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.

Term of Art: Anaphora

“Anaphora: The relation between a pronoun and another unit, in the same or in an earlier sentence, that supplies its referent. E.g. in Mary disguised herself, the reflexive herself is an anaphoric pronoun, related to an antecedent Mary: the person, that is, who is said to be disguised is the person that Mary has already referred to. Likewise, e.g. in conversation, across sentences boundaries. Thus if A asks ‘Where’s Mary’ and be says ‘She’s in the garden,’ she in the sentence B utters is to be understood as anaphoric to earlier Mary.

Thence of similar relations involving units other than pronouns: e.g. the idiot is anaphoric to John in I asked John but the idiot wouldn’t tell me; do so is anaphoric to help in I wanted to help but I couldn’t do so. Also, in a looser sense, of any relation in which something is understood in the light of what precedes it. E.g. in Her house is larger than mine, a meaning of mine, as ‘my house,’ would be supplied in part by her house.

…An anaphoric chain is formed by two or more successive unit, each linked anaphorically to the one preceding.”

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

 

Book of Answers: Plato’s Republic

“In what book of Plato’s Republic (c. fourth century B.C.) does the Cave Allegory appear? Book VII.”

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

3 Graces

Aglaea * Euphrosyne * Thalia

In ascending order of age we have Aglaea (Splendour), Euphrosyne (Mirth) and Thalia (Good health or happiness). The three sisters have been obsessively painted and sculpted for thousands of years as the embodiments of beauty, charm, and creativity. As the benign face of the ancient triple goddess, even Hesiod and Homer can seem vague about their origins, and so there are conflicting stories of them being the daughters of either Aphrodite, Apollo, Zeus, or Dionysus. Like the furies, their chapel stood in the caves around the Acropolis, where ancient mysteries were performed.”

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.

Historical Term: Appeasement

[As I have mentioned previously on this blog, several years ago some colleagues of mine found students struggled with the concept of appeasement as well as its manifestation as a historical process in the years before World War II. The passage below does a nice job of summarizing this complex series of events, and here is a Cultural Literacy worksheet on the Munich Pact to complement it.]

“Appeasement Foreign policy based on the conciliation of the grievances of rival states, usually involving some sort of concession as an attempt to avoid conflict or war. The term is most often applied to the pre-World War II policy of Britain and France of attempting to satisfy the demands of Hitler with regard to Germany’s grievances over the Versailles settlement. The policy, based on agreements with Germany and Italy, is particularly associated with Neville Chamberlain’s premiership (1937-40). As a result of appeasement Germany was able to occupy the Rhineland, the Sudetenland areas of Czechoslovakia, and to achieve the Anschluss with Austria. The policy is held to have ended when Hitler broke the 1938 Munich agreement and occupied the rest of Czechoslovakia in March 1939.”

Excerpted from: Cook, Chris. Dictionary of Historical Terms. New York: Gramercy, 1998.

Gothic Art

“Gothic Art: Last phase of medieval art, beginning ca. 1140 in Paris and spreading in the 13th century throughout Western Europe; succeeded by the Renaissance in the 14th century in Italy and in the 16th century in the rest of Europe. Early gothic, to 1200; high gothic, to ca. 1250; late gothic, after 1250. The greatest contribution of gothic art was the cathedral, with its elaborate architecture, complicated architectural decoration, and large-scale stained-glass panels.”

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

Descent to the Underworld

“Descent to the Underworld: The motif of numerous stories in the mythology and folklore of all peoples. The descent is usually made to rescue someone either abducted or rightfully dead, to find the answer to a question of discover a secret from the ruler of the underworld, or to seize some treasure. To partake of the food of the dead (or of fairyland in later folklore) prevents the visitor from ever returning. Among the most famous descent stories are the Greek myths of Orpheus and Eurydice, Demeter and Persephone, and Heracles bringing of Cerberus up from Hades and his rescue of Alcestis. Also well known are the Babylonian story of Ishtar’s descent to rescue Tammuz and the Norse myth of Hermod’s journey to Hel to bring back Balder. There are similar tales in Hindu, Chinese, and Japanese writings, and among the Ainu, Melanesians, North American Indians, and Eskimos. Descents to Hell are common also in early Christian literature.”

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

Term of Art: Document-Based Questioning

document-based questioning: A technique used both for instruction and for some state and national assessments that involves presenting students with historical documents and having them analyze and answer questions about them, either orally or in writing.”

Excerpted from: Ravitch, Diane. EdSpeak: A Glossary of Education Terms, Phrases, Buzzwords, and Jargon. Alexandria, VA: ASCD, 2007.

A Ten-Lesson Unit on Document-Based Questions

This post begins a run of eleven (twenty-two including the interstitial quotes) that comprise a global studies unit dedicated to the document-based question (DBQ).

I wrote this unit in the late summer and early fall of 2018 after a late-spring meeting that year with the assistant principal of humanities at the school in which I then served. He stressed the importance of DBQ work in our classroom. The next year’s New York State Global History and Geography Regents Examination, he assured us, would require students to possess a strong ability to interpret primary source material–i.e. complete the standard DBQ.

Because I was a doctoral candidate in history before becoming a high school teacher, and because I respect the importance of inquiry in primary sources, I knew I needed to get to work on creating DBQ materials for the struggling students under my purview–even though in principle I fervently resent teaching to tests. (Aside: I am still surprised at how many of my students, past and present, link their sense of themselves as students, and indeed their self-esteem, on achieving “success” on the kinds of crude instruments that constitute our standardized testing regime.) The problem I faced was at once simple and complicated: DBQs require interpretation, which means students completing them must be able to think abstractly. Many if not most of the students I served struggled with abstract thought. I knew they could learn to deal with DBQs, but I also knew it would be a careful, even painstaking process that would take place over a relatively long period of time.

I started with the standard textbook we used in social studies classes in my school, to wit, McDougal Littell’s World History: Patterns of Interaction (Beck, Roger B., et al., Evanston, IL: McDougal Littell, 2007) and wrote materials based on the primary documents in that book.

Unfortunately, I never used this unit. But now it’s back. I’ve spent a few hours revising the lesson plans and making sure everything is formatted correctly and consistently–something I think is important in meeting the needs of struggling learners. If you’ve made it this far, here is the payoff–the documents.

This is the unit plan with all the scholarly and pedagogical apparatus–i.e. standards and works consulted page. If you want to rewrite or edit this unit for use in your particular classroom, here is a lesson plan template, a context clues worksheet template, and a primary worksheet template for your use. Finally, here is a couple of pages of assorted cut-and-paste text to prepare new lessons.

Let me close with this unsurprising statement: there is a lot of room for expansion, adaptation, and improvement in this unit. As with the lion’s share of documents on this site, all of these are in Microsoft Word, so you can revise and edit them to suit your classroom’s needs.

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.

Illusionism

“Illusionism: The use of optical principles to create the illusion that a painted object is real. Among the techniques are PERSPECTIVE, FORESHORTENING, and CHIAROSCURO. QUADRATURA and TROMPE L’OEIL are other forms of illusionism.”

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

Term of Art: Infinitive/Split Infinitive

“Infinitive/Split Infinitive: In the present tense, a verb phrase consisting of to followed by the base form of the verb (to write). A split infinitive occurs when one or more words separate to and the verb (to boldly go).”

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