Tag Archives: term of art

Muckraking

“Muckraking (noun): The searching out or exposure, as by a writer or newspaper, or wrongdoing committed by prominent individuals or institutions, especially of political corruption or scandal; sensational revelatory journalism. Adjective: muckraking; noun: muckrake, muckraker; verb: muckrake.

‘Having failed in her basement, I thought to have her here, in the loft of the parish hall, where a leaky old skylight made vivid the woody forms of miniature creches and lifesize mangers, wise kings’ crowns and shepherd’s crooks, Victorian alter furniture and great padded Bibles no longer thumped by the virile muckraking parsons of the first Roosevelt’s reign, plywood palm trees, and temples of gilded cardboard.’

John Updike, A Month of Sundays”

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

Hubris

“Hubris: (Greek “wanton insolence”) This shortcoming or defect in the Greek tragic hero leads him to ignore the warnings of the gods and to transgress their laws and commands. Eventually hubris brings about downfall and nemesis (q.v.), as in the case of Creon in Sophocles’s Antigone and Clytemnestra in Aeschylus’s Oresteia trilogy. See HAMARTIA; TRAGEDY.”

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

Historical Terms: Cabal

cabal: The name given to the ministry which took power in England in 1667 (when Charles II dismissed his chancellor, Clarendon), taken from the initials of its members: Clifford, Arlington, Buckingham, Ashley, and Lauderdale. The term is also used to mean any close-knit group of persons, particularly those involved in intrigue.”

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

Term of Art: Exposition

Exposition: Exposition, or expository writing, is traditionally understood as writing that aims to transmit information to presumably interested parties as distinguished from writing that aims to persuade the reader. As there will be elements of persuasive writing in expository, so also will there be elements of the expository in persuasive.

In the following discussion, however, the perspective is that of rhetorical analysis, which regards all written communication (including the note on the refrigerator door) as guided by a communicative/persuasive purpose. Exposition is, then, that type of prose writing that attempts to create, in its target audience, the attitude that the writer is objectively presenting the facts relative to a given subject. Exposition thus is not a division of prose discourse according to intent, but rather represents a tone that the writer wishes the reader to accept as ‘factual.’ The writer of exposition cultivates a tone designed to allow (encourage) the reader to think that the writer has no specific interest in, or position in regard to, the subject matter presented.

Excerpted from: Trail, George Y. Rhetorical Terms and Concepts: A Contemporary Glossary. New York: Harcourt Brace, 2000.

Commodification

commodification: A term derived from Marxist analyses of the social forces that guide the production and sale of products, or commodities. Since the Renaissance, artworks have been commodities paid for by religious or royal patrons. By the 20th century, art production had become entangled in a complex web composed of collectors, auction houses, galleries, and museums. In the tradition of Dada, 1960s artists feeling constrained by increasing commercialism sought to create unmarketable works, giving rise to conceptual, political, performance, and earth art. Recent artists concerned with issues of originality, authorship, and camp, are indirectly addressing issues of commodification and canon formation.”

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

Term of Art: Annales School

Annales School: An influential school of French historians, formed around the journal Annales: economies, societes, civilisations, which was founded by Lucien Febvre and Marc Bloch at the University of Strasburg in 1929. The Annales School attempted to develop a ‘total history’ as a critique of existing historical methodology which offered only a chronology of events. They turned attention away from political history towards a macro-historical analysis of societies over long time-periods. The Annales School, which included Maurice Halbwachs, Andre Siegfried, Fernand Braudel, Emmanuel Le Roy Ladurie, and Georges Duby, had the following characteristics: it was interdisciplinary; it was concerned to study very long historical periods (la longue duree) and social structure; some members of the School employed quantitative methods; they examined the interaction between geographical environment, material culture, and society.

The work of the original members is represented, for example, by Block who attempted a total analysis of medieval society in his Feudal Society (1961). In the post-war period two works in particular have been very influential in the social science, namely Braudel’s study of the Mediterranean (The Mediterranean and the Mediterranean World in the Age of Philip II, 1949) and Le Roy Ladurie’s analysis of fourteenth-century village life (Montaillou, 1975). The School has influenced historical sociology, especially the world-system theory of Immanuel Wallerstein (see, for example, his two-volume study of The Modern-World System, 1974 and 1980) Critics have argued that the Annales School neglected political processes. Nor is it clear how the Annales approach was fundamentally different in scope and interdisciplinarity from, for example, historical materialism, the historical sociology of Max Weber in his The Agrarian Sociology of Ancient Civilisations (1924), or the figurational sociology of Norbert Elias in The Court Society (1969)–although it tends to be less abstract then all of these.”

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

Term of Art: Anticlimax

Anticlimax: According to Dr. Johnson’s definition (and he appears to have been the first to record the word) it is “a sentence in which the last part expresses something lower than the first.” In fact, a bathetic declension from a noble tone to one less exalted. The effect can be comic and is often intended to be so. A good example occurs in Fielding’s burlesque (q.v.), Tom Thumb:

King [Aruther, to his queen Dolallola]

…Whence flow those tears fast down thy blubber’d cheeks,

Like swoln Gutter, gushing through the streets?

The effect can also be unintentionally comic. There is a well-known example in Crashaw’s Saint Mary Magdelene, or the Weeper:

And now where e’er He Strays,

Among the Galilean Mountains,

Or more unwelcome ways,

He’s followed by two faithful fountains;

Two walking baths, two weeping motions;

Portable & compendious oceans.”

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

Term of Art: Apposition

Apposition: Two consecutive, juxtaposed nouns or noun phrases are in apposition when they refer to the same person or thing, and when either can be omitted without seriously changing the meaning or the grammar of a sentence. Mrs. Thatcher and the British Prime Minister are in apposition in Mrs. Thatcher, the British Prime Minister, became leader of the Tory party in 1975. Here, both Mrs. Thatcher became leader…and The British Prime Minister became leader…could serve equally well alone. The term is often used when these criteria only partly apply, some grammarians using terms like partial or weak apposition to distinguish various types of lesser acceptability: ‘The heir to the throne arrived, Prince Charles’ (where only the second noun phrase can be omitted).

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

Term of Art: Realpolitik

Realpolitik: (Germ., politics of realism) Term coined in 1859 by the liberal journalist and historian Rochau, to describe Bismarck’s policy. Bismarck believed that a naked struggle for power and a ruthless pursuit of self-interest were the only realistic options for a great state.”

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

Term of Art: Euphony

“euphony: Literally the property of ‘sounding well.’ But used at one time of principle equivalent to that of ‘ease or articulation’: thus it was for reasons of ‘euphony’ that one consonant undergoes assimilation to another, or that successive syllables are matched in vowel harmony.”

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