Tag Archives: term of art

Term of Art: Adverb

“adverb: A word of a class traditionally defined as a modifying a verb, e.g. badly in He wrote it badly, seen as a modifier of wrote.

One of the parts of speech established in antiquity. In the grammar of English, the words called adverbs are in practice those whose primary roles is a s modifier of something other than a noun. Thus an adverb such as utterly modifies a verb or verb phrase in They destroyed it utterly, and an adjective in This is utterly crazy. Very modifies an adjective, as in a very big house, or an adverb, as in very badly. Then has its primary role in e.g. I did it then, though it can also modify a noun, e.g. in her then husband. The case for lumping such words together is that many have been formed with the suffix -ly, and their roles often overlap.”

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

Term of Art: Linking Verb

“Linking Verb: A verb that joins the subject of a sentence to its complement. Professor Chapman is a philosophy teacher. They were ecstatic.”

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

Term of Art: Dyslexia

“Dyslexia: An impairment in the ability to read, not resulting from low intelligence. It was first described in 1877 by the German physician Adolf Kussmaul (1822-1902), who coined the term word blindness to refer to it. See also acquired dyslexia, alexia, attentional dyslexia, catalexia, central dyslexias, cognitive neuropsychology, deep dyslexia, developmental dyslexia, neglect dyslexia, phonological dyslexia, spelling dyslexia, surface dyslexia, visual word-form dyslexia. Also called alexia, hypolexia, and word blindness. See also reading disorder, strephosymbolia. Compare hyperlexia. Dyslexic adj.”

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

Term of Art: Intransitive Verb

“Intransitive Verb: A verb that does not take a direct object. His nerve failed.”

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

Term of Art: Syllogism

“Syllogism: (Greek “reckoning together”) Deduction, from two propositions containing three terms of which one appears in both, of a conclusion that is true if they are true. A stock example is: All men are mortal; Greeks are mortal; so all Greeks are mortal. ‘Men’ is the middle term. ‘Mortal,’ the second term in the conclusion, is the major term and the premise in which it occurs is the major premise. ‘Greeks’ is the minor term and its premise the minor premise.”

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

Term of Art: Anaphora

“Anaphora: The relation between a pronoun and another unit, in the same or in an earlier sentence, that supplies its referent. E.g. in Mary disguised herself, the reflexive herself is an anaphoric pronoun, related to an antecedent Mary: the person, that is, who is said to be disguised is the person that Mary has already referred to. Likewise, e.g. in conversation, across sentences boundaries. Thus if A asks ‘Where’s Mary’ and be says ‘She’s in the garden,’ she in the sentence B utters is to be understood as anaphoric to earlier Mary.

Thence of similar relations involving units other than pronouns: e.g. the idiot is anaphoric to John in I asked John but the idiot wouldn’t tell me; do so is anaphoric to help in I wanted to help but I couldn’t do so. Also, in a looser sense, of any relation in which something is understood in the light of what precedes it. E.g. in Her house is larger than mine, a meaning of mine, as ‘my house,’ would be supplied in part by her house.

…An anaphoric chain is formed by two or more successive unit, each linked anaphorically to the one preceding.”

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

 

Historical Term: Appeasement

[As I have mentioned previously on this blog, several years ago some colleagues of mine found students struggled with the concept of appeasement as well as its manifestation as a historical process in the years before World War II. The passage below does a nice job of summarizing this complex series of events, and here is a Cultural Literacy worksheet on the Munich Pact to complement it.]

“Appeasement Foreign policy based on the conciliation of the grievances of rival states, usually involving some sort of concession as an attempt to avoid conflict or war. The term is most often applied to the pre-World War II policy of Britain and France of attempting to satisfy the demands of Hitler with regard to Germany’s grievances over the Versailles settlement. The policy, based on agreements with Germany and Italy, is particularly associated with Neville Chamberlain’s premiership (1937-40). As a result of appeasement Germany was able to occupy the Rhineland, the Sudetenland areas of Czechoslovakia, and to achieve the Anschluss with Austria. The policy is held to have ended when Hitler broke the 1938 Munich agreement and occupied the rest of Czechoslovakia in March 1939.”

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

Term of Art: Document-Based Questioning

document-based questioning: A technique used both for instruction and for some state and national assessments that involves presenting students with historical documents and having them analyze and answer questions about them, either orally or in writing.”

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

Term of Art: Infinitive/Split Infinitive

“Infinitive/Split Infinitive: In the present tense, a verb phrase consisting of to followed by the base form of the verb (to write). A split infinitive occurs when one or more words separate to and the verb (to boldly go).”

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

Term of Art: Paradigm

“Paradigm: [From Greek paradeigma, a pattern, an example, a basis for comparison. Stress: ‘PA-ra-dime’]. In grammar, a set of all the (especially inflected) forms of a word (write, writes, wrote, writing, written), especially when used as a model for word forms in Latin and Greek (in which key words represent the patterns of numbered groups in nouns, adjectives, verbs, etc.) and to a lesser extent for such other languages as French and Spanish (principally for verbs). Their use is limited in English, because it is not a highly inflected language.”

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