Didactic

Didactic (pronounced dahy-dak-tik)

(1) Something intended for instruction; instructive:

(2) Inclined to teach or lecture others too much.

(3) In art or literature, containing a political or moral message to which aesthetic considerations are subordinated.

(4) The art and science of teaching (if used with a singular verb).

(5) In medical education, of or relating to teaching by lectures or textbooks as distinguished from clinical demonstration with patients.

1635-1645: From the French didactique (fitted or intended for instruction; pertaining to instruction), a Latinized adaptation of the Ancient Greek διδακτικός (didaktikós) (skilled in teaching), from διδακτός (didaktós) (taught, learnt), past participle of didaskein (teach), from διδάσκω (didáskō) (I teach, educate), from the primitive Indo-European dens (to learn), source also of the Sanskrit dasra (effecting miracles).  The adjective autodidactic (self-taught) is from 1838, from the Greek autodidaktikos (self-taught) the construct being autos (self) + didaktos (taught).  The adjective didactic (fitted or intended for instruction; pertaining to instruction) has been in use since the 1650s while the noun didactics (the science of teaching) dates from 1836, the noun didacticism (practice of conveying instruction; tendency to be didactic in style) is attested from 1841.

In the original Greek, didacticism was a description of educational technique or content that emphasized instructional and informative qualities in literature and other types of art.  In the Hellenic tradition, the didactic signified learning in a fascinating and intriguing manner, supposed both to entertain and to instruct.  Didactic plays, of which the Greeks wrote many, were intended to convey a moral theme or other truth to the audience so the word was thus either neutral or positive.  In English, during the nineteenth century, the meaning shifted and didactic came be used as a criticism for work felt to be overburdened with instructive, factual, or other educational information, to the detriment of the enjoyment of the reader.  The use has persisted to this day and the word seems now seldom to appear without an adjective (needlessly didactic, excessively didactic, pedantically didactic, academically didactic etc).

The King's English (1997) by Sir Kingsley Amis (1922–1995), Penguin Classics, ISBN: 9780141194318, 272 pp.  Recommended to read, much fun, though not all his prescriptions should be followed.

Edgar Allan Poe (1809-1849) in his essay The Poetic Principle (1850) called didacticism “the worst of heresies”.  Kingsley Amis in The King’s English wasn’t as emphatic but was inclined to the view an author unable to succeed in their didactic purposes without boring the reader, just wasn’t a good writer.  One does wonder if he had in mind the works of his son and he was more acerbic when commenting on one of Martin Amis's interviews in which he'd said readers should really read his novels twice fully to understand them.  "That means the little shit has failed doesn't it?" observed the father.

Corporal

Corporal (pronounced kawr-per-uhl or kaw-pruhl)

(1) Of the human body; bodily; physical

(2) In zoology, of the body proper, as distinguished from the head and limbs.

(3) As corporeal, belonging to the material world (mostly obsolete except for historic references although still used as a technical term in philosophy).

(4) In ecclesiastical accoutrements, a fine cloth, usually of linen, on which the consecrated elements are placed or with which they are covered during the Eucharist (also called the communion cloth).

(5) In Christian theology, as the seven Corporal Works of Mercy, the practical acts of compassion, as distinct from the seven Spiritual Works (the contemplative acts).

(6) In military use, a non-commissioned officer ranking above lance corporal (private first class (PFC) in US Army) and below a sergeant; in the Royal Navy, a petty officer who assists the master-at-arms; similar use in the armed services of many countries.

1350–1400: From the Middle English corporall, from the Anglo-French corporall, from the Latin corporālis (bodily, of the body) from corpus (body), the construct being corpor- (stem of corpuscorpus) + -ālis (the third-declension two-termination suffix (neuter -āle), used to form adjectives of relationship from nouns or numerals, from the primitive Indo-European -li-, which later dissimilated into an early version of -aris).  The use describing alter cloths was derived from the Medieval Latin corporāle pallium eucharistic (altar cloth) and replaced corporas, itself inherited from Classical Latin under the influence of Old French.  The pronunciation is kaw-pruhl in military use and kawr-per-uhl for all other purposes.  The adoption by the military dates from 1570–1580 but the origin is uncertain.  It may have come from the Old French (via Italian) into Middle French as a variant of caporal, from the Italian caporale, apparently a contraction of phrase capo corporale (corporal head) in the sense of the head of a body (of soldiers).  Source was the Latin caput (head), perhaps influenced also by the Old French corps (body (of men)).  Corporal is a noun & adjective, corporality, corporalcy & corporalship are nouns and corporally is an adverb; the noun plural is corporals.

