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: Rhetorical Question

“Rhetorical Question: A question that expects no answer. The answer may be self-evident (If she doesn’t like me why should I care what she thinks?) or immediately provided by the questioner (What should be done? Well, first we should…). The question is often asked for dramatic effect. Rhetorical questions are sometimes announced with such a phrase as I ask you (when nothing is in fact being asked): ‘Garn! I ask you, what kind of a word is that? / It’s Ow and Garn that keep her in her place / Not her wretched clothes and dirty face’ (Alan Jay Lerner, My Fair Lady, 1956).”

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

Common Errors in English Usage: Complementary and Complimentary

Here’s an English usage worksheets on the adjectives and homophones complementary and complimentary if you need your students to know, understand, and differentiate these two words.

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.

Rotten Reviews: All the King’s Men by Robert Penn Warren

“Somewhere, Mr. Warren loses his grip on his backwoods opportunities and becomes so absorbed in a number of other characters that what might have been a useful study of an irresponsible politician whose prototype whe have had melancholy occasion to observe in the flesh turns out to be a disappointment.”

The New Yorker

“The language of both men and women is coarse, blasphemous, and revolting—their actions would shame a pagan hottentot.”

Catholic World

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

Term of Art: Pastiche

“Pastiche (noun): A literary work that draws on styles, formats, etch., of other sources and thus is eclectic and derivative, and often whimsical or irreverent (but not with humor as a primary intent); book or story made up of borrowings from other writers; hodgepodge; stylistic imitation of a writer at work; parody. Noun: pasticheur.

‘His novels were pastiches of work of the best people of his time, a feat not to be disparaged, and in addition he possessed a gift for softening and debasing what he borrowed, so that many readers were charmed by the ease with which they could follow him.’

F. Scott Fitzgerald, Tender is the Night”

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

Memo to Groucho Viz Television from Goodman Ace

“[Of television) “We call it a medium because nothing’s well done.”

Goodman Ace, in a letter to Groucho Marx

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

Daniel Willingham on Circularity and Hermeneutics

Most of us have this experience at one time or another. You consult a dictionary to get a word definition, perhaps ‘condescending.’ The dictionary defines it as ‘patronizing,’ which is no help because you don’t know the meaning of that word, either. So you look up ‘patronizing’ and find that it is defined as ‘condescending.’

That’s an example of a circular definition, and it’s kind of funny, especially when it happens to someone else. But wait a minute…. Words seem defined by their features (watermelon is the red-on-the-inside, juicy, sweet, fruit), but how are the features defined? By other words. So doesn’t the model amount to a bunch of circular definitions, even if the circles may be bigger than the condescending-patronizing loop.

The way out of this problem is to consider the possibility that some representations are grounded. That means that some mental concepts derive meaning not from other mental concepts, but more directly from experience. For example, perhaps the definition of red is not rooted in language. Indeed, if you look up ‘red’ in the dictionary, the definition is pretty unsatisfying. Perhaps the mental definition of red should be rooted in the visual system; when you see the word ‘red,’ its referent is a memory of what it’s like to actually see red.

In the last twenty years, much evidence has accumulated that some representations are grounded—they are defined, at least in part, by our senses or by how we move. For example, when you read the word ‘kick,’ the part of your brain that controls leg movements shows activity, even though you’re not moving your leg. And the part of your brain that controls mouth movements is active when you read the word ‘lick,’ and that which controls finger movements is active when you read ‘pick,’ Part of the mental definition of kick, lick, and pick is what it feels like to execute those movements.

Excerpted from: Willingham, Daniel T. The Reading Mind: A Cognitive Approach to Understanding How the Mind Reads. San Francisco: Jossey-Bass, 2017.

Etruscan

“Etruscan: Ancient language in an area of Italy to the north of Rome, attested by inscriptions from around 700 BC, until extinguished by Latin. Not genetically related to any language any better documented; hence only partly and insecurely understood. Written in an alphabet derived from that of Greek and itself one source of the Roman.”

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

Term of Art: Affective Education

“affective education: schooling that helps students deal with their emotions and values. This term is used to distinguish such schooling from cognitive education, which refers to academic knowledge and studies. Some would argue that the two are actually intertwined and that affective education increases students’ readiness to learn by addressing their emotional problems.”

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

The Devil’s Dictionary: Apologize

“Apologize, vi. To lay the foundation for a future offense.”

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

Heart of Darkness

Heart of Darkness: A tale or short novel by Joseph Conrad (1857-1924), published in 1902. The story is told by Marlow, who captains a river boat in the Congo and slowly sails upriver into the ‘heart of darkness,’ which is both Africa, the ‘dark continent,’ and the heart of evil. Marlow’s mission is to reach Kurtz, the most successful of the company’s agents. He finds that the charismatic Kurtz, once a man of culture and civilization, has turned himself into an omnipotent ruler by the use of unimaginable cruelty, hinted at by the row of heads impaled beside his compound. Kurtz’s dying words are ‘The horror! The horror!’ The story ends:

The offing was barred by a black bank of clouds, and the tranquil waterway leading to the uttermost ends of the earth flowed somber under an overcast sky—seemed to lead into the heart of an immense darkness.

When he was a child in Poland, Conrad had jabbed his finger at the centre of a map of Africa and declared that one day he would go there. In 1890 he did, when he took command of a river boat in the Congo Free State. The Congo was then the private fiefdom of the Belgian king, Leopold II, and was exploited with the utmost barbarity. Eventually, in 1908, international outrage led the Belgian government to take over the colony.

Heart of Darkness inspired Francis Ford Coppola’s film Apocalypse Now, and the words ‘Mistah Kurtz—he dead’ follow the title of T.S. Eliot’sThe Hollow Men.’”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.