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.

Naive Art (n)

“Primarily understood as works produced by artists who lack formal training, although trained artists may deliberately affect a naive style. The term most clearly describes such early-20th-century artists as the Douanier Rousseau, whose childlike, non-naturalistic paintings completed in bright colors influenced early modern artists. Their apparent affinity with non-Western art and their bold expressiveness made them appealing to the early Modernists searching for new forms of expression.

See ‘Outsider’ art.”

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

Legend

A narrative such as a story, song, verse, or ballad handed down from the past and often conveying the lore of a culture. It is distinguished from myth by its closer relation to historical fact than to the supernatural. The earliest legends recounted the lives of saints. The term also applies to the brief explanations of symbols used in pictures, maps, and charts.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Edgar Bergen: Wise Words from Charlie McCarthy on Labor Day

“[Catchphrase of dummy ‘Charlie McCarthy‘:]

Hard work never killed anybody, but why take a chance?”

Quoted in Robert Byrne, The Other 637 Best Thing Anybody Ever Said (1984)

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

6 Evolutionary Stages of History

“Clan communism * Autocratic Monarchy * Feudalism * Capitalism * Socialism * Communism

This is the Communist view of history, as set out by Marx and Engels, looking out over the wreck of the various social revolutions what were destroyed in the 1840s and dreaming of inevitable victory in the future. First we have the primitive clan communism of hunter-gatherer families; then once irrigated riverine agriculture is developed, the ancient autocratic monarchies, which endure as empires until they collapse from the weight of their own military-bureaucracy into the more enduring feudalism. With the growth of cities and maritime trading nations, feudalism matures into capitalism, which through the dictates of growth, decency, and efficiency evolves into industrialized socialism, which perfects as communism.

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.

Children of a Lesser God

“A play (1979) by the US dramatist Mark Medoff (b. 1940) about the efforts of a hearing therapist to develop a relationship with a profoundly deaf young woman who refuses all offers of help. Written especially for the deaf actress Phyllis Frelich, it was filmed with Marlee Matlin, also deaf, in 1986. The title refers to the tendency of people with good hearing to dismiss the hearing impaired as inferior beings.”

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

Rotten Reviews: James Joyce

[This review refers to A Portrait of the Artist as a Young Man.]

“…as a treatment of Irish politics, society or religion, it is negligible.”

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

Term of Art: Infinitive

“The non-finite verb that has the uninflected form of the verb: be, say, dig, make. The form may be used alone (the BARE INFINITIVES I made him tell the truth). The bare infinitive is commonly used after a modal auxiliary verb (be after the modal may in We may be late) and after the auxiliary verb do (I did answer your letter, They do know the difference). It is also found in the complementation of a small number of main verbs such as have, let, make, see, and hear (I had Tom paint the fence; The soldiers let us pass; They need us to leave). In some instances, either type of infinitive may be used: Steven helped Susan (to) teach the children good manners; What Sidney did was (to) help Justin with his homework. The to- infinitive has a wider distribution as the verb in an infinitive construction: (1) It may be a subject (To meet you was a great pleasure), though a variant with postponed subject is more usual: It was a great pleasure to meet you. (2) It may be the object in various types of verb complementation: I hope to see Judith and Percy soon; I asked John and Joyce to come to my party; Jeffrey and Rosalind want me to be there. (3) It may be introduced by a wh word: Anton and Stella asked me what to advise their elder son. (4) It may function in various semantic classes of adverbial: To set the alarm, press four digits; He grew up to be a fine man; To be frank, the meeting was boring.”

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

Term of Art: Appositive

Indicating close, adjacent, or equivalent relation, such as a following noun that further describes of specifies, e.g., ‘it’s near Chat’s Last Stand, the fast food place.’”

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

The Devil’s Dictionary: Conservative

A statesman who is enamored of existing evils, as distinguished from the Liberal, who wishes to replace them with others.” 

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

Morpheme (n)

“A minimal unit of grammar into which a sentence or a word can be divided. E.g., come inside can be divided into the minimal units come, in- and –side; distasteful into dis-, taste, and –ful.

The term was introduced, originally in French, in the late 19th century, and its use in English reflects in part successive technical definitions from the 1930s and 1940s especially. Thus, in detail: 1. A “morpheme” was at first a unit within a word which has grammatical as opposed to lexical meaning; originally opposed in that sense to a “semanteme.” For Martinet, in the 1960s, it was thus one type of moneme. 2. In Bloomfield’s definition a morpheme is a form with either a grammatical or lexical meaning. It was thus one element in a minimal linguistic sign: e.g. the morphem dis in distasteful as linked to a meaning “not” or “negative.” It is on this use athe “moneme” was later modelled. 3. As defined by Charles F. Hockett and other Post-Bloomfieldians, it was an abstract unit at a grammatical level of representation realized by a form, or two or more alternative terms, at the level of pholology. These are its allomorphs, e.g. the [dis] of distasteful might be seen as one allomorph of a “negative” morpheme, of which another would be the [un] of unpleasant.

Sense 1 is effectively obsolete in English-speaking countries, where sense two tends to be more normal.”

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