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: Exposition

Exposition: Exposition, or expository writing, is traditionally understood as writing that aims to transmit information to presumably interested parties as distinguished from writing that aims to persuade the reader. As there will be elements of persuasive writing in expository, so also will there be elements of the expository in persuasive.

In the following discussion, however, the perspective is that of rhetorical analysis, which regards all written communication (including the note on the refrigerator door) as guided by a communicative/persuasive purpose. Exposition is, then, that type of prose writing that attempts to create, in its target audience, the attitude that the writer is objectively presenting the facts relative to a given subject. Exposition thus is not a division of prose discourse according to intent, but rather represents a tone that the writer wishes the reader to accept as ‘factual.’ The writer of exposition cultivates a tone designed to allow (encourage) the reader to think that the writer has no specific interest in, or position in regard to, the subject matter presented.

Excerpted from: Trail, George Y. Rhetorical Terms and Concepts: A Contemporary Glossary. New York: Harcourt Brace, 2000.

Rotten Reviews: V

Reading V. is like listening to a scholarly but erratic documentation of hell by a disinterested onlooker, while verbal sewage and vignettes of all that is most disgusting in mankind alternates with with sociological asides, sardonic and blasphemous attacks on Christianity, Freudian tidbits…. To attempt to convey a sense of how completely boring all this melee finally is would tax the capabilities of better reviewers then myself.”

Best Sellers

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

Commodification

commodification: A term derived from Marxist analyses of the social forces that guide the production and sale of products, or commodities. Since the Renaissance, artworks have been commodities paid for by religious or royal patrons. By the 20th century, art production had become entangled in a complex web composed of collectors, auction houses, galleries, and museums. In the tradition of Dada, 1960s artists feeling constrained by increasing commercialism sought to create unmarketable works, giving rise to conceptual, political, performance, and earth art. Recent artists concerned with issues of originality, authorship, and camp, are indirectly addressing issues of commodification and canon formation.”

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

Term of Art: Annales School

Annales School: An influential school of French historians, formed around the journal Annales: economies, societes, civilisations, which was founded by Lucien Febvre and Marc Bloch at the University of Strasburg in 1929. The Annales School attempted to develop a ‘total history’ as a critique of existing historical methodology which offered only a chronology of events. They turned attention away from political history towards a macro-historical analysis of societies over long time-periods. The Annales School, which included Maurice Halbwachs, Andre Siegfried, Fernand Braudel, Emmanuel Le Roy Ladurie, and Georges Duby, had the following characteristics: it was interdisciplinary; it was concerned to study very long historical periods (la longue duree) and social structure; some members of the School employed quantitative methods; they examined the interaction between geographical environment, material culture, and society.

The work of the original members is represented, for example, by Block who attempted a total analysis of medieval society in his Feudal Society (1961). In the post-war period two works in particular have been very influential in the social science, namely Braudel’s study of the Mediterranean (The Mediterranean and the Mediterranean World in the Age of Philip II, 1949) and Le Roy Ladurie’s analysis of fourteenth-century village life (Montaillou, 1975). The School has influenced historical sociology, especially the world-system theory of Immanuel Wallerstein (see, for example, his two-volume study of The Modern-World System, 1974 and 1980) Critics have argued that the Annales School neglected political processes. Nor is it clear how the Annales approach was fundamentally different in scope and interdisciplinarity from, for example, historical materialism, the historical sociology of Max Weber in his The Agrarian Sociology of Ancient Civilisations (1924), or the figurational sociology of Norbert Elias in The Court Society (1969)–although it tends to be less abstract then all of these.”

Excerpted from: Matthews, Gordon, ed. Oxford Dictionary of Sociology. New York: Oxford University Press, 1994.

The 2 Things Game

“[1] People love to play the Two Things game, but rarely agree about what the two things are. [2] That goes double for anyone who works with computers.

A few years ago, Glen Whitman was chatting with a stranger in a California bar. When he confessed to this stranger that he taught economics, the drinker replied without so much as a pause for breath, ‘So what are the Two Things about economics? You know, for every subject there are really only two things you really need to know. Everything else is the application of those two things, or just not important.’ ‘Okay,’ said the professor, ‘One: Incentives matter. Two: There’s no such thing as a free lunch.’

Inspired, Glenn started playing the Two Things Game and recording some of the results on a web page (Google ‘Whitman’ and ‘Two Things’ and you’ll get there). But it’s more fun to try it for yourself–and especially good if you find yourself at a dinner next to a self-important professional. Here are some of the best of Whitman’s:

Finance: [1] Buy low. [2] Sell high.

Medicine: [1] Do no harm. [2] To do any good, you must risk doing harm.

Journalism: [1] There is no such thing as objectivity. [2] The end of the story is created by your deadline.

Theatre: [1] Remember your lines. [2] Don’t run into the furniture or fall off the stage.

Physics: [1] Energy is conserved. [2] Photons (and everything else) behave like both waves and particles.

Religion: [1] Aspire to love an unknowable god. [2] Do this by trying to love your neighbour as much as yourself.”

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.

A Streetcar Named Desire

A Streetcar Named Desire: An intense drama (1947) by the US playwright Tennessee Williams (1911-83) about the relationship between a faded Southern belle, Blanche Dubois, and her brother-in-law Stanley Kowalski. It was subsequently turned into a successful film (1951), directed by Elia Kazan, starring Marlon Brando and Vivien Leigh. The play had several titles before the final one, including The Moth, Blanche’s Chair in the Moon and The Poker Night. The eventual title was inspired by a streetcar labeled ‘Desire’ (for its destination, Desire Street), which, together with another called ‘Cemeteries,’ plied the main street in the district of New Orleans where Williams lived. In the play the names are taken symbolically, Blanche contending that her sister Stella’s marriage is a product of lust, as aimless as the ‘streetcar named Desire’ that shuttles through the narrow streets. The name of the street does not denote a place of pleasure but derives from the French girl’s name Desiree. A monument, the ‘Streetcar Named Desire,’ now stands on the site near the French Market. The play is a leitmotif in Pedro Almodovar’s film Todo Sobre Mi Madre (All About My Mother1999).

‘They told me to take a streetcar named Desire, then transfer to one called Cemeteries.’

Tennessee Williams: A Streetcar Named Desire (Blanche’s first line).”

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

Propertius on Propinquity

Semper in absentes felicior aestus amantes.

Absence makes the heart grow fonder.”

PropertiusElegies bk. 2, elegy 33, 1. 43

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

Justice Powell on the First Amendment

“Under the First Amendment there is no such thing as a false idea. However pernicious an opinion may seem, we depend for its correction not on the conscience of judges and juries but on the competition of other ideas.”

Lewis F. Powell., Gertz v. Robert Welch, Inc. (1974)

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

Sheer (adj/vt/vi), Shear (n/vt/vi)

As I was writing this mornings posts, I noticed that with the Weekly Text and the quote that tops it, Mark’s Text Terminal had reached 2,500 posts. So, to start out on the downhill slope to 3,000, here is a set of five homophone worksheets on sheer and shear.

Because the worksheets themselves explain the use of these words, I’ll say only that I had only the vaguest knowledge that sheer operated as a verb–both transitively and intransitively.

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.

Frederick Douglass on Education

“A little learning, indeed may be a dangerous thing, but the want of learning may be a calamity to any people.”

Frederick Douglass (1817?-1895)

Excerpted from: Howe, Randy, ed. The Quotable Teacher. Guilford, CT: The Lyons Press, 2003.