Posts Tagged ‘Dictionary’
“After nourishment, shelter and companionship, stories are the thing we need most in the world”*…
Before dinner the Reverend Newman said grace: “Heavenly Father. What kind of a heel do you think I am? How dare you talk to me like that! Don’t give me any of your back talk, smart-ass. It’s been an of a week. I sinned and brought shame down on us. As far as I’m concerned, it’s no big deal. You don’t know dick about this—you haven’t a clue! I suppose you believe that rubbish about vampires. The allegations were false, do you understand me? Baseless allegations. I believe in ghosts. Too bad, but that’s the way it is. Why don’t you leave me alone? Go on, get lost! I’ll get mine, you get yours, we’ll all get wealthy. Amen to that!”
More stories composed entirely of example sentences for the New Oxford American Dictionary at Dictionary Stories.
* Philip Pullman
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As we channel our inner Tristan Tzara, we might recall that it was on this date in 1937 that George Allen & Unwin published J.R.R. Tolkein’s The Hobbit, or There and Back Again. Widely critically-acclaimed in its time (nominated for the Carnegie Medal and awarded a prize from the New York Herald Tribune for best juvenile fiction), it was a success with readers, and spawned a sequel… which became the trilogy The Lord of the Rings.
Cover of the first edition, featuring a drawing by Tolkien
“Wrestling is ballet with violence”*…
“You call it wrestling, they term it ‘working’ … As Shakespeare once said: ‘A rose by any other name,’ etc.” So Marcus Griffin began his groundbreaking 1937 book on the ins and outs of the pro wrestling business, Fall Guys: The Barnums of Bounce. It’s a good place to start, because any discussion of the grunt-and-groaners (as Griffin would call them) inevitably involves an examination of the artifice that undergirds the endeavor, and that artifice — be it the antediluvian secret that the whole show is a put-on, or the modern-day pretense that both actors and audience interact as if it’s legitimate — is itself bolstered by an intricate, seemingly inane vocabulary of lingo, idiom, and jargon.
Every subculture has its lingo, but the subbier the culture, the more unintelligible the dialect can be. Couple that with an industry conceived on falsehood and dedicated to keeping the lie alive, and you’ve got a rabbit hole that even the most stalwart of linguists would think twice before exploring. We take a stab at it here. The most obvious of terms, those used in common parlance outside the wrestling world — pin, feud, dud, etc. — are mostly omitted, despite their prevalence inside the biz. Some terms are listed within other definitions for readability’s sake. As with anything of this sort, this list is far from complete — and as with anything so idiomatic, the definitions are frequently debatable. Though some of the terms are obscure, their purpose is larger. The terms obscure the industry’s realities, sure; they function as a secret handshake among those with insider knowledge, obviously; but moreover, they try to describe a unique, oddball enterprise in terms of its own bizarre artistry…
From…
angle (n.) — A story line or plot in the wrestling product, as in, “They’re working a classic underdog angle.” It can be employed in either small-bore usage — i.e., the angle in a match — or in large-scale terms to describe a lengthy story. The term is borrowed from the archaic criminal/carnie phrase “work an angle,” which means figuring out a scam or finding an underhanded way to make a profit.
and…
Andre shot (n.) — A trick by which a camera is positioned beneath a wrestler, looking up, so as to make the wrestler look bigger. Famously used to make the 7-foot-4 Andre the Giant look even bigger than he was.
to…
workrate (n.) — A term for in-ring wrestling quality, used primarily by wrestling journalists to rate the physical and psychological performance of a match. The field of wrestling critique is often associated with journalist Dave Meltzer, who rates matches on a star scale; great matches throughout history are often referred to as “five-star matches” in reference to Meltzer’s rubric.
and…
zabada (n.) — A catch-all term for an arbitrary tool used to fill in a hole in anangle, usually used when the tool is still undefined, as in, “He’ll come out, cut a promo, run-in, zabada, then the finish.”
…it’s all in “Grantland Dictionary: Pro Wrestling Edition,” along with illustrations like the one above (for “chain wrestling”). Check out Grantland‘s other delightful dictionaries here.
* Jesse Ventura
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As we feel the frenzy, we might recall that it was on this date in 1906, in a game against Carroll College, that St. Louis University’s Bradbury “Brad” Robinson hit Jack Schneider with a 20-yard touchdown toss– the first legal forward pass in football.
