Tag Archives: professional development

Write It Right: Individual

“Individual. As a noun, this word means something that cannot be considered as divided, a unit. But it is incorrect to call a man, woman, or child an individual, except with reference to mankind, to society, or to a class of persons. It will not do to say ‘An individual stood in the street,’ when no mention of allusion has been made, nor is going to be made, to some aggregate of individuals considered as a whole.”

Excerpted from: Bierce, Ambrose. Write it Right: A Little Blacklist of Literary Faults. Mineola, NY: Dover, 2010.

Catchword

“Catchword (noun): A word associated with a particular person or thing or crystallizing an issue; identifying slogan; in printing, a guideword at the top of the page; as in a dictionary, to indicate the first or last word on that page; a striking, catchy, attention-getting word heading an advertisement.

‘As he turned away, I saw the Daily Wire sticking out of his shabby pocket. He bade me farewell in quite a blaze of catchwords, and went stumping up the road.’ G.K. Chesterton, in The Man Who Was Chesterton.

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

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.

Manifesto

“Manifesto: A term closely associated with the Avant-Garde Modernists and used primarily during the 20th century. Often the work of writers rather than artists, manifestos were published to proclaim new or revolutionary movements that spanned the arts, as in the Futurist and Surrealist manifestos.”

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

Catchphrase

“Catchphrase (noun): A common or appealing phrase in popular, often unthinking,, usage; watchword or slogan. ‘…American style…overworks its catchphrases until the become not merely meaningless playtalk, like English catchphrases, but sickening, like overworked popular song.’ Raymond Chandler, Raymond Chandler Speaking”

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

Amerigo Vespucci

“Amerigo Vespucci: (1454-1512 Italian-Spanish navigator and explorer of the New World. Born in Florence, he entered the Medici family business and in 1419 was sent to Seville, where he helped outfit the ships for Christopher Columbus’s expeditions. By 1496 he was manager of the Seville agency. He took part in (or four—the number is disputed) voyages to the New World; he was navigator on a Spanish expedition (1499-1500) that probably discovered the mouth of the Amazon River, and he led a Portuguese expedition (1501-2) that discovered Guanabara Bay (Rio de Janeiro) and the Rio de la Plata. In the accounts of they voyages (published 1507), the terms America and New World were used to describe the lands visited by Amerigo Vespucci (in Latin, Americus Vespucius). As chief navigator for the Seville-based Commercial House for the West Indies (from 1508), he prepared maps of newly discovered lands from data supplied by ships’ captains.”

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

Term of Art: Spatial Judgement

“spatial judgment: The ability to judge spatial relationships, as between fixed objects or between a moving object and a fixed point. Spatial judgment is involved in activities such as driving a car or playing a sport. Individuals with learning disabilities may have problems with spatial judgment as part of an overall pattern of difficulty with visual-spatial abilities.”

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

The Weekly Text, 26 August 2022: Concrete (adj), Abstract (adj)

This week’s Text is a context clues worksheet on the use of concrete as an adjective. For the purposes of the context of the sentences here, students are looking for a meaning of “characterized by or belonging to immediate experience of actual things or events,” “specific,” “particular,” “real,” and  “tangible.”

Opposing concrete, both in this post and in meaning, is this context clues worksheet on the adjective abstract. The sentences in this document provide context for an understanding of the definition of this word as “disassociated from any specific instance,” “difficult to understand,” “insufficiently factual,” : “expressing a quality apart from an object <the word poem is concrete, poetry is ~>,”  “dealing with a subject in its abstract aspects,” and “having only intrinsic form with little or no attempt at pictorial representation or narrative content.”

These are obviously important learning words across domains of knowledge–and particularly in the humanities. I cannot imagine teaching poetry, to offer one obvious example, without students understanding fully the meanings of these two words–and what they represent in the use of language.

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.

Term of Art: Teacher-Centered Instruction

“teacher-centered instruction: A pedagogical approach in which the teacher decides what and how to teach. See also teacher-directed classroom. Contrast child-centered education; learner-centered classroom.”

Excerpted from: Ravitch, Diane. EdSpeak: A Glossary of Education Terms, Phrases, Buzzwords, and Jargon. Alexandria, VA: ASCD, 2007.

Canard

“Canard (noun): A groundless and hence false report, especially one deliberately fabricated and spread; specious anecdote; rumor or hoax.”

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