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.

The Devil’s Dictionary: Bribe

“Bribe, n. That which enables a member of the California Legislature to live on his pay without any dishonest economies.”

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

Term of Art: Youth Culture

“Youth Culture: Strictly speaking a subculture, the subject of an influential debate between (mainly) functionalist writers and their critics. Youth cultures are explained either by factors in the experience of adolescence, or by the manipulation of young people’s spending and leisure, through advertising and other mass media. The functional separation of home, school, and work supposedly makes teenagers increasingly distinct from adults, more self-aware, and subject to peer group rather than parental and other adult influences. But the relative affluence of teenagers in the decades after the Second World War, especially if they were in work, also encouraged the growth of a large and profitable market for goods and services specifically directed at young consumers. This has promoted the growth of a distinctive youth fashions and styles in clothes, music, and leisure, many of the originating in the United States.

For some writers, the cultural clash across generations has displaced social class as the primary form of conflict in modern industrialism. Yet class itself figures importantly in shaping the content of different youth cultures. Research in the United States distinguished the so-called college cultures of (mainly) middle-class youth from the rough or corner cultures of their working-class counterparts. The former were thought to manage the gap between conformist attitudes to achievement and otherness of adolescent school life—of which the school itself is the center. Corner cultures, in contrast, were viewed as a response to working-class academic failure; centered around the neighborhood gang rather than the school; and as reflecting the search for alternative, even deviant status, identity, or rewards. In Britain, however, youth culture was almost exclusively identified with male working-class youth and the moral panic about its style and aggressiveness. Neo-Marxist studies saw this as symbolic protest against, for example, the dissolution of the traditional working-class neighborhood community, and mass control over what were once predominantly working-class forms of leisure (such as soccer). Much of this literature is reviewed in Mike Brake, The Sociology of Youth Cultures and Subcultures (1980).

Developments in both sociology and society itself, notably during the 1980s, greatly modified the terms of the debate. Feminist writers pointed to the invisibility of girls in the mainstream literature on youth and have researched gender variations in youth culture. The experiences of youth among ethnic minorities have received more attention. But, above all, the period since the mid-1970s has seen the demise of the notion of the independent teenage consumer and rebel. The focus of research has switched instead to the youth labor-market, and the dependence of young people on the household, as a result of growing unemployment and the vulnerability of youth to flexible employment. See also Coleman, James S.”

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

Rotten Reviews: Lie Down in Darkness by William Styron

“What is evident in this first novel is an eagerness and a sincerity which ought to have been served by an able and understanding editor. Mr. Styron however had no Maxwell Perkins to guide him, with the result that he has written here a serious work of fiction which should not have exceeded 300 pages in length, and which need not have been done in so turgid and often confused a manner…Mr. Styron leaves his readers curiously unsympathetic.”

August Derleth, Chicago Tribune

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

Dante’s 11

Dante was a keen follower of Pythagoras, the sixth-century BC Greek philosopher and mathematician who sought to explain the world, both spiritual and material, by numbers. Pythagoras believed that the mathematical principles that underlay the universe, gave it harmony, literally a music of the spheres. Dante, in his great work, Divine Comedy, sought to create the divine song.

The key number for Dante was 11—the union of 5 and 5—and its multiples. The Inferno, Purgatorio, and Paradiso, have thirty-three cantos each, and the poem is written in hendecasyllabic rhyme (eleven syllables long). Dante twice provides dimensions of Hell, stating that that circumference of the ninth bolgia (ditch) in the Eighth Circle is 22 miles (miglia ventidue), and the tenth bolgia is 11 miles. There is nothing accidental about this mention of 11 and its multiple 22; twenty-two forms part of the well-known fraction 22/7 which expresses the Pythagorean value of pi.

Three and nine also figure prominently in Dante’s numerology. The three books of the Divine Comedy delineate the nine circles of Hell, the nine rings of Mount Purgatory and the nine celestial bodies of Paradise.”

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.

Term of Art: Haptic Sense

“haptic sense: A person’s sense of touch. Haptic recognition tests involve blindfolded subjects feeling geometric shapes, then choosing the picture corresponding to the shape from a limited set. Many people with language-based disabilities have a difficult time with these tasks.”

Excerpted from: Turkington, Carol, and Joseph R. Harris, PhD. The Encyclopedia of Learning Disabilities. New York: Facts on File, 2006.

Ziggurat

“Ziggurat: (Akkadian, ziqqurratu = mountaintop or height) A temple built in the form of a rectangle-based pyramid and made of mud brick tapering in stages toward the top. The ziggurat originated with the Sumerians; the Assyrians and Babylonians later followed their example. Well-known ziggurats include those of Ur and Babylon, located in what is now southern Iraq.”

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

Term of Art: Nomenclature

“Nomenclature (noun): A system of names for designating the things or member elements of a particular science, field, or discipline; categorical labeling; terminology; list or set of names. Adjective: nomenclative, nomenclatorial, nomenclatural; adverb: nomenclatorially, nomenclaturally.

‘Nailles claimed not to be a superstitious man but he did believe in the mysterious power of nomenclature. He believed, for example, that people named John and Mary never divorced.’ John Cheever, Bullet Park

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

The Algonquin Wits: Ring Lardner Offers a Sticky Metaphor

“He gave her a look that you could have poured on a waffle.”

Ring Lardner

Excerpted from: Drennan, Robert E., ed. The Algonquin Wits. New York: Kensington, 1985.

Apocalypse Now

“Apocalypse Now: A film (1979) directed by Francis Ford Coppola, loosely based on the story Heart of Darkness by Joseph Conrad (1857-1924). The title refers to the Revelation of St. John the Divine, also called the Apocalypse; ‘apocalypse’ (Greek apokalupsis) literally means an uncovering, but is popularly taken to mean the violent end of the world, as described by St, John. The ‘Now’ in the title refers to the fact that the film is set during the Vietnam War (which had come to an end four years before the film’s release). The film stars Martin Sheen as US Army captain detailed to assassinated the renegade Colonel Kurtz, played by Marlon Brando, and includes such epic set pieces as a helicopter assault conducted to the accompaniment of Wagner’s ‘The Ride of the Valkyries.’ The massive cost of the film, which was shot in the Philippines and complicated when Martin Sheen suffered a heart attack, was compounded by the extent to which it went over schedule. In the film business it became known by the alternative titles Apocalypse When? or Apocalypse Later. During filming Coppola referred to the film as his “Idiodyssey.” He later said

‘We made Apocalypse the way Americans made war in Vietnam. There were too many of us, too much money and equipment—and little by little we went insane.’

In 2001 Coppola released his own cut, Apocalypse Now Redux (redux is Latin for ‘brought back,’ ‘restored’), which included the fabled ‘French plantation sequence,’ the existence of which had been rumored among fans for years.”

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

Bill Moyers on News

“News is what people want to keep hidden; everything else is publicity.”

Bill Moyers

Excerpted from: Winokur, Jon, ed. The Big Curmudgeon. New York: Black Dog & Leventhal, 2007.