“E. B. Cochems [the coach at St. Louis University in 1906] is to forward passing what the Wright brothers are to aviation and Thomas Edison is to the electric light.”
– College Football Hall of Fame coach David M. Nelson
1906 St. Louis Post-Dispatch drawing of Brad Robinson’s epic throw
Picture this…
Just one of the entries at WTF Visualizations: “visualizations that make no sense.”
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As we recall that not all pictures signify, we might send well-worded birthday greetings to Samuel Johnson; he was born on this date in 1709. A poet, essayist, moralist, literary critic, biographer, editor, and lexicographer, Johnson’s best-known work was surely A Dictionary of the English Language, which he published in 1755, after nine years work– and which served as the standard for 150 years (until the completion of the Oxford English Dictionary). But Dr. Johnson, as he was known, is probably best remembered as the subject of what Walter Jackson Bate noted is “the most famous single work of biographical art in the whole of literature” : James Boswell’s Life of Samuel Johnson. A famous aphorist, Johnson was the very opposite of a man he described to Boswell in 1784: “He is not only dull himself, but the cause of dullness in others.”
Joshua Reynolds’ portrait of Dr. Johnson
“Gestures, in love, are incomparably more attractive, effective and valuable than words”*…
What do you expect?
… in love, and indeed in life at large– as illustrated in Bruno Munari’s 1963 book Supplemento al dizionario italiano (from which, the selection above).
Striking the balance between practical guide and practical joke, the reference begins with a collection of gestures published in 1832 in Naples, collated by Canon Andrea de Jorio as “The Ancients’ mimic through the Neapolitan gestures”…
… then proceeds as a contemporary update.
I don’t care
More in Supplemento al dizionario italiano.
[TotH to City of Sound]
* “Gestures, in love, are incomparably more attractive, effective and valuable than words.” – Francois Rabelais
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As we just gesticulate, we might send adventurous birthday greetings to Giovanni Battista Belzoni; he was born on this date in 1778. The 14th child of a poor barber in Padua, he was a barber, a Capuchin monk, a magician, and a circus strongman before finding his true calling– explorer (and plunderer) of Egyptian antiquities.
Belzoni’s call to action came when he met a British Consul-General named Henry Salt who persuaded him to gather Egyptian treasures to send back to the British Museum. Under extremely adverse conditions he transported the colossal granite head of Rameses II from Thebes to England, where it is now one of the treasures of the British Museum. Later, he discovered six major royal tombs in the Valley of the Kings, including that of Seti I, and brought to the British Museum a spectacular collection of Egyptian antiquities. He was the first person to penetrate the heart of the second pyramid at Giza and the first European to visit the oasis of Siwah and discover the ruined city of Berenice on the Red Sea. He stumbled into the tomb of King Ay, but only noted a wall painting of 12 baboons, leading him to name the chamber ‘Tomb of the 12 Monkeys” (because hieroglyphs had not yet been deciphered, he usually had no idea who or what he had found).
Belzoni had two habits that have contributed to his legacy: he was a lover of graffiti signatures, and inscribed “Belzoni” on many of Egypt’s antique treasures, where the carvings survive to this day. And he carried a whip: which, given that he was one of the models for Indiana Jones, became one of that character’s hallmarks.
The Sincerest Form of Flattery…
Sarah Johnson, a reference librarian at Eastern Illinois University, and keeper of Reading the Past, began to notice some striking similarities in the cover art of books she was reviewing. She began to collect examples, and viola– Reusable Cover Art, from whence, the example above.
Click through for many other striking (and often, amusingly ironic) resemblances– and all the way to the bottom of the gallery for a nifty set of links to even more.
(Thanks to reader NM)
As we contemplate Shepard Fairey’s predicament, we might recall that it was on this date in 1884 that the first edition of The Oxford English Dictionary was published. Edited by James Murray (“The Professor” in Simon Winchester’s wonderful The Professor and the Madman: A Tale of Murder, Insanity, and the Making of the Oxford English Dictionary), it was originally a project of the Philological Society of London, devoted to cataloging the English words that had evaded inclusion in then-current dictionaries. The first edition had the benefit of 27 years of work, by dozens of contributors; it sold 4,000 copies.
James Murray in the Scriptorium, the home of the OED,
on Banbury Road in Oxford (source)
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