Tag Archives: term of art

Term of Art: Subordination

“Subordination: In grammatical theory, a relationship between two units in which one is a constituent of the other or dependent on it. The subordinate unit is commonly a subordinate clause organized ‘under’ a superordinate clause. Such organization can be described in two ways: the subordinate unit as a constituent of the superordinate unit and the subordinate unit as dependent on but distinct from the superordinate unit. In the sentence, They did it when they got home, the subordinate when-clause may be either a constituent of its superordinate main clause, which begins with They and is coextensive with the entire sentence, or dependent on a more limited main clause They did it. There is in principle no limit (apart from comprehensibility and practicality) to the subordination of clauses one under another. In the sentence, They saw that I was wondering who won the competition, the subordinate who-clause is a constituent of or dependent on its superordinate that-clause (which ends with the competition), while the that-clause is also a subordinate clause, in turn a constituent of or dependent on its superordinate clause beginning with They. Subordinate clauses may also be constituents of or dependent on phrases: in What’s the name of the woman who’s winning the competition?, the who-clause modifies the noun woman.”

Form. Traditionally, part of a sentence can only be classed as a subordinate clause if it contains either an identifiable or an ‘understood’ finite verb. In contemporary grammatical analysis, however, subordinate clauses may be classed as: finite (‘I think that nobody is in’); nonfinite (‘He used to be shy, staying on the fringes at parties’); verbless (‘She will help you, if at all possible’), Traditionally, the second category would be classed as a participial phrase and the third as a clause with the verb ‘understood’ (it is). Finite subordinate clauses are usually marked as subordinate either by an initial subordinating conjunction (after in He got angry after I started to beat him at table-tennis) or by an initial wh-word that also functions within the clause (who in Most Iranians are Indo-Europeans who speak Persian, where who is the subject of the subordinate clause). These subordination markers sometimes introduce nonfinite clauses (while in I listened to the music while revising my report), and verbless clauses (if in If necessary, I’ll phone you).

Function. Subordinate clauses fall into four functional classes: nominal, relative, adverbial, comparative. Nominal or noun classes function to a large extent like noun phrases: they can be subject of the sentence (‘That he was losing his hearing did not worry him unduly’) or direct object (‘He knew that he was losing his hearing’). Relative or adjective/adjectival clauses modify nouns: the that-clause modifies star in ‘She saw a star that she had not seen before.’ Adverbial of adverb clauses function to a large extent like adverbs: the adverb there could replace the where-clause in ‘You should put it back where you found it.’ Comparative clauses are used in comparison and are commonly introduced by then or as: ‘The weather is better than it was yesterday’; ‘The weather is just as nice as it was yesterday.

All such clauses occur in complex sentences. Subordination contrasts with coordination, in which the units, commonly the clauses of a compound sentence, have equal status: the clauses joined by but in We wanted to see the cathedral first, but the children wanted to see the castle straight away. Sentences in which both subordinate and coordinate clauses occur are compound-complex sentences: with before and but in We wanted to visit the cathedral before we did anything else, but the children wanted to see the castle straight away.”

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

Term of Art: Orthography

“Orthography: [Through French and Latin from Greek orthographia correct writing]. 1. A term for correct or accepted writing and spelling and for a normative set of conventions for writing and especially spelling. In the 15th and 16th centuries, there was considerable variety and uncertainty in the writing and printing of English. Advocates of standardized spelling emphasized the importance of regularization by referring to it as trewe ortografye, trew orthographie, etc. 2. The study of letters and how they are used to express sounds and form words, especially as a traditional aspect of grammar; the spelling system of a language, whether considered ‘true’ and ‘correct’ or not. In linguistics, however, the name for the study of the writing system of a language and for the system itself is more commonly graphology, a level of language parallel to phonology. The earlier, prescriptive sense of the term continues to be used, but the later, more neutral sense is common among scholars of language. The orthography of English has standardized on two systems, British and American. While far from uniform in either system, it allows for much less variation than is possible, for example, in the orthography of Scots.”

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

Term of Art: Conjunction

“Conjunction: A word that joins words, phrases, clauses, or sentences. The coordinating conjunctions, and, but, or, not, yet, so, for, join grammatically equivalent elements. Correlative conjunctions (both, and; either, or; neither, nor) join the same kinds of elements.”

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

Term of Art: Deus Ex Machina

“Deus Ex Machina: (Lat, “god from the machine) A theatrical device used in Greek tragedy. In several plays of Euripides, a god appears at the last moment to provide the solution to the tangled problems of the main characters. The god is let down from the sky on a sort of crane. The phrase has come to refer to a playwright’s use of external means to solve the problems of his characters—a practice generally frowned upon.”

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

Term of Art: Hellenistic Grammar

“Hellenistic Grammar: The study of grammar in the West in the period called ‘Hellenistic,’ conventionally 323-31 BC: the period of the early Stoics and Alexandrians, including Dionysius Thrax.”

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

Term of Art: Compound Subject

“Compound Subject: Two or more simple subjects joined by a coordinating or correlative conjunction. Hemingway and Fitzgerald had little in common.”

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

Term of Art: Prior Knowledge

“prior knowledge: The totality of an individual’s experience and knowledge at any given time—that is, what a student brings as background information to a new learning experience. The more prior knowledge a person has, the more prepared he or she will be to learn new ideas. Almost everything that a person learns or can learn depends on the extent of his or her prior knowledge. One of the major missions of school is to build students’ fund of background knowledge so they have a foundation for future learning.”

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

Term of Art: Compound Sentence

“Compound Sentence: Two or more independent clauses joined by a coordinating conjunction, a correlative conjunction or a semicolon. Caesar conquered Gaul, but Alexander the Great conquered the world.”

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

Term of Art: Oral Tradition

“Oral Tradition: Poetry belonging to this tradition is composed orally, or made up as the poet goes along. As a rule, it is the product of illiterate or semi-literate societies. It is usually sung or chanted (often to musical accompaniment) and is the earliest of all poetry, in the sense that it precedes written poetry. It is still alive in many parts of the world, and in some regions of Europe: for instance, Sicily, the remoter parts of Greece, and in the central Balkans (especially Bosnia, Serbia and Macedonia). In the upland districts of Yugoslavia it is still possible to find a guslar (q.v.) reciting verses on recent events. See also BALLAD; BYLINA; EPIC; FOLKSONG; NARODNE PESME”

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

Historical Term: Auto da fe

“Auto da fe (auto da fe Span., act of faith). The ceremony accompanying the execution of condemned heretics during the Inquisition in Spain and Portugal. Pope Sixtus IV first authorized the Spanish monarchy to name inquisitors in a bull of 1478.  The Inquisition lasted until 1813, when it was suppressed by the Cortes de Cadiz. Restored by Ferdinand VII in 1814, it was suppressed again in 1820, only to be reinstated three years later. The last auto da fe took place in 1826; the Inquisition was finally abolished in 1834.”

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