DOCSLIB.ORG

+Smitan and +Smijxlz (E Smite, Smith, G Schmeifjen, Schmied, Etc.) *

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
+Smitan and +Smijxlz (E Smite, Smith, G Schmeifjen, Schmied, Etc.) * 17. Note on the etymology ofPGmc. +smitan and +smijXlz (E smite, smith, G schmeifJen, Schmied, etc.) * The understanding of the regularities of Indo-European has long since progressed to a point where it might well be deemed likely that the easy problems have already been solved, so that future progress will, logically, tend to con­ tain mther big surprises. In this situation, we should not shrink back from saying out loud what we see, even if we know of no other case of that particular nature. In histori­ cal linguistics, we are after the truth about the linguistic past. If we permit ourselves only to say trivialities about that past, there is little point in searching for it in the first place (Jens Elmegard Rasmussen [\988] 1999: I. 340). Abstract The Proto-Germanic words +smitan (root +smit-, class I) 'to strike, throw' and +smijJaz 'smith' (with derived +smiJx5n 'to forge, smithy' and +smiJx5 'metal to be worked on, smi th' s work, jewelry, skilled work', root +smi P-) have no good Indo­ European etymology and are not connected to each other in the etymological dic­ tionaries. It is proposed that +smitan reflects a borrowed Semitic word derived from the root :f.md which means a certain kind of weapon for striking or throwing in Ugaritic and 'to strike' in Arabic, and which has what seems to be a related root :f.mt meaning 'to vanquish' in Ugaritic. It is further proposed, though with reserva· tions, that +smijJaz likewise reflects a Semitic loan-word based on the root form :f.mt, and that +smiJx1Z is thus etymologically related to +smitan. 17.1. PGmc. +smitan: The problem A strong verb +smitan (class I) is well attested in Gothic and West Ger­ manic. l Several meanings seem to be attached to the verb: Goth. bi­ smeitan (only 3rd sg. indo pret. bismait) 'to anoint' and ga-smeitan (only 3rd sg. ind. pret. gasmait) translate Gk. €7nXPLEW 'to anoint, to besmear' (Lehmann 1986: s.v. *bi-smeitan). Since these are derived verbs, the meaning is likely to be a derived one too, and therefore Gothic does not tell us the meaning of the basic verb. r602 300 PGme. +smitan and +smij:>az Fortunately, the simplex is also attested. Seebold (1970: s.v. l-ISMEIT-A-) gives 'schmeiBen, werfen' ('to fling, to throw') as the meaning of OFris. smUa; this is also the meaning of G schmeij3en. OE smitan is glossed 'to daub, smear, soil, pollute, defile' by Clark Hall and Meritt (1960: s. v.). This is indeed the meaning in the oldest occurrences (ca. 725, 1000) listed in the OED. But as early as ca. 1150 the simplex verb also occurs with that meaning which is the only one in the contemporary language: pu ofsloge vel smite (Canterbury Ps. iii. 8, cf. OED: s.v. smite st.Y.), i.e. 'you struck down or smote'. Given these divergent meanings in the oldest attestations it does not come as a surprise that opinions differ concerning the original meaning of the verb, namely, whether it is 'to throw' or 'to smear'. The OED writes: "The development of the various senses is not quite clear, but that of throwing is perh[aps] the original one." Seebold (1970: s.v. [-]SMEIT -A-) writes, "Die Bedeutung ist 'beschmieren, beschmutzen, beflecken' neben 'werfen'; Ausgangspunkt ist vermutlich das Bewerfen einer Hauswand mit feuchtem Lehm." [The meaning is 'to spread upon, sully, stain' alongside 'to throw'; the starting-point may have been the daubing of a building wall with moist clay (lit. "the be-throw­ ing of a house wall with moist clay", i.e. 