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: Alliteration

“Alliteration: (Latin ‘repeating and playing upon the same letter’) A figure of speech in which consonants, especially at the beginning of words, or stressed syllables, are repeated. It is a very old device indeed in English verse (older than rhyme) and is very common in verse generally. It is used occasionally in prose. In Old English poetry alliteration was a continual and essential part of the metrical scheme and until the late Middle Ages was of was often used thus. However, alliterative verse becomes increasingly rare after the end of the 15th century and alliteration—like assonance, consonance and onomatopoeia—tends to more to be reserved for the achievement of special effect.

There are many classic examples, like Coleridge’s famous description of the sacred river Alph in Kubla Khan:

Five miles meandering with a mazy motion

Any others less well known, like this from the beginning of Norman MacCaig’s poem Mutual Life:

A wild cat, fur-fire in a bracken brush,

Twitches his club-tail,  rounds his amber eyes

At rockabye rabbits humped on the world. The air

Crackles about him. His world is a rabbit’s size.

And this, from the first stanza of R.S. Thomas’s The Welsh Hill Country:

Too far for you to see

The fluke and the foot-rot and the fat maggot

Gnawing the skin from the small bones,

The sheep are grazing at Bwlch-y-Fedwen,

Arranged romantically in the usual manner

On a bleak background of bald stone.

Alliteration is common in nonsense verse:

Be lenient with lobsters, and ever kind to crabs,

And be not disrespectful to cuttle-fish or dabs;

Chase not the Cochin-China, chaff not the ox obese,

And babble not of feather-beds in company with geese

in tongue-twisters:

Betty Botter bought some butter,

But, she said, the butter’s bitter;

If I put it in my batter

It will make my batter bitter,

But a bit of better butter,

That would make my batter better.

in jingles:

Dingle digle doosey,

The cat’s in the well,

The dog’s away to Bellingen

To buy the bairn a bell.

and in patter beloved of drill sergeants and the like:

Now then, you horrible shower of heathens, have I your complete hattention?

Hotherwise I shall have to heave the whole hairy lot of you into the salt box

where you will live on hopeful hallucinations for as long as hit pleases God and

the commanding hofficer”

Excerpted from: Cuddon, J.A. The Penguin Dictionary of Literary Terms and Literary Theory. New York: Penguin, 1992.

Term of Art: Copulative

“Copulative: Indicating linking or predication of words, phrases or clauses, e.g., the verb ‘is.’”

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

Book of Answers: The Red and the Black

“In The Red and the Black, what do the colors stand for? In Stendahl’s 1830 novel, the red refers to Napoleon’s colors or the military life, the black to the clergy or religious life.”

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

Genre

“In a broad sense, the term may refer to a type of art, such as landscape or portraiture, within the general category of painting; in a specialized sense, it refers to the portrayal of scenes from unidealized daily life: domestic and tavern scenes, musicales, Fetes champetres, etc. The term applies especially to painting. Genre scenes can be the entire subject or just a detail in a nongenre picture. Explored as a distinct type of Baroque painting in the Low Countries.”

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

Rotten Reviews: On John Milton

“His fame is gone out like a candle in a snuff and his memory will always stink.”

William Winstanley, diary 1687

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

Learning Support: Timeline of World History

Somewhere, and I’ll post it in the future, I have an entire lesson that attends this brief timeline of world history. For now, I think this document has merit per se.

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.

V.

“The first novel (1963) by Thomas Pynchon (b. 1937), an author of such reclusive habits that the only known photograph of him was taken in 1955. The title initial is the name under which a mysterious woman manifests herself at key moments of disaster that have contributed to the formation of modern Europe and America. V appears in various guises, including Victoria Wren, Victoria Meroving, Venus, Virgin, and Void. (The shape of the letter V many also symbolize the collision course between two otherwise unrelated chains of events.) The two protagonists, amont 200 named characters, are Herbert Stencil, obsessed with finding V, which he never does, and Benny Profane, an accident-prone realist. As Stencil’s father notes in his journal: ‘There is more behind and inside V than any of us had suspected. Not who, but what: what is she.’

is also the title of a long poem (1985) by Tony Harrison (b. 1937), representing a kind of updating of the miners’ strike in Gray’s Elegy. The V of the title is a symbol of conflict (‘versus’). Harrison’s television broadcast of the poem in 1987 was controversial for its unflinching use of ‘four-letter words.'”

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

4 Voices and String Quartets

“Soprano * Alto * Tenor * Bass

The four voices required by a chorus are (descending in pitch) soprano, alto, tenor, and bass. The voices have their instrumental counterparts in the string quartet–one of the abiding images of Western high culture, as if a group of four musicians can aspire to express something beyond our humanity. It was Mozart (who wrote twenty-one string quartets) who perfected the form, using violin, two violas, and a cello, though some argue that with the addition of a third viola and the composition of his six string quintets he perfected the form.”

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.

The Devil’s Dictionary: Dullard

“Dullard, n. A member of the reigning dynasty in letters and life. The Dullards came in with Adam, and being both numerous and sturdy have overrun the habitable world. The secret of their power is the insensibility to blows; tickle them with a bludgeon and they laugh with a platitude. The Dullards came originally from Boetia, whence they were driven by stress of starvation, their dullness having blighted the crops. For some centuries, they infested Philistia, and many of them are called Philistines to this day. In the turbulent times of the Crusades they withdrew thence and gradually overspread all Europe, occupying most of the high places in politics, art, literature, science, and theology. Since a detachment of Dullards came over with the Pilgrims in the Mayflower and made a favorable report of the country, their increase by birth, immigration, and conversion has been rapid and steady. According to the most trustworthy statistics the number of adult Dullards in the United States is but little short of thirty millions, including the statisticians, The intellectual center of the race is somewhere about Peoria, Illinois, but the New England Dullard is the most shockingly moral.” 

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

What Is Awe and How Is It Evoked?

“In a classroom setting, many students can feel stressed about exams or class projects because they feel as though they may not have enough time. Perhaps by inducing a sense of awe in these students, the successful teacher can allay some of the perceptions of time ‘crunch.’ Though this particular connection is admittedly one without further empirical support, it is intriguing to consider. Furthermore, because awe is a positive emotion, even if it doesn’t help assuage undue test anxiety, it will at least brighten a student’s day for a moment,

How does one evoke awe? Images of natural splendor or beauty, moving musical passages, or brief anecdotes about the successful exploits of famous individuals may all achieve this goal.

Effort actually influences our sense of how soon or far off something feels. Tasks and events that are believed to require effort and be taxing actually feel as though they are temporally closer than easier tasks. This only holds true if there is an actual deadline for completion. With a deadline or due date/time in place, it feels as though there is more time to complete the easy task and less time to complete the challenging one (Jiga-Boy, Clark, & Semin, 2010). Without a deadline, more effortful tasks seem farther away in time than they actually are.

These findings suggest that ambiguous or vague deadlines may actually result in greater levels of procrastination because to the student it feels as though there is more time to complete the project than perhaps is actually warranted. Thus it is recommended that firm deadlines be implemented and adhered to whenever possible.

Finally, time does indeed appear to fly when people are having fun (Gable & Poole, 2012). This fact provides yet another reason (as though any were needed) to introduce as much fun and frivolity as possible into classroom sessions because if hard-to-reach students feel as though the day is speeding by, there is less of a chance of them associated associating the school with tedium and toil. After all, a happy student is likely and engaged one.”

Excerpted from: Rekart, Jerome L. The Cognitive Classroom: Using Brain and Cognitive Science to Optimize Student Success. New York: Rowman & Littlefield Education, 2013.