Tag Archives: film/television/photography

Cultural Literacy: Katherine Hepburn

Elsewhere on this blog, you will, I admit, find Dorothy Parker’s famously withering remark on the actress, but here, nonetheless, is a Cultural Literacy worksheet on Katherine Hepburn. This is a full-page document with a four-sentence reading and four comprehension questions.

Incidentally, while I find Ms. Parker’s comment, like almost everything this pillar of the Algonquin Wits ever said, hilarious, I don’t necessarily agree with it.

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.

The Weekly Text, 17 March 2023, Women’s History Month 2023 Week III: A Reading and Comprehension Worksheet on Florence Nightingale

For the third Friday of Women’s History Month 2023, here is a reading on Florence Nightingale along with its accompanying vocabulary-building and comprehension worksheet.

Incidentally, have you read Eminent Victorians by Lytton Strachey? It was one of the long-neglected books on my reading list that I finally got to while under COVID-19 quarantine. I confess that I didn’t fully understand the book. I imagine the context of its time–it was first published in 1918–might have helped. The book itself, I gather, was a departure from the biographical conventions in the time in that it took a critical look at its subjects, including Florence Nightingale, rather then reciting a list of achievements that became, in their aggregation, a kind of hagiography. A rereading of the book would no doubt repay my effort. At the moment, though, I think I would prefer simply to watch Jonathan Pryce’s portrayal of Lytton Strachey himself in the fine film Carrington, about the painter Dora Carrington–like Strachey a member of the Bloomsbury Group.

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.

Ousmane Sembene

Ousmane Sembene: (1923-2007) Senegalese writer and film director. He fought with the Free French in World War II. After the war, he worked as a docker and taught himself French. His writings, often on historical-political themes, include The Black Docker (1965), God’s Bits of Wood (1960), and Niiwam and Taaw (1987). Around 1960 he became interested in film; since studying in Moscow, he has made films reflecting a strong social commitment, including Black Girl (1966), the first feature produced in sub-Saharan Africa. With Mandabi (1968), he began to film in the Wolof language; his later films have included Xala (1974), Ceddo (1977), Camp de Thiaroye (1987), and Guelwaar (1994).

Excerpted from: Stevens, Mark A., Ed. Merriam-Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

James Van Der Zee

“James (August Joseph) Van Der Zee: (1886-1983) U.S. photographer. Born in Lenox, Massachusetts, he moved in 1906 with his family to Harlem in New York City. In 1915 he moved to Newark, New Jersey, to take a job in a portrait studio. He soon returned to Harlem to set up his own studio, and the portraits he took from 1918 to 1945 chronicled the Harlem Renaissance; among his many renowned subjects were Countee Cullen, Bill Robinson, and Marcus Garvey. After World War II his fortunes declined along with Harlem’s, until the Metropolitan Museum of Art exhibited his photographs in 1969.”

Excerpted/Adapted from: Stevens, Mark A., Ed. Merriam Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

The Weekly Text, 11 November 2022, National Native American Heritage Month Week II: A Reading and Comprehension Worksheet on the Homestead Act

This week’s Text, in this blog’s ongoing observance of National Native American Heritage Month 2022, is a reading on the Homestead Act in the United States along with its attendant vocabulary-building and comprehension worksheet. The effect of opening the western frontier to settlement on First Nations requires, I must assume, no explanation.

Have you by any chance seen Reservation Dogs? This superb and highly praised show needs no endorsement from this blog–so you should just go watch it. I’m just saying. If you don’t believe me (as Fred Holbrook used to say to me–and of me, alas–“Get it from the horse’s mouth rather than the other end”), listen to Patrick, of Patrick Is a Navajo, and his friends pay affectionate tribute to the program. Again, I’m just saying.

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.

Peter Ustinov on Experts

“If the world should blow itself up, the last audible voice would be that of an expert saying it can’t be done.”

Peter Ustinov

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

Book of Answers: Arsenic and Old Lace

“Who wrote Arsenic and Old Lace? The 1941 play was written by Joseph Kesselring. The 1946 movie adaptation was directed by Frank Capra.”

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

The Weekly Text, 9 September 2022: Common Errors in English Usage, Imply (vt), Infer (vi/vt)

This week’s Text is a worksheet on the use of the verbs imply and infer. This is a full-page worksheet with a reading of three longish compound sentences, and ten modified cloze exercises. The text derives from Paul Brians’ fine book Common Errors in English Usage–to which he allows cost-free access at his Washington State University website.

I myself was uncertain about the use of these two words until I saw the 1988 remake of the estimable 1959 film noir D.O.A. Dennis Quaid plays Professor Dexter Cornell (Edmond O’Brien played this character as Frank Bigelow in the original). At one point in the film, Professor Cornell is dealing with a preternaturally cheap hoodlum named Bernard. Bernard says to Cornell, “I don’t think I like what you’re inferring Mr. Cornell.” Cornell sneers at Bernard, “Implying. When I say it, that’s implying. How you take it, that’s inferring.” Bernard replies, “I see. Infer this.” Then true to form for a knuckle-dragger like Bernard, he punches Cornell in the mouth.

Lawrence Block, in his novel Small Town (page 301 in the William Morrow hardcover edition), which I believe was his last, Block has the august New York Times commit a similar error, using infer where imply is required. True to its form, the Times prints a correction the next day.

Why am I on about this, as they say in Great Britain? Because these are two important conceptual words which describe an extremely common, if elliptical, form of communication. In fact, if you want to teach literature at all, these are two words students must understand well, and therefore be able to use well–and, for heaven’s sake, accurately. One more time: so much of human communication occurs by implication and inference (to trot out the nouns) that it seems to me unlikely to overstate the importance of understanding these words and the concepts in communication they represent.

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.

James Dean

Here is a reading on James Dean along with its accompanying vocabulary-building and comprehension worksheet. Does James Dean register with young people anymore? To my mind, Rebel Without a Cause is one of the great movies on adolescent angst. To my surprise, I learned while researching the fundamentals of this post that Rebel Without a Cause was actually released about a month after James Dean’s death on 30 September 1955.

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.

Cultural Literacy: Blue-Collar

As I prepared this Cultural Literacy worksheet on the concept of “blue-collar” work, it occurred to me that this is not an adjective I hear much used anymore. I certainly remember it well from my childhood and young adulthood, particularly the latter period, when I did quite a lot of blue-collar work myself.

Should your students stumble across Paul Schrader’s excellent film Blue Collar (as I did at age 19), this document may assist students in understanding its title. Otherwise, well, I’m not sure about this worksheet’s currency. If you use it, as always, I would be interested in hearing how.

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.