'the throwing of moist clay upon a house wall'). f This is also the semantic reconstruction of Pfeifer et al. (1997: s. v. schmeijJen), who nevertheless assume a dental deriva­ tion from an Indo-European root *sme-, *smei- 'to smear, wipe, rub'. In my view we arrive at the original meaning by putting these two semantic proposals together: The meaning of throwing is at the semantic heart of the verb; daubing, i.e. originally the throwing of clay upon a wickerworked wall, is an applied meaning; more general meanings such as that of spreading any kind of substances on a surface or, on the con­ trary, more specialized meanings such as that of anointing or sullying have developed from this intermediate notion. Since the meaning in English has for centuries been that of hitting by striking, perhaps an even more basic meaning of the verb was that of hitting with an object by either throwing or striking.3 Note that not only to smite itself has the meaning of striking but also the derived verb to forsmite 'to smite in pieces, to strike down', first attested ca. 1205 (cf. OED: s.v.).41603 I conclude from all this that the original meaning is that of 'striking' or 'throwing', i.e. things one - typically though not exclusively - does with a weapon. This is the meaning which is best preserved in English smite andforsmite. The meaning of 'smearing' evident in Middle High German is secondary. A parallel can be seen in PGmc. +strfka- which preserves its original meaning in English to strike whereas in German streichen it has taken on the meaning of 'smearing'. G streicheln 'to PGmc. +smitan and+smipaz 301 stroke, fondle' too has moved away from the original basic meaning, as has E to stroke; however the noun Streich 'blow, stroke' preserves the original meaning within German.5 PGmc. +smitan has no clear etymology. This is in part due to the fact that the original meaning of the word is under dispute. Only if the original meaning is assumed to be that of 'throwing' is there any possi­ ble Indo-European connection at all, namely with Lat. mittere 'to let go, send, throw, hurl,.6 I will return to this etymology in section 17.3 below. 17.2. Semit. s,mt 'to vanquish', s,md 'to strike; weapon for striking or throwing' In earlier publications I have suggested that Germanic strong verbs without etymology may be prehistoric borrowings from Semitic (V en­ nemann 1998c: 42, 2000b: 252), and for several verbs concrete Semitic etymologies have been proposed: +metan V 'to measure' (Vennemann 1995: 105f.)7, +wak(n)an VI 'to wake up' (Vennemann 1997a: 894f.), +plegan V 'to cultivate' (Vennemann 1998d), +dragan VI 'to drag' (Vennemann 2002b), +drepan V/IV 'to hit' (Mail hammer, Laker, and Vennemann 2003). As for PGmc. +smitan, the following passage from the Ugaritic Baal Cycle (Smith 1994) opens up the possibility that the same may be done for this verb, too: r604 8 ht.°ibk 9 bClm.ht.°ibk.tmb~.ht.t~mt~rtk8 (Smith 1994: 319) This passage is translated, vocalized, and metrically arranged by Smith (1994: 322) as follows: 9 Now your foe, Baal, hitta °iba-ka baclu-mi Now your foe may you smite, hitta °iba-ka timba~ Now may you vanquish your enemy. hitta ta~mit ~arrata-ka Evidently Smith here translates the root mlt~ as 'smite', and the root ~mt as 'vanquish'. However, since E smite and vanquish are similar in meaning9 and are here used as stylistic variants for poetic purposes, one may speculate that the meaning of U garitic ~mt is not very distant from that of PGmc. +smitan. The thematic vowel in a root of the structure (no guttural as second or third consonant) and meaning (fientic, transitive) w of U garit. ~mt is regularly _i_. Cf. the following partial (singular) para- 302 PGmc. +smitan and +smij:mz digm of the short form of the prefix conjugation (Tropper 2000: 453- 455), which expresses the meaning perfective, viz. (a) "preterite" and (b) "jussive" (Tropper 