Tag Archives: term of art

A Glossary of English Language Arts Terms

The other day, while rummaging around in a folder containing learning supports for English Language Arts lessons, I found this glossary of critical terms for use in English classes. I have no idea whence I excerpted this; the lack of citation troubles me. In any case, it is a list of conceptual terms mostly at the center of what English Language Arts teachers profess, and particularly, in many cases (aesthetic impact as a term of art comes immediately to mind) for advanced students.

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: Phoneme

The smallest distinct sound unit in a given language: e.g. tip in English realizes three successive phonemes realized in spelling by the letters t, i, and p.

Detailed definitions have varied from one theory to another, But, in general, two words are composed of different phonemes only if they differ phonetically in ways that are found to make a difference in meaning. Thus in English i and a  are difference phonemes since, for example, tip does not mean the same as tap, nor pit the same as pat. The individual phonemes are then the smallest units in each word that distinguish meanings and, in addition, are realized over distinct time spans. By the same criterion, i and a are single phonemes since they cannot be analyzed into smaller units meeting the criterion, each with its own time span.

Thence phonemic; e.g. a phonemic transcription of a word, etc. is its representation as a sequence or other combination of phonemes.”

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

Term of Art: Experiential Learning

“Education that emphasizes learning from firsthand, personal experiences rather than from lectures, books, and other secondhand sources. Experiential learning my take the form of internships, service learning, school-to-work programs, field studies, cross-cultural education, or training for leadership development.”

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

Term of Art: Anti-Hero

A ‘non-hero’ or the antithesis of a hero of the old-fashioned kind who was capable of heroic deeds, who was dashing, strong, brave and resourceful. It is a little doubtful whether such heroes have ever existed in any quantity in fiction except in some romances (q.v.) and in the cheaper kind of romantic novelette (q.v.). However, there have been many instances of fictional heroes who have displayed noble qualities and virtuous attributes. The anti-hero is the man who is given the vocation of failure.

The anti-hero—a type who is incompetent, unlucky, tactless, clumsy, cack-handed, stupid, buffoonish—is of ancient lineage and is to be found, for instance, in the Greek new comedy (q.v.). An early and outstanding example in European literature is the endearing figure of the eponymous knight of Don Quixote(1605-1615). But perhaps the first anti-heor who fits the modern image is Hylas, in d’Urfe’s very successful Astree (1627). Another notable instance is Tristram Shandy in Sterne’s Tristram Shandy (1760-1767). On can find isolated representatives in European from the 18thcentury onwards, for example Hasek’s Schweik in The Good Soldier Schweik (1920-23). A case could be argued that Leopold Bloom in Joyce’s Ulysses (1922) is a kind of anti-hero. Charles Lumley in John Wain’s Hurry on Down (1953) is another. When Kingsley Amis created Jim Dixon in Lucky Jim (1954) the post-war anti-hero type was established, and the anti-hero Jimmy Porter of John Osborne’s play Look Back in Anger (1957) produced a succession of personalities of the same kind. Other examples are Sebastien in J.P. Donleavy’s The Ginger Man (1955). Herzog in Bellow’s Herzog (1964), and Yossarian in Joseph Heller’s Catch 22 (1961). The principal male characters in several of Graham Greene’s novels are also anti-heroes.”

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

Term of Art: Morphology

“Morphology: The study of the grammatical structure of words and the categories realized by them. Thus, a morphological analysis will divide girls into girl and –s; singer into sing and –er, which marks it as a noun referring to an agent.

A category is ‘morphological’ if it is realized within words. This morphological case is case as realized by different elements within nouns or words of other classes as opposed to an abstract case which might be realized differently or not at all. A morphological causative is a causative form of a verb as opposed to a causative construction, and so on.”

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

Terms of Art: Nonverbal Memory

“Memory for figures, spatial relationships, and so on. Nonverbal memory is assumed to be based in the deep structures of the right temporal lobe.”

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

Term of Art: Inclusion

“The practice of placing students with disabilities in regular classrooms in accordance with federal law. To the maximum extent possible, students with disabilities are supposed to be educated alongside their peers in regular education classrooms unless ‘the nature or severity of the disability of a child is such that education in regular classes with the use of supplementary aids and services cannot be achieved satisfactorily’ (P.L. 94-142020 U.S.C 1412 (5) (A)).”

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

Term of Art: Virtue

“A virtue is a trait of character that is to be admired: one rendering its possessor better, either morally, or intellectually, or in the conduct of specific affairs. Both Plato and Aristotle devote much time to the unity of the virtues, or the way in which possession of one in the right way requires possession of the others; another central concern is the way in which possession of virtue, which might seem to stand in the way of self-interest, in fact makes possible the achievement of self-interest properly understood, or eudaimonia. But different conceptions of moral virtue and its relation to other virtue characterize Platonic, Aristotelian, Stoic, Christian, Enlightenment, Romantic, and 20th-century ethical writing. These divisions reflect central preoccupations of their time and needs of the cultures in which they gain predominance: the humility, charity, patience, and chastity of Christianity would have been unintelligible as ethical virtues to classical Greeks, whereas the ‘magnanimity‘ of the great-souled man of Aristotle is hard for us to read as an unqualified good, Syntheses of Christian and Greek conceptions are attempted by many, including Aquinas, but a resolute return to an Aristotelian conception has been impossible since the emergence of generalized benevolence as a leading virtue. For Hume a virtue is a trait of character with the power of producing love or esteem of others, or pride in oneself, by being ‘useful or agreeable’ to its possessors and those affected by them. In Kant, virtue is purely a trait that can act as a handmaiden to the doing of duty, having no independent, ethical value, and in utilitarianism, virtues are traits of character that further pursuit of the general happiness.”

Excerpted from: Blackburn, Simon. The Oxford Dictionary of Philosophy. New York: Oxford University Press, 2008.

Term of Art: Infinitive

“The non-finite verb that has the uninflected form of the verb: be, say, dig, make. The form may be used alone (the BARE INFINITIVES I made him tell the truth). The bare infinitive is commonly used after a modal auxiliary verb (be after the modal may in We may be late) and after the auxiliary verb do (I did answer your letter, They do know the difference). It is also found in the complementation of a small number of main verbs such as have, let, make, see, and hear (I had Tom paint the fence; The soldiers let us pass; They need us to leave). In some instances, either type of infinitive may be used: Steven helped Susan (to) teach the children good manners; What Sidney did was (to) help Justin with his homework. The to- infinitive has a wider distribution as the verb in an infinitive construction: (1) It may be a subject (To meet you was a great pleasure), though a variant with postponed subject is more usual: It was a great pleasure to meet you. (2) It may be the object in various types of verb complementation: I hope to see Judith and Percy soon; I asked John and Joyce to come to my party; Jeffrey and Rosalind want me to be there. (3) It may be introduced by a wh word: Anton and Stella asked me what to advise their elder son. (4) It may function in various semantic classes of adverbial: To set the alarm, press four digits; He grew up to be a fine man; To be frank, the meeting was boring.”

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

Term of Art: Appositive

Indicating close, adjacent, or equivalent relation, such as a following noun that further describes of specifies, e.g., ‘it’s near Chat’s Last Stand, the fast food place.’”

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