The strategic corporal

The idea of the “strategic corporal” was first explained in a paper published in 1999 by USMC (US Marine Corps) General Charles Krulak (b 1942).  Based on both practical experience and his analysis of the likely evolution of conflicts into localized, small-scale but intense theatres of operation, he described what he called the “three block war” in which the Marines could be involved in conventional fire-fights, peacekeeping operations and humanitarian aid, all conduced in a geographical area no bigger than three city blocks and undertaken either sequentially or, more challengingly, simultaneously and in an environment in which hostile, friendly & neutral forces are intermeshed.  The reference to the “three city blocks” was included for didactic purposes to illustrate his point that the training of military personnel needed to be refined better to encompass those required to make independent decisions, including the non-commissioned officers (NCOs) & junior officers actually commanding small numbers of troops on the ground.  Just as the term “three blocks” wasn’t a literal limitation but a way of illustrating a change of mindset from the traditional focus on divisional & brigade level deployment, the phrase “strategic corporal” was chosen because in the military that is the lowest rank at which a soldier is in command of others and thus in a position to make decisions which could have some strategic significance.  Typically, a “strategic corporal” might be a lieutenant who in modern warfare, must be trained to make major decisions without the benefit of direction from the chain of command.

The concept has been influential in many militaries and has been compared with the idea of the “man on the ground” doctrine which emerged in the nineteenth century when the early technologies of long-distance communication meant that for the first time it was practical for military commanders in remote locations to seek and receive instructions from perhaps thousands of miles away.  It would however be decades before those interactions habitually became real-time so the idea of the “strategic corporal” would not then have been unfamiliar and there was an at least tacit acknowledgement that the man on the ground would often be the one making critical decisions rather than anyone in the high command or even the headquarters staff in theatre.  This could of course mean a bad decision could theoretically trigger a war but as "the Fashoda Incident" (1898 and the retrospective re-naming of what was at the time in Paris and London thought of as “the Fashoda Crisis”) illustrated, the man on the ground having the necessary background and training to make a decision based on factors beyond what was militarily possible could have far-reaching consequences.

So the idea of the strategic corporal is that training in such matters needs to extend to the layers of command where such decisions need to be made, not to the point at which formerly they’re delegated or devolved.  In a sense that of course is a mere recognition of reality but the elevation of the concept into a doctrine has been criticized as becoming “mythologized within the military culture [and] forever associated with negative consequences”, the result of the ultimate responsibility for decisions being seen through legal filters, leaders now too “…concerned with the perceived risk..” and as a means to manage that “…senior leaders have elevated decision authorities far away from anyone but themselves”.

Military analysts have noted that military operations conducted in the Gaza Strip provide the perfect example of a “three block war”, one that has the potential to unfold as a series of “three block” theatres.  In these urban environments in which a civilian population co-exists still in high-density with paramilitary forces and irregular combatants, decisions taken by a soldier in direct command of fewer than a dozen troops in the invading army can have a strategic significance well beyond the particular three blocks in which they’re operating.  Complicating this is the suspicion expressed by some that a high civilian death-toll is actually an outcome desired by the Hamas (Hamas the acronym of the Arabic  حركة المقاومة الإسلامية (Ḥarakah al-Muqāwamah al-ʾIslāmiyyah) (Islamic Resistance Movement); HMS glossed in the Hamas Covenant (1998) by the Arabic word ḥamās (حماس) (which translates variously as “strength”, “zeal” or “bravery”)).  The evidence to support this is strong in that the nature of the attack staged by the Hamas on Israeli civilians on 7 October 2023 was of such a nature that retaliation by the Israeli Defence Force (IDF) would be bound to result in civilian causalities in Gaza; there are not effective alternative military tactics available, the choices being only to retaliate or not.

The idea used by Hamas is not new.  In 1942, the Czechoslovak government-in-exile (which in 1940 had shifted from Paris to London), had become especially disturbed by the success SS-Obergruppenführer (general) Reinhard Heydrich (1904–1942; head of the Reich Security Main Office 1939-1942) was enjoying as Deputy Protector of Bohemia and Moravia, a role in which he was effectively the Nazi’s “governor of Czechoslovak”.  Using the Nazi’s tradition method of governing conquered territories by “carrot & stick” Heydrich had not spared the stick early in his administration (1941-1942) but been remarkably successful with the inducements he offered and had achieved an unexpectedly high degree of cooperation with the local population.  With little signs of an effective resistance movement operating, the government in exile took the decision, in cooperation with the British Special Operations Executive (SOE), to send an assassination squad to Prague, knowing full well the retribution against the population would be severe but the object was to use that to stimulate local resistance.  More than a thousand Czechs were killed in revenge for Heydrich’s death.