2000: 431): 1st Q-a~mit 2nd m. t-a~mit f. t-a~mit-i 3rd m. y-a~mit f. t-a~mit The long form of the prefix conjugation, which expresses the meaning imperfective or "present tense" (Tropper 2000: 431), differs from the short form only by adding a -u to suffixless forms and -n after suffixed vowels (Tropper 2000: 457). Since early Germanic did not have para­ digmatic prefixes of this sort, the Qa-, ta-, ya- etc. at the beginning of such verb forms were likely to be misinterpreted by the Germanic speakers as some sort of pronouns, leaving ~mit- as what appeared to be the verbal root. One way of integrating this abstracted root form into the early Germanic verb system was treating it as a class 1602 I root. The same would hold true for the root or root variant ~md- to be treated directly. 11 Krahmalkov (2000) has an entry $MD 'mace, club' used as an epi­ thet of Bacal in the expression bacal ~md 'Baal of the Mace'. He writes, "Reference is to the mace made for Baal by the god Kusar (K6thar) with which he smashes his enemies." Krahmalkov compares the root to Ugaritic ~md. Smith (1994) discusses this root ~md, which occurs several times in the Ugaritic Baal Cycle, on pp. 330 and 338-340. He writes in particu­ lar: The word s.md(m) refers to a weapon of some sort .... The nature of the weapon is not clearly understood although attempts to resolve the difficulty have been made on the basis of a variety of etymologies. Albright (1941: 16 n. 24a; TOl2 136 b. 0) compared Arabic s.amada, 'to strike' (Lane 1726-27).13 Neuberg (1950: 164) suggests the root *s.mt, 'to destroy,' and assuming Neuberg's view, GaIT (1986: 52) explains the variation in the final consonant as a phonological shift involving voicing. Ginsberg (1935: 328) and Rosenthal (1953: 72-83; cf.
Load more

Recommended publications
  • Living Kingdoms of Kalamar Merchants and Guilds
    Merchants and Guilds A guide to the many Merchant groups and Guild houses in the RPGA’s Living Kingdoms of Kalamar Campaign. By Various Contributors Version 1.0 Final 2006 – 2007 September 14, 2006 The Kenzer and Company logo, Living Kingdoms of Kalamar, the Living Kingdoms of Kalamar logo and Pekal Gazetteer are trademarks of Kenzer and Company. Kingdoms of Kalamar and the Kingdoms of Kalamar logo are registered trademarks of Kenzer and Company. © Copyright 2002, Kenzer and Company, Inc. All rights reserved. Dungeons & Dragons, Dungeon Master, D&D, RPGA, Living, the d20 system logo and the Wizards of the Coast logo are all trademarks owned by Wizards of the Coast, Inc., a subsidiary of Hasbro, Inc. and are used by Kenzer & Company under license. © 2002 Wizards of the Coast, Inc. Living Kingdoms of Kalamar Merchants and Guilds 1 Table of Contents Table of Contents 2 Merchant Guilds Introduction 3 Alewives and Brewers Guild 5 Ranks 5 Apothecaries Guild 8 Guild Ranks 8 Armorers Guild 11 Guild Ranks 11 Bakers Guild 14 Guild Ranks 14 Blacksmiths Guild 17 Guild Ranks 17 Bookmans Guild 19 Guild Ranks 19 Chandlers Guild - The Illuminati 22 Guild Ranks 22 Cobblers Guild 25 Guild Ranks 25 Fishermen and Netters Guild 28 Guild Ranks 28 Furriers and Trappers Guild 30 Guild Ranks 31 Glassblowers Guild 33 Guild Ranks 33 Meat Cutters Guild 36 Guild Ranks 36 Metalsmiths Guild 42 Guild Ranks 42 Miners and Stoneworkers Guild 45 Guild Ranks 45 Moneylenders Guild - Gathering of the Fruitful Coin 48 Guild Ranks 49 Performers Guild 52 Guild Ranks 52 Porters Guild - Pekal’s Local Lifters 55 Guild Ranks 56 Stockmens Guild 59 Guild Ranks 59 Weaponsmiths Guild 61 Guild Ranks 61 Weavers Guild – By Alana Abbott 64 Guild Ranks 65 Living Kingdoms of Kalamar Merchants and Guilds 2 Merchant Guilds Introduction Characters interact with the world of Pekal in many different ways, not just through module play.
