs as belong, love. Syntactically, these verbs are used in simple rather than progressive tenses and generally not in the imperative (not Belong!, but occasionally Love me!). Semantically, stative verbs refer to states of affairs (belong, know, own) in contrast to dynamic verbs that refer to actions (buy, learn, jump). In practice, the boundary between stative and dynamic verbs is sometimes fuzzy and it is generally more useful to talk of stative and dynamic meaning and usage. In most varieties of English, some verbs are normally stative (therefore not I am owning this car, Know how to give first aid!), but others are partly stative and partly dynamic (not She is liking to help people, but How are you liking your new job?; not I am forgetting their address, but Forget it!). Some verbs belong to both categories but with distinct meanings, as with have in She has red hair and She is having dinner. In Indian English, the stative/dynamic distinction described above is considered standard, but it is widely ignored, so that expressions like I am owning this car and She is liking to help people are commonplace.”

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

Regency Style

“Regency Style: The English counterpart to the Directoire and Empire styles of French architecture and decorative art. Seen in the late years of the 18th century to about 1830, Greek, Roman, Rococo, oriental, Gothic, and Egyptian elements and motifs were used in a style that profoundly affected British and American tastes.”

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

Book of Answers: Walt Whitman and Ralph Waldo Emerson

“Upon the publication of Leaves of Grass, who wrote to Walt Whitman, ‘I greet you at the beginning of a great career.’ Ralph Waldo Emerson in 1850. The complete salutation is: ‘I greet you at the beginning of a great career, which yet must have had a long foreground somewhere for such a start.’ Whitman was thirty-six at the time of the book’s publication.”

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

Write It Right: Continually and Continuously

“Continually and Continuously. It seems that these words should have the same meaning, but in their use by good writers there is a difference. What is done continually is not done all the time. But continuous action is without interruption. A loquacious fellow, who nevertheless finds time to eat and sleep, is continually talking; but a great river flows continuously.”

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

Term of Art: Determiner

“Determiner: A part of speech or word class that determines or limits a noun phrase, showing whether a phrase is definite (the, this, my), indefinite (a, some, much), or limiting it in some other way, such as through negation (no in no hope). Determiners include the articles and words traditionally classified as kinds of adjective or pronoun. They precede adjectives: many clever people, not clever many people; my poor friend, not poor my friend. Most words that function as determiners can be used alone as pronouns (this in Look at this picture and Look at this) or have related pronouns (every/everyone/everything, my/mine, no/none). Some grammarians regard as determiners such phrases as plenty of… in We have plenty of money.

Determiners can be subdivided into three groups according to their position in the noun phrase: (1) Central determiners. These may be articles (a, the in a storm, the weather, demonstratives (this, those in this day, those clouds), possessives (my, your in my hat, your umbrella), some quantifiers (each, every, no, any, some in each moment, every day, no excuse, any help, some clouds). Such determiners are mutually exclusive and contrast with adjectives, with which however they can co-occur: the best weather, any possible help, no reliable news. (2) Post-determiners. These are used after central determiners and including numbers (two, first in those two problems, my first job) and some quantifiers (many, several in your many kindnesses, his several attempts). (3) Pre-determiners. These are used before central determiners, mainly referring to quantity. They include: all, both, half (all this time, both your houses, half a loaf), double, twice and other multiplier expressions (double the money, twice the man he was, once each day, six times a year), fractions (a quarter of the price), and such and what in exclamations (Such a waste of money, What a good time we had!)

They can also be divided according to the countability of the nouns the co-occur with: (1) With singular countable nouns only: a/an, each, every, either, neither. (2) With singular countable and uncountable nouns: this, that. (3) With uncountable nouns only: much and little/a little, and usually less, least. (4) With uncountable and with plural countable nouns: all, enough, more, most, a lot, lots of, and the primary meaning of some, any. (5) With countable plurals only: a few, few, fewer, fewest, both, many, several, these, those, and numbers. (6) with most common nouns: the, no, the possessives my, your, etc., and some wh- words (whose roll/rolls/bread, by which date, whatever food you eat).”

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

Impression

“Impression: Any print made from a block, plate, or stone. Also, the physical contact of paper and printing surface which in turn affects the quality of the image. Thus terms like ‘good impression’ and ‘weak impression’ describe that effect of the contact.”

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