So in the awful business of war, civilian deaths can be thought of as useful political devices, something which in Islamic theology is regarded as the noble sacrifice of martyrdom.  The Hamas, having concluded (not unreasonably) that 75 years on, the leaders of many Arab states had tired of the Palestinian “problem” and were moving on, regarding the Jewish state as a permanent part of the region’s political geography with the advantages of détente greater than those of conflict, needed to be back on the agenda.  The Hamas understand a resort to diplomacy is unlikely much to influence the Arab rulers but the spilling of Muslim blood at the hands of the IDF will bring protest to the streets in the region and beyond.  This of course makes inevitable that when the strategic corporals proceed, however cautiously, through the rubble of Gaza’s blocks, they’ll be encouraged by their opponents to make decisions and these decisions can have consequences which ripple far and perhaps for a generation.  What one strategic corporal decides to do really does matter.  By comparison, most of the statements and resolutions, issued or passed by politicians, ex-politicians and other worthies around the planet will be noted with equal interest by those in Tel Aviv, the Hamas to the south, the Hezbollah to the north, the ayatollahs to the east and the fish to the west.

Corporal and Spiritual Works of Mercy

The Bible reduces the New Testament’s conception of mercy to seven practical (corporal) and seven spiritual (contemplative) acts, each said to be a virtue influencing one's will to have compassion for, and, if possible, ameliorate another's misfortune.  Italian Dominican friar & philosopher Saint Thomas Aquinas (1225–1274) thought that although mercy is, as it were, the spontaneous product of charity, it must be thought a special virtue adequately distinguishable from its effects.  Later theologians noted its motive is the misery which one discerns in another, particularly in so far as this condition is deemed to be, in some sense at least, involuntary but even if not, the necessity is to offer succor of either body or soul.

Corporal works of mercy

To feed the hungry
To give drink to the thirsty
To clothe the naked
To harbor the harborless
To visit the sick
To ransom the captive
To bury the dead

Spiritual works of mercy

To instruct the ignorant
To admonish sinners
To bear wrongs patiently
To forgive offences willingly
To comfort the afflicted
To pray for the living and the dead
To counsel the doubtful

The Gospel of Matthew (Matthew 25:34-41) makes clear those who offer mercy “…are righteous and their souls will be granted eternal life…” whereas those who do not “…shall be cursed, cast into everlasting fire and given over to the devil.”

34 Then shall the King say unto them on his right hand, Come, ye blessed of my Father, inherit the kingdom prepared for you from the foundation of the world:

35 For I was an hungred, and ye gave me meat: I was thirsty, and ye gave me drink: I was a stranger, and ye took me in:

36 Naked, and ye clothed me: I was sick, and ye visited me: I was in prison, and ye came unto me.

***

41 Then shall he say also unto them on the left hand, Depart from me, ye cursed, into everlasting fire, prepared for the devil and his angels:

42 For I was an hungred, and ye gave me no meat: I was thirsty, and ye gave me no drink:

43 I was a stranger, and ye took me not in: naked, and ye clothed me not: sick, and in prison, and ye visited me not.

46 And these shall go away into everlasting punishment: but the righteous into life eternal.

Tony Abbott (b 1957; Australian prime-minister 2013-2015) visited Cardinal George Pell (1941-2023) in prison (a corporal work of mercy).  In this act, come Judgement Day, he will be found to have acted righteously.

Pope Francis (b 1936; pope since 2013) didn't visit Cardinal Pell in prison but did remember him in his prayers (a spiritual work of mercy).  In this act, come Judgement Day, he will be found to have acted righteously.  Within the Roman Curia (a place of Masonic-like plotting & intrigue and much low skulduggery), Cardinal Pell's nickname was “Pell Pot”, an allusion to Pol Pot (1925–1998, dictator of communist Cambodia 1976-1979) who announced the start of his regime was “Year Zero” and all existing culture and tradition must completely be destroyed and replaced.

Lindsay Lohan 6126 wool blend military coat in black.

Military uniforms have long influenced fashion and in the 1960s, the counter culture adopted them with some sense of irony.  Camouflage patterns have always been popular but the dress uniforms are also used as a model, the insignia, sometimes in elaborated form added as embellishments.  The insignia of a corporal is a two-bar chevron, depicted variously upwards or downwards, depending on the service.

Deipnosophist

Deipnosophist (pronounced dahyp-nos-uh-fist)

Someone noted for their sparkling dinner-table conversation.