    [Show full text]
  • Smiths Abound Discussion Document
    Smiths Abound According to Wikipedia, Smith is the most common surname in the United Kingdom, Australia and the United States, and second only to Li in Canada. It is the fifth most common surname in Ireland. Worldwide there are about 5 million Smiths; data on how many live in the U.S.is conflicting, but at least 2.4 million. Therefore, it’s not surprising that people who bear the surname Smith have chosen to have their own holiday on January 6. The event seems to have been started by Adrienne Sioux Koopersmith in 1995, in part to find help in tracing her own genealogy. She chose January 6th because it was the birthday in 1580 of Captain John Smith, the English colonial leader who helped to settle Jamestown, Virginia in 1607, thereby bringing the name to North American shores. The word “smith” derives from the word “smite” or “strike,” and although there has been a suggestion that Smiths originally derived their name from the occupation of soldiers (smiting the enemy), most present day Smiths are probably descendants of blacksmiths who worked with black metals, such as iron. Related names include: • Whitesmith and Tinsmith for those who worked with tin • Coppersmith (or in Adrienne’s case) Koopersmith for those who worked with copper, and Brownsmith, Redsmith, and Greensmith for the color of copper when it oxidized • Silversmith and Goldsmith, obviously for those who worked with silver and gold In addition, of course, there are people named Smythe, Smithers, Smitherman, Smithson, or Smithwick, all related in one way or another to their laboring ancestors.
    [Show full text]
  • Issues) and Begin JOYCE H
    AN ILLUSTRATED QUARTERLY * > f-s m Blake and the In-Laws • Sentimentalism in The Four Zoas • Blake's Palette? VOLUME 39 NUMBER 2 FALL 2005 &Uk e AN ILLUSTRATED QUARTERLY www.blakequarterly.org VOLUME 39 NUMBER 2 FALL 2005 CONTENTS Articles Minute Particular "Tenderness & Love Not Uninspird": Blake's Only Surviving Palette? Blake's Re-Vision of Sentimentalism in The Four Zoas By Joyce H. Townsend, Bromvyn Ortnsbw By Justin Van Kleeck 60 lulia Jonsson, and Mark Evans 100 "/ also beg Mr Makes acceptance of my wearing apparel": The Will of Henry Banes, Landlord of 3 Fountain Court, Strand, the Last Residence of William and Catherine Blake By Angus Whitehead 78 ADVISORY BOARD G. E. Bentley, Jr., University of Toronto, retired Nelson Hilton, University of Georgia Martin Butlin, London Anne K. Mellor, University of California, Los Angeles Detlef W. Dorrbecker, University of Trier Joseph Viscomi, University of North Carolina at Chapel Hill Robert N. Essick, University of California, Riverside David Worrall, The Nottingham Trent University Angela Fsterhammer, University of Western Ontario CONTRIBUTORS David Worrall, Faculty of Humanities, The Nottingham Trent University, Clifton Lane, Nottingham NGl 1 8NS U.K. Email: [email protected] JUSTIN VAN KLEECK ([email protected]), still a graduate stu- dent at t h e University of Virginia, is probably off rambling in the woods somewhere near Charlottesville. ANGUS WHITEHEAD ([email protected]) is a doc- INFORMATION toral student based at the Centre for Eighteenth Century Studies, Department of English and Related Literature, Uni- versity of York. His thesis explores the residences, fellow in- MAKE/AN ILLUSTRATED QUARTERLY is published under the sponsor- habitants, neighbors, friends and milieus of William and ship of the Department of English, University of Rochester.
