“Hellenistic Art: Term describing the later and less classical phase of Greek art, ca. 300 to 100 B.C. Also applied to Greco-Roman art and architecture.”
Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.
Posted in English Language Arts, Quotes, Reference, Social Sciences
Tagged art/architecture/design
“Timothy Mofolorunso Aluko: (1918-2010) Nigerian novelist. Aluko’s novels deal with the conflicts and dilemmas attendant upon social change in a comic manner. Unlike his fellow Nigerian, Achebe, Aluko focuses on the more contemporary clash of values which accompany modernization. Aluko’s style is lightly ironic, preferring to reveal the corruption of the educated African elite in seemingly neutral tones. His novels are One Man, One Wife (1959), One Man, One Matchet (1964), Kinsman and Foreman (1966), Chief the Honorable Minister (1970), His Worshipful Majesty (1973), Wrong Ones in the Dock (1982) and A State of Our Own (1986).”
Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.
Posted in English Language Arts, Essays/Readings, Quotes, Reference
“Metamer: Either of a pair of colors that appear identical but have different spectral compositions and are therefore composed of different wavelengths. A mixture of two non-complementary colors produces a color that appears identical to a pure color intermediate on the color circle between the component colors of the mixture but that has a different spectral composition from the pure color.
[From Greek meta beside + English (iso)mer, from Greek isos equal or the same + meros a part]”
Excerpted from: Colman, Andrew M., ed. Oxford Dictionary of Psychology. New York: Oxford University Press, 2003.
“Who knows but that, on the lower frequencies, I speak for you?”
Invisible Man epilogue (1952)
Excerpted from: Schapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.
“Metalanguage: A language used to refer to statements made in another language, called in this context the object language. If the statements being referred to are in French and the statements referring to them are in English, for example, then the distinction between object language (French) and the metalanguage (English) is clear, but if the object language and metalanguage are both expressed in English, or both in a formal language such as the predicate calculus, then confusion can arise. Quotation marks can sometimes help, as in the sentence ‘Snow is white’ is true if an only if snow is white, in which the statement belonging to the object language is enclosed in quotation marks. Many paradoxes, including debatably the liar paradox, arise from a failure to distinguish object language from metalanguage: expressions involving true and false, when applied to a sentence, must always be expressed in a metalanguage and not in the object language of the sentence, The ideas behind the concept of a metalanguage are traceable to an article ‘On Denoting’ by the Welsh philosopher Bertrand (Arthur William) Russell (1872-1972) in the journal Mind in 1905, and the concept was fully developed by the Polish logician and mathematician Alfred Tarski (1902-1983) in his monograph De Wahrheitsbegriff in den formalisierten Sprachen (The Concept of Truth in Formalized Languages) in 1933.”
Excerpted from: Colman, Andrew M., ed. Oxford Dictionary of Psychology. New York: Oxford University Press, 2003.
“Long Walk to Freedom: The autobiography (1994) of Nelson Mandela (1918-2013), the first black president of South Africa, who, under the apartheid regime, had been jailed for three decades, largely on Robben Island. The title is said to have been inspired by the words in ‘From Lucknow to Tripuri,’ and essay (1939) by Jawaharlal Nehru (1889-1964), who was to become the first prime minister of independent India:
There is not easy walk-over to freedom anywhere, and many of us will have to pass through the valley of the shadow again and again before we reach the mountain-tops of our desire.”
Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.
“There is nothing in our book, the Koran, that teachers us to suffer peacefully. Our religion teaches us to be intelligent. Be peaceful, be courteous, obey the law, respect everyone; but if someone puts his hand on you, send him to the cemetery. That’s a good religion.
Message to the Grass Roots” (Speech), Detroit, Michigan, 10 November 1963″
Excerpted from: Schapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.
I Know Why the Caged Bird Sings: A volume of memoirs (1970) by the African-American writer, singer, and actress Maya Angelou (1928-2014). Angelou borrowed her title—a metaphor for the African-American experience—from the US writer Paul Lawrence Dunbar (1872-1906):
I know why the caged bird sings, ah me,
When his wing is bruised and his bosom sore—
When he beats his bars and he would be free;
It is not a carol of joy or glee,
But a prayer that he sends from his heart’s deep core,
But a plea, that upward to Heaven he flings—
I know why the caged bird sings!
Paul Lawrence Dunbar: ‘Sympathy,’ in The Complete Poems (1895)
Dunbar may have been inspired by an earlier line:
When caged birds sing, when indeed they cry.
John Webster: The White Devil (1612), V.iv
Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.
[The beautiful Dunbar Apartments in Harlem are named for Paul Laurence Dunbar. Let me mention editorially that I am mildly uncomfortable with this entry’s association of Dunbar with Thomas Nelson Page. Dunbar, in my own view, was sui generis as a poet. Benet’s Reader’s Encyclopedia has a tendency–especially in older entries like this one–to discount the originality of African-American writers.]
“Paul Laurence Dunbar: (1872-1906) American poet. Dunbar is noted for his highly skilled use of black themes and dialect. Writing at a time when literary regionalism was in vogue, he was undoubtedly influenced by Thomas Nelson Page. Dunbar was the son of a slave, but became the most famous African-American poet of his time. He exercised a great influence on later writers. Lyrics of Lowly Life (1896) is his most famous collection. It was followed by Lyrics of the Hearthside (1899), Lyrics of Love and Laughter (1903), and Lyrics of Sunshine and Shadow. He also wrote novels, including The Uncalled (1898) and The Sport of the Gods (1902).”
Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.
Posted in Essays/Readings, Quotes, Reference, Social Sciences
Tagged black history, poetry, united states history
“Shakespeare’s name, you may depend on it, stands absurdly too high and will go down. He had no invention as to stories, none whatever. He took all his plots from old novels, and threw their stories into a dramatic shape, at as little expense or thought as you or I could turn his plays back again into prose tales.”
Lord Byron, letter to James Hogg 1814
Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.
 | A Measurement Conver… on An Elegantly Simple Cooking Co… |
| A Measurement Conver… on The Weekly Text, October 25, 2… |
 | markstextterminal on Cree |
 | panzer046a139293db on Cree |
| markstextterminal on Cree |
Mark's Text Terminal 
You must be logged in to post a comment.