Tag Archives: term of art

Term of Art: Clause

“clause: A part of a sentence whose structure is itself like that of a sentence. Thus, in particular, one which includes a verb and elements that can and must accompany it.

In older treatments one clause was described as following another; e.g. in I said I saw her a main clause I said would be followed by a subordinate clause I saw her. As now defined, the main clause is the sentence as a whole and the subordinate clause is said to be included in it: thus, with brackets around each, [I said [I saw her]]. Clauses are distinguished in most accounts from phrases, by criteria which may vary, however, from one to another.”

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

Term of Art: Metalanguage

“Metalanguage: A language used to refer to statements made in another language, called in this context the object language. If the statements being referred to are in French and the statements referring to them are in English, for example, then the distinction between object language (French) and the metalanguage (English) is clear, but if the object language and metalanguage are both expressed in English, or both in a formal language such as the predicate calculus, then confusion can arise. Quotation marks can sometimes help, as in the sentence ‘Snow is white’ is true if an only if snow is white, in which the statement belonging to the object language is enclosed in quotation marks. Many paradoxes, including debatably the liar paradox, arise from a failure to distinguish object language from metalanguage: expressions involving true and false, when applied to a sentence, must always be expressed in a metalanguage and not in the object language of the sentence, The ideas behind the concept of a metalanguage are traceable to an article ‘On Denoting’ by the Welsh philosopher Bertrand (Arthur William) Russell (1872-1972) in the journal Mind in 1905, and the concept was fully developed by the Polish logician and mathematician Alfred Tarski (1902-1983) in his monograph De Wahrheitsbegriff in den formalisierten Sprachen (The Concept of Truth in Formalized Languages) in 1933.”

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

Terms of Art: Classroom Interaction, Classroom Behavior

“Classroom Interaction, Classroom Behavior: Describes the form and content of behavior or social interaction in the classroom. In particular, research on gender, class, and ‘race’ in education has examined the relationship between teacher and students in the classroom. A variety of methods have been used to investigate the amount and type of ‘teacher-time’ received by different groups of students. Much of the research has then sought to relate this to different educational experiences and outcomes among particular groups. For example, some studies showed that boys received a disproportionate amount of the teachers’ time, sat in different places in the classroom, and were more highly regarded by teachers, which may go some way towards explaining the educational differential between men and women. More recently, focus has shifted to examining the role of the school as a whole on student experiences as well as behavior outside the classroom, such as bullying and racial and sexual harassment.”

Excerpted from: Marshall, Gordon, ed. Oxford Dictionary of Sociology. New York: Oxford University Press, 1994.

Term of Art: Minutiae

“Minutiae (noun plural): Minor or trivial details. Singular: minutia. ‘But its relentless detail and technical concentration are exhausting for the undisciplined armchair historian who might prefer the flavorful bacon of opinion to the dry minutiae of Rumanian pig exports in discussions of inter-war foreign policy and diplomacy.’ Neal Johnston, The New York Times”

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

Abolitionism

“Abolitionism: A term associated with protest on grounds of inhumanity and call for the abolition of: first, slavery (see, for example, the work of William Wilberforce, 1759-1833); and, more recently, prisons and imprisonment. The latter stance developed within Scandinavian criminology (see T. Mathiesen, The Politics of Abolition, 1974) but has since been taken up within wider critical criminology. Abolitionists argue that prisons are ineffective, their justification untenable, and their violations of human rights widespread. The abolitionist stance rejects reformism on the grounds that this perpetuates and legitimizes the existing system. Abolitionism proposes new responses to crime, offending, and disputes—for example, community-based alternatives to incarceration—and argues that the urge to punish and inflict pain must be challenged.”

Excerpted from: Marshall, Gordon, ed. Oxford Dictionary of Sociology. New York: Oxford University Press, 1994.

Term of Art: Situationism

“Situationism: The Situationist International was founded in 1957 with the merging of three European avant-garde literary and artistic groups. With roots in Dada’s assault on bourgeois sensibilities, the situationist movement emerged in Western Europe primarily in the 1960s. The situationists were highly politicized and theoretical, seeking, in their writings and art, to bring back meaningful social interactions to members of a depoliticized consumer society. Some artworks, such as paintings larger than buildings, blurred the boundaries between art forms. Others were altered reproductions of famous works, prefacing the reappropriated works of the 1980s and 1990s. The movement’s influence provided a theoretical base for students involved in the French general strike of 1968.”

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

Historical Term: Rastafarianism

Rastafarianism: Movement originating in the West Indies which takes its name from Ras (a term of respect in Africa) Tafari Makonnen (1892-1975) crowned Emperor of Ethiopia with the title Haile Selassie in 1930. Haile Selassie has a mystical role in the cult as has Ethiopia itself: as the one part of African that was never colonized, it is seen as the spiritual home of the black man. Life in the West Indies or in Britain is seen as time in Babylon by analogy with the sufferings of the Israelites as slaves in exile.”

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

Term of Art: Experiential Learning

“experiential learning: Learning based on experiences, rather than lectures or reading. Experiential learning, also referred to as hands-on learning, can be especially helpful to students with a learning disability since it allows them to learn without being hindered by difficulties in reading or writing. An experiential approach to education and learning is based on the belief that students are more motivated and will remember concepts better when they have a direct physical experience.

Experiential learning also may have a strong basis in the nature of memory, especially for individuals with learning disabilities or attention deficit disorders. For many students, learning techniques that incorporate sight and touch are much easier for them to remember and retrieve. Evidence suggests that many individuals with learning disabilities or attention deficit hyperactivity disorder have a hard time remembering concepts, rules, and verbal information (semantic memory), while finding it much easier to remember events, people, places, and experience (episodic memory).

To some degree, experiential learning activities may provide a means of bridging those two basic forms of memory, and for enabling individuals to use strengths in one area to compensate in one area for weaknesses in another.”

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

Book of Answers: The Size of a Book

“What is the difference between a folio and a quarto? An octavo and a duodecimo? All of these terms refer to book sizes. In the first centuries of printing, book pages were of a standard size—13½  inches by 17 inches. These ‘foolscap’ sheets, when folded one or more times, produced a ‘signature,’ a section that was bound with other signatures to produce the book. A folio was a signature of two leaves, a quarto four leaves, an octavo eight leaves, and a duodecimo twelve leaves.”

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

Term of Art: Rhetorical Question

“Rhetorical Question: A question that expects no answer. The answer may be self-evident (If she doesn’t like me why should I care what she thinks?) or immediately provided by the questioner (What should be done? Well, first we should…). The question is often asked for dramatic effect. Rhetorical questions are sometimes announced with such a phrase as I ask you (when nothing is in fact being asked): ‘Garn! I ask you, what kind of a word is that? / It’s Ow and Garn that keep her in her place / Not her wretched clothes and dirty face’ (Alan Jay Lerner, My Fair Lady, 1956).”

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