    [Show full text]
  • After Palmer: a Pastoral Miscellany Trained Originally As an Art Historian, Sculptress and Graphic Illustrator at St
    After Palmer: A Pastoral Miscellany Trained originally as an art historian, sculptress and graphic illustrator at St. Martin’s and at Cambridge, Julia Korner, L.S.I.A.D., left Christie’s auctioneers in 1997 after nearly 20 years in the field as a paintings specialist, with extensive knowledge of Old Masters, of British and Victorian and of European and American paintings of the 18th, 19th and 20th Century. In 1987 she set up the Maritime Department, the Frame sales, the Aeronautical Department and finally the Polar Sales and Exploration & Travel. At the same time, she was involved in the conservation of paintings, and the production and conservation of classic gilt and gesso frames and sculpture, all in her own studios. She set up her own business in 1997 to assist clients with all aspects of their collections. She also advises museums and private clients on conservation. She lectures for NADFAS, Christie’s Education, The Sotheby’s Institute, The National Maritime Museum and to Art Societies and has acted as a valuer for antiques’ road shows both at home and abroad. Julia Korner is an elected member of the British Antique Dealers’ Association and LAPADA - the Association of Professional Art and Antiques Dealers; the British Association of Paintings Conservator-Restorers, the Company of Arts Scholars, Dealers and Collectors, the Institute of Conservation, the International Institute for Conservation, the Fine Art Trade Guild, the Maritime Information Association, the Museums Association, and the Conservation Consortium Cover illustration: No. 7. Samuel Palmer, R.W.S (1805-1881), ‘The Forester’s Horn’ Fine Art Consultant, Maritime Specialist & Lecturer Conservation of Paintings, Frames and Sculpture After Palmer: A Pastoral Miscellany Julia Korner The River House, 52 Strand on the Green, London W4 3PD, United Kingdom (By appointment only) Tel: +44 (0)20 8747 1652 Mob: 07771 713980 Fax: +44 (0)20 8742 7419 E-mail: [email protected] www.juliakorner.com ARTISTS’ INDEX 1 Joshua Cristall, P.O.W.S.
    [Show full text]
  • The Blacksmith Shop
    The Blacksmith Shop Blacksmithing dates back to Egypt in 1350 B.C. Shortly after that, smithing spread to Greece and the Balkans. The smith began to specialize his work in the Middle Ages. A whitesmith was someone who worked with lead, and a blacksmith was an ironworker. A farrier was someone who specialized in making and fitting horseshoes. There were also chainsmiths and nailsmiths. What do you think their specialties were? The main pieces of the blacksmith shop are the forge, the anvil, and the bellows. The forge is where the metal is heated to 2000-3000 degrees Fahrenheit. The bellows concentrates air onto the coals to help the fire reach these temperatures. What is the hottest thing you have ever felt? Do you think it was hotter or cooler than the metal in a forge? The anvil is where the metal is worked. The Blacksmith uses tongs and a hammer to shape the metal. The techniques used include forging (shaping by hammering), drawing (lengthening by hammering), bending (using different features on the anvil), upsetting (making one section thicker by thinning another), punching (holes or depressions punched with a chisel or similar tool) and welding (using heat to join two pieces of metal). The Blacksmith Shop Word Find Find these words in the puzzle below. Blacksmith Iron Tongs Welding Bellows Egypt Farrier Lead Drawing Anvil Forge Hammer H A M M E R B J T B G A D J J E S O L I A J U L N F C A L D G N I D L E W A I R O I E C B E O H U U A C W D E L R L C S G F I R N K A M T D D U I B B Y J I V S R W L W Z T P L O F P P I M D F B M U V Y D E T W T L I H R G H N S Y W E U K S B T E K E T R V J W V Q G E J H P D Q I V O S I N O E C G T L I Q P R E Q N L M Z L A Z Q H A O Q R N D A G E J C L S N K C T P A W E M S S T C D E N E L U E F X P N N F O A A Z B P C L Z F U A E G R O F L L M The Blacksmith Shop Word Find – ANSWER KEY Find these words in the puzzle below.
