Tag Archives: term of art

Term of Art: War of Attrition

“War of Attrition Situation in which, as on the Western Front in World War I, both sides appear equally balanced, are unable to conduct a war of movement, and are restricted to wearing the enemy down militarily, industrially, and psychologically.”

Excerpted from: Cook, Chris. Dictionary of Historical Terms. New York: Gramercy, 1998.

Term of Art: Preposition

Preposition: A word that relates its object (a noun, pronoun, or -ing verb form) to another word in the sentence. She is the leader of our group. We opened the door by picking the lock. She went out the window.”

Excerpted from: Strunk, William Jr., and E.B. White. The Elements of Style, Fourth Edition. New York: Longman, 2000.

Metacognition (n)

It’s something I try to work into my units and lessons, and the evidence for its necessity in the classroom is widespread and incontrovertible, so I have used heavily, across the common branch curriculum, this context clues worksheet on the noun metacognition.

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.

Term of Art: Predicate

“Predicate: The verb and its related words in a clause or sentence. The predicate expresses what the subject does, experiences, or is. Birds fly. The partygoers celebrated wildly for a long time.”

Excerpted from: Strunk, William Jr., and E.B. White. The Elements of Style, Fourth Edition. New York: Longman, 2000.

Term of Art: Antonomasia

“Antonomasia: [Stress: ‘an-to-no-May-zy-a’]. 1. In rhetoric, the use of an epithet to acknowledge a quality in one person or place by using the name of another person or place already known for that quality: Henry is the local Casanova; Cambridge is England’s Silicon Valley. 2. The use of an epithet instead of the name of a person or thing: the Swan of Avon William Shakespeare.”

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

Historical Term: Billeting

[Given the post immediately below this on, it’s worth mentioning that the Third Amendment to the United States Constitution–i.e. the third of the first ten amendments to the Constitution, known as the Bill of Rights, guaranteed this freedom: “No soldier shall, in time of peace be quartered in any house, without the consent of the owner, nor in time of war, but in a manner to be prescribed by law.”]

“Billeting The custom of requiring householders to provide accommodation for members of the armed forces. The system was widely abused in the 17th century under Charles I and protests against it were included in the Petition of Right (1628). Despite the forbidding of forced billeting in 1679, it continued under Charles II and James II, ending only when parliament agreed to the building of permanent barracks in 1792.”

Excerpted from: Cook, Chris. Dictionary of Historical Terms. New York: Gramercy, 1998.

Term of Art: Possessive

“Possessive: The case of nouns and pronouns that indicates ownership or possession (Harold’s, ours, mine).”

Excerpted from: Strunk, William Jr., and E.B. White. The Elements of Style, Fourth Edition. New York: Longman, 2000.

Term of Art: Multiple Intelligences

“Multiple intelligences: An interpretation of intelligence put forward by the US psychologist Howard (Earl) Gardner (born 1943) in his book Frames of Mind: The Theory of Multiple Intelligences (1983-1993), taking account of abilities of gifted people and virtuosos or experts in various domains, abilities valued in different cultures, and abilities of individuals who have suffered brain damage. In addition to the linguistic, logical-mathematical, and spatial abilities incorporated in conventional interpretations of intelligence, Gardner’s taxonomy includes musical intelligence (used in musical appreciation, composition, and performance), bodily-kinesthetic intelligence (used in sport, dancing, and everyday activities requiring dexterity), interpersonal intelligence (used in relating to others, interpreting social signals, and predicting social outcomes), intrapersonal intelligence (used in understanding and predicting one’s own behavior). In 1997 Gardner added naturalist intelligence (used in discriminating among plants, animals, and other features of the natural world, and in classifying objects in general) as an eighth intelligence and spiritual intelligence and existential intelligence as ‘candidate’ intelligences. Critics have argued that some of these abilities are better interpreted as special talents than as aspects of intelligence.”

Excerpted from: Colman, Andrew M., ed. Oxford Dictionary of Psychology. New York: Oxford University Press, 2003.

Term of Art: Phrase

“Phrase:  A group or related words that functions as a unit but lacks a subject, a verb, or both. Without the resources to continue.”

Excerpted from: Strunk, William Jr., and E.B. White. The Elements of Style, Fourth Edition. New York: Longman, 2000.

Modernismo

“Modernismo: A literary movement that arose in Spanish America in the late 19th century and was subsequently transmitted to Spain, In their quest for pure poetry, the modernists displayed a dazzling technical virtuosity and technical perfection that revolutionized Spanish literature.

According to some critics, the publication of Jose Marti’s Ismaelillo (1882) marks the beginning of the movement. Others assert that, while Marti exerted enormous influence on Spanish-American writing and thought, his poetry is so individual that he cannot be considered even a precursor of modernism. There is no disagreement, however, as to the dominant role of Ruben Dario, whose work defined and stimulated modernism in America and in Spain. The publication of his Azul (1888) is sometimes said to signify the birth of modernism, and Prosas profanas (1896) is held to show modernism at its zenith. Other early modernist poets (often considered precursors of this movement) were Manuel Gutierrez Najera, Jose Ascuncion Silva, and Julian del Casal, the Cuban. Modernists of the later, post-1896 phase include Leopoldo Lugones, Jose Enrique Rodo, Julio Herrera y Reissig, Jose Santo Chocano, Amado Nervo, and Rufino Blanco Fombona.

In rebellion against romanticism, from which, however, they were not always able to free themselves, the modernists drew their initial inspiration and technique from European, particularly French, sources. From French Parnassians and symbolists, such as Gautier, Coppee, and Verlaine, came their pessimism and melancholy, their belief in art for art’s sake, their zeal for technical excellence and musicality, their love of exotic imagery and a vocabulary in which swans (one of Dario’s favorite symbols), peacocks, gems, and palaces abound. Another distinctive characteristic of the modernists was their unceasing experimentation with old and new verse forms, In their desire to escape from the sordidness of reality, the early modernists usually shunned political and native themes. Their successors, however, inspired no doubt by impassioned verses that Dario hurled at Theodore Roosevelt in his ode to Argentina, turned increasingly to American subjects, as exemplified by Chocano’s Alma America (1906). In prose writing, particularly the essay, modernismo fostered a new simplicity and elegance, the finest examples of which are to be found in the works of Rodo.”

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