Tag Archives: term of art

Term of Art: Adaptation

Broadly speaking, the recasting of a work to fit another, such as the recasting of novels and plays as film or television scripts. For example, Stephen Hero, A Passage to India, The Prime of Miss Jean Brodie, and Les Liaisons dangereuses as stage plays; The Forsythe Saga, Daniel Deronda, War and Peace, Brideshead Revisited and The Jewel in the Crown as television dramas. Sometimes a cycle or sequence is adapted: for instance, the dramatization of some of the Canterbury Tales as a musical comedy (1967). Short stories and poems are often equally suitable.

As an extension there are works like the Peyton Place and Colditz of which episodes continued to be presented long after the original stories had been used up.”

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

Term of Art: Blank Verse

“In prosody, unrhymed verse. In English, the term usually means unrhymed iambic pentameter. In classical prosody, rhyme was not used at all; with the introduction of rhyme in the Middle Ages, blank verse disappeared. It was reintroduced in the 16th century and in England became the standard medium of dramatic poetry and frequently of epic poetry. Shakespeare’s plays, for example, are written mostly in blank verse.”

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

Term of Art: Gerund

“A traditional term for a VERBAL NOUN, in English a word ending in –ing: visiting in They appreciate my visiting their parents regularly. Like a noun, it can be introduced by the genitive my (compare I visit their parents). Some object to the non-genitive usage and avoid at least for names and pronouns, preferring They appreciate Bill’s visiting their parents to They appreciate Bill visiting their parents and They appreciate my visiting their parents to They appreciate me visiting their parents.”

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

William Empson on Ambiguity

“The intentional or unintentional expression of a word or idea that implies more than one meaning and usually leaves uncertainty in the reader. William Empson, in his Seven Types of Ambiguity (1930), outlined and defined seven different kinds of verbal nuance. He maintained that language functioning with artistic complexity connotes as much and often more than it denotes.”

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

Term of Art: Deus ex Machina

(Latin ‘god out of the machine’) In Greek drama a god was lowered out onto the stage by a mechane so that he could get the hero out of difficulties and untangle the plot. Euripides used it a good deal. Sophocles and Aeschylus avoided it. Bertolt Brecht parodied the abuse of the device at the end of his Threepenny Opera. Today this phrase is applied to any unanticipated intervener who resolves a difficult situation, in any literary genre.”

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

Anecdote

A brief, presumably interesting report of an experience or incident, especially a humorous account reflecting human foibles; confidential tale or piece of gossip, or an unknown biographical or historical particular; digressive episode. Adj. anecdotal; n anecdotist, anecdotalist.

‘He joked with Baitsell about the formalities, laughed at the red ribbons attached to the will, told a couple of anecdotes about old Newport and Harry Lehr’s will, and finally signed his name in a great, flourishing hand.’” Louis Auchincloss, Powers of Attorney

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

A.J. Liebling on the Man-Bites-Dog Story

A newspaper story having a curious human-interest, often humorous flavor, such as one profiling a person with a hobby that would seem to be a role reversal.

‘The defendant was what the N-boys like to call a Scion (of a wealthy family of former oleomargarine manufacturers, in this instance), which, in the same idiom, qualified him as a Socialite. Scions are seldom accused of procuring, which gave the case a bit of the man-bites-dog-aspect that the schools of journalism talk about.'”

A.J. Liebling, The Press

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

Term of Art: Portmanteau Word

“A completely new word combining parts of two or more words. The word thus created expresses a combination of the meanings of its parts, as in the now common word brunch, created by combining the ‘br’ of breakfast with the ‘unch’ of lunch. Lewis Carroll introduced portmanteau words in Through the Looking Glass; he says slithy means lithe and slimy, mimsy means flimsy and miserable, etc. Carroll called the them portmanteau words because in them two meanings were ‘packed up’ in one bag, as it were. Modern writers have made liberal use of such words, notably James Joyce in his Finnegan’s Wake.”

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

Term of Art: Morpheme

Any of the smallest units of meaning or form within a language, or a verbal element that cannot be further reduced and still retain meaning, e.g. the word ‘woman,’ the prefix ‘un-,’ and the inflection ‘-ize.’ Adjective: morphemic; adverb: morphemically.”

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

Term of Art: Shtick

A worked-up, contrived form of talent of self-presentation to entertain or win attention; an idiosyncratic routine or particular forte; mannerism.

‘Rebuttal is appropriate. For what we have here is no argument but a shtick, as we used to say in Vaudeville, an antic, a bit, a thing.’”

Donald Kaplan, in Language in America

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