    [Show full text]
  • Occupations in the Thirteen Colonies
    COLONIZATION AND SETTLEMENT (1585–1763) Occupations in the Thirteen Colonies Cooking over the fire, 1700s Slaves and other workers picking leaves and Merchants meeting on New York City waterfront, operating machinery at a tobacco factory, 1750 1760s Farmer Merchant Tasks: Most farmers in colonial times worked small, family-run Types: Shop owners; merchant fleet owners. farms. They cleared land, dug ditches, built fences and farm Tasks: Merchants sold or traded goods within the colonies and buildings, plowed, and did other heavy labor. between the colonies and Europe. They negotiated with colonial Equipment and Tools: Plow, hoe, axe, building tools. planters and craftsmen; ordered goods and materials for the Notable Features: Farmers grew crops to sell, but also for their colonies from England; and coordinated the sea voyage to export own sustenance. They commonly enlisted only the help of family and import products. members. Their prestige was much lower than that of planters, Equipment and Tools: Ships, carts, ledgers to track orders. who ran plantations that were worked by slaves. Notable Features: Some merchants were considerably wealthy and held prestige in the colonies. Among the items exported were furs, fish, pelts, grain, indigo, lumber, rice, and livestock. Common imports included glassware, copperware, ironware, silk Planter goods, iron nails, printed cotton, linen, and beaver hats. It was Tasks: Planters were wealthy, educated men who oversaw the not uncommon to engage in smuggling to avoid trade barriers. operations on their large farms, or plantations. Planters dealt more with logistics than with hard labor. They could be found supervising the slaves and staff and inspecting crops.
    [Show full text]
  • The Blacksmiths Op Kano City : a Study in '
    1 THE BLACKSMITHS OP KANO CITY : A STUDY IN ' TRADITION, INNOVATION AND ENTREPRENEURSHIP. ^y Philip John Jaggar Presented for the Degree of Master of Philosophy School of Oriental and African Studies University of London 1978 / I N 3 7. v I*IV, ProQuest Number: 10731195 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731195 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 2 ABSTRACT This thesis examines the factors involved in the expansion, during the colonial and post-colonial periods, of a traditional, i.e. pre-European craft specialism — blacksrai thing, in Kano City, Nigeria — and its sub­ sequent conversion into a modem metal-working industry. In doing so, it sheds new light on the general proposition that such traditional crafts necessarily decline before the technological onslaught of colonialism* A notable feature of the recent development of this craft has been the differential responses of the various clusters of blacksmiths to the new socio-economic factors introduced by the British. Of these groups, the most far-reaching changes have occurred in that located within the Central Market area of Kano City, and it is the behaviour of these craftsmen - and/or trader-entrepreneurs which provides the focus of this study.
    [Show full text]
  • Compass: Folk Art in Four Directions,” on View at the South Street Seaport Museum, New York, June 20, 2012–February 3, 2013
    COMPASS FOLK ART IN FOUR DIRECTIONS An Educators’ Resource AMERICAN FOLK ART MUSEUM NEW YORK Education Department 2012 Published in conjunction with the American Folk Art Museum exhibition “Compass: Folk Art in Four Directions,” on view at the South Street Seaport Museum, New York, June 20, 2012–February 3, 2013. Major support for “Compass” is provided by the Ford Foundation. Additional support is provided by Kendra and Allan Daniel, Lucy and Mike Danziger, Jacqueline Fowler, The Leir Charitable Foundations, The Peter Jay Sharp Foundation, and Donna and Marvin Schwartz. © 2012 BY THE AMERICAN FOLK ART MUSEUM 2 LINCOLN SQUARE NEW YORK, NY 10023 WWW.FOLKARTMUSEUM.ORG EDUCATION DEPARTMENT 212. 265. 1040, EXT. 381 [email protected] CONTENTS CREDITS 4 INTRODUCTION Letter from the Executive Director 5 Letter from the Chief Curator & Director of Exhibitions 6 Letter from the Director of Education 7 How to Use This Guide 8 Teaching from Images and Objects 9 LESSON PLANS An Introduction to Folk Art 1 Noah’s Ark & Funeral for Titanic 11 Exploration 2 Beaver in Arctic Waters & Pair of Scrimshaw Teeth 18 3 Map of the Animal Kingdom 24 4 Possum Trot Figures 28 5 Sea Captain & Child Holding Doll and Shoe 33 Social Networking 6 Untitled (Vivian Girls Watching Approaching Storm in Rural Landscape) 40 7 Isobel and Dixie 45 Shopping 8 Newsboy Show Figure 49 Wind, Water, and Weather 9 Schoolhouse Quilt Top 52 10 Situation of America, 1848 & J.B. Schlegelmilch Blacksmith Shop Sign and Weathervane 58 GLOSSARY 66 BIBLIOGRAPHY AND RESOURCES 68 VISITING THE AMERICAN FOLK ART MUSEUM 71 CREDITS PROJECT DIRECTOR Rachel Rosen Director of Education, American Folk Art Museum PRINCIPAL WRITER Nicole Haroutunian Educator and writer CONTRIBUTING WRITER Jennifer Liriano ARTS Intern 2012 EXHIBITION CURATOR Stacy C.
    [Show full text]
  • Download FREE Sample
    SAMPLE Assessment Objectives & Exam questions: Several exam boards offer Great Expectations as a text for their literature exam. All the exam boards have the same Assessment Objectives [AOs], 1-4: AO1 Read, understand and respond to texts. Students should be able to: • maintain a critical style and develop an informed personal response • use textual references, including quotations, to support and illustrate interpretations. AO2 Analyse the language, form and structure used by a writer to create meanings and effects, using relevant subject terminology where appropriate. AO3 Show understanding of the relationships between texts and the contexts in which they were written. AO4 Use a range of vocabulary and sentence structures for clarity, purpose and effect, with accurate spelling and punctuation. What this means: AO1 – Know the whole story, so that you can mention other relevant events or characters. This is reference. - All the exam boards offer an extract: use relevant quotes from there and learn a few key quotes [just phrases] that could be relevant to several questions – character descriptions are particularly adaptable. - Link what you write to the task set and keep showing how Dickens is achieving a purpose. This is what is meant by ‘maintaining a critical style’. Don’t just re-tell the story! AO2 - language: Discuss imagery, language that creates a mooD or highlights an attituDe in a character. Mention other possible interpretations of the language. Are there a series of verbs denoting action, for example, or lots of adjectives that emphasise the same thing? When you write about what effect Dickens achieves by using them, you’ll be writing about language.
    [Show full text]
  • An Iconography of American Hand Tools
    Tools Teach An Iconography of American Hand Tools Hand Tools in History Series Volume 6: Steel- and Toolmaking Strategies and Techniques before 1870 Volume 7: Art of the Edge Tool: The Ferrous Metallurgy of New England Shipsmiths and Toolmakers Volume 8: The Classic Period of American Toolmaking, 1827-1930 Volume 9: An Archaeology of Tools: The Tool Collections of the Davistown Museum Volume 10: Registry of Maine Toolmakers Volume 11: Handbook for Ironmongers: A Glossary of Ferrous Metallurgy Terms: A Voyage through the Labyrinth of Steel- and Toolmaking Strategies and Techniques 2000 BCE to 1950 Volume 13: Tools Teach: An Iconography of American Hand Tools Tools Teach An Iconography of American Hand Tools H. G. Brack Davistown Museum Publication Series Volume 13 © Davistown Museum 2013 ISBN 978-0-9829951-8-1 Copyright © 2013 by H. G. Brack ISBN 13: 978-0-9829951-8-1 ISBN 10: 0982995180 Davistown Museum First Edition; Second Printing Photography by Sett Balise Cover illustration by Sett Balise includes the following tools: Drawshave made by I. Pope, 913108T51 Dowel pointer, 22311T11 Inclinometer level made by Davis Level & Tool Co., 102501T1 Expansion bit patented by L. H. Gibbs, 090508T6 Socket chisel, 121805T6 Bedrock No. 2 smooth plane made by Stanley Tool Company, 100400T2 Molders’ hand tool, 102112T3 Caulking iron made by T. Laughlin Co. of Portland, ME, TCX1005 T-handle wood threading tap, 102212T2 Silversmiths’ hammer head made by Warner & Noble of Middletown, CT, 123012T3 Wire gauge made by Morse Twist Drill & Machine Co. of New Bedford MA, 10910T5 Surface gauge made by Veikko Arne Oby of Whitinsville, MA, 21201T12 No.
    [Show full text]
  • The Index of American Design
    THE INDEX OF AMERICAN DESIGN THE INDEX OF AMERICAN DESIGN THE INDEX OF AMERICAN DESIGN ERWIN O. CHRISTENSEN INTRODUCTION BY HOLGER CAHILL THE MACMILLAN COMPANY: NEW YORK NATIONAL GALLERY OF ART SMITHSONIAN . NSTITUTION. WASHINGTON. D. C. 19 5 0 Allama Iqbal Library 4435 form without per- All rights reserve*! —no part of this book may be reproduced in any wishes to quote mission in writing from the publisher, except by a reviewer who magazine or newspaper. brief passages in connection with a review written for inclusion in PRINTED IN Till UNITED STVTES OS AMERICA First Printing I frO 74 s . ^ s.w ,n.K .—seen.. Pill. AD. IPHU sso Tile ..Cl INf.RWlD AND PRISTID 8T PREFACE After a few limits had been decided upon, the chosen In this book we examine the crafts and popular and to plan. A folk arts of the United States as they have been recorded plates had to be grouped according some by the Index of American Design. The objects range few minority groups like the Pennsylvania Germans, from well-known museum specimens to new discoveries the Shakers, and the Spanish in the Southwest were made by the artists who did the watercolors. Almost singled out and presented in connection with the back- four hundred plates were selected from the many thou- ground out of which they grew. What they produced sands contained in the whole Index collection. Not only stands out in contrast to the dominating Anglo-Saxon furniture, silver, glass, ceramics and textiles arc included culture. In the first section of the book (“Our Wide but also tavern signs, figureheads, cigar-store Indians, Land ’) we have the arts of transplanted groups and carrousel horses, toys, pots and pans, and many other other more acclimated works in a geographic arrange- items.
    [Show full text]
  • The Medieval Roots of Colonial Iron Manufacture Technology
    The Medieval Roots of Colonial Iron Manufacturing Technology Brigitte Weinsteiger Pennsylvania State University Center for Medieval Studies Introduction Europe, between the eleventh and sixteenth centuries, saw an unprecedented surge in iron manufacture technology that would quickly spread throughout the western world, including the American colonies. Although often deemed a stagnant and uninventive period, the Middle Ages, on the contrary, gave birth to a wealth of technological innovation that would long remain particularly suited to the needs of colonial American iron workers. Economic, technical and, most importantly, natural resources in the colonies made the medieval method of iron manufacture distinctively attractive and efficient, as opposed to the strikingly different method used concurrently in early modern Europe. Owed to the Middle Ages are two vital technological innovations that abounded in the American colonies, the blast furnace and the application of waterpower to almost every stage of the iron manufacture process. The blast furnace used waterpower to increase draft and, therefore, temperature, allowing iron to be smelted much faster, cheaper and with the option of creating cast or wrought iron. In addition to powering the bellows of the blast furnace, waterpower was also applied to numerous other applications, including the washing and grinding of iron ore, the drainage of mines, the wire-drawing mill, the slitting mill, and the tilt-hammer. The discussion of the development of this technology in the Middle Ages and its similar adaptation in the colonies is the goal of this essay. Iron Manufacture in Medieval Europe Iron manufacture in the Middle Ages was comprised of essentially three practices: mining, smelting and smithing.
    [Show full text]