1650–1660: From the Ancient Greek Δειπνοσοφισταί (Deipnosophistaí), the title of a literary work in fifteen volumes (translated usually as something like “philosophers at their dinner table”) by the third century scholar Athenaeus of Naucratis, describing learned discussions at a banquet, the construct being δειπνο- (deipno-) (meal) + σοφιστής (sophistḗs).  The plural of sophistḗs was sophistaí and the sense used by Athenaeus was one of “wise men knowledgeable in matters of art & science”.  The now obsolete alternative spelling was dipnosophist.  Deipnosophist, deipnosophistry & deipnosophy are nouns; the noun plural is diepnosophists.  Tempting though they are, forms such as deipnosophistically and deipnosophising are non-standard.

Deipnosophistry in practice: Lindsay Lohan at the Fox News table, White House Correspondents' Association annual dinner, Washington DC, 2012.  At the annual event, there is much table talk.

Scholars of Antiquity regard the Deipnosophistaí as a conceptual work encompassing the aspects of life most interesting to the elites of society and these included matters of gastronomy, philosophy, music, literature, women and fine points of grammar.  Structurally, the approach of Athenaeus would have been familiar to twentieth century modernists, the fifteen volumes absorbed by an account of the discussions which transpired during a banquet given by a rich man and attended by two-dozen of those he thought possessed knowledge and conversational skills sufficiently sparkling to be worthy of an invitation; “chaps with some background” as it were.  As a literary (and didactic) technique, this approach was known from Plato’s (circa 427-348 BC) Dialogues but the Deipnosophistaí is a sprawling work and the author made no attempt to disguise the use of the format as a device to explore an extraordinary range of ideas and concepts; he did not claim to be writing a transcript.  Because a substantial part of the text was devoted to the cooking and serving of fine food, in the seventeenth & eighteenth centuries, the noun deipnosophist was used also as learned synonym of gourmand and not always in a complimentary way, the English viewing ornate, stylized food as “something continental” and therefore suspicious and the word “sophist” was similarly suspect, used often in the pejorative sense of someone “silver tongued” rather than simple and sincere.

So the Deipnosophistaí was a kind of idealized conversation of the kind only something scripted (and thus artificial) can be.  However, even the most reliable of verbatim transcripts erroneously can convey the impression that what’s been recorded are the words of a deipnosophist because even if annotated, much is missed: the pauses, the volume, the inflections and changes in tone of the voice and perhaps especially the little variations which mean a passage of conversations could have been delivered with confidence of diffidence.  The case study is the distance between conversational reality and the impression which can be left when published in transcript is Tischgespräche im Führerhauptquartier (Hitler's Table Talk), a series of what were presented as monologues delivered by Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) between 1941-1944, mostly over the dinners held in the two Führerhauptquartiere (Führer Headquarters), the Wolfsschanze (Wolf's Lair) in what was then East Prussia (present-day Poland) and Werwolf (Werewolf) in the Ukraine.  Because of Hitler’s pattern of life (which became more extreme as the military situation deteriorated), the dinners could be held at any hour and not infrequently extended to the early morning.

Published in several languages between 1953-1954, the transcripts have extensively been studied and while the consensus has always been that while there’s no evidence of any great inaccuracy in terms of what was said (except for some of the material about Christianity which does appear to have been somewhat “embellished” by Martin Bormann (1900–1945; Hitler’s secretary 1941-1945) who hated the churches and the Jews with almost equal vehemence), just about all historians have observed that based on the reports of those who were actually at these meals and listened, a casual reader would gain entirely the wrong impression.  For one thing, what is missing is the repetition.  Hitler had a number of what were really set-piece speeches which for some twenty years he returned to on these occasions, the topics including vegetarianism, his dislike of smoking, the making of artificial honey, the relative merits of various styles of architecture and the history of opera.  For occasional visitors or someone new, the experience of listening to these banalities may have been pleasant enough but many of the regulars interviewed after the war recounted their boredom at the repetition, something noted especially by the military and secretarial staff who listened to the “script” dozens or even hundreds of times; many knew the words off by heart.  So a deipnosophist can’t be judged by words alone, even if recorded verbatim and nor is an audio tape of necessity any better because obviously the visual clues which lend so much to meaning are lost.

Parabola

Parabola (pronounced puh-rab-uh-luh)

(1) In geometry, a plane curve formed by the intersection of a right circular cone with a plane parallel to a generator of the cone; the set of points in a plane that are equidistant from a fixed line and a fixed point in the same plane or in a parallel plane. Equation: y2 = 2px or x2 = 2py.

(2) In rhetoric, the explicit drawing of a parallel between two essentially dissimilar things, especially with a moral or didactic purpose; a parable.

1570s: From the Modern Latin parabola, from the Late Greek παραβολή (parabolḗ) (a comparison; a setting alongside; parable (literally "a throwing beside" hence "a juxtaposition") so called by Apollonius of Perga circa 210 BC because it is produced by "application" of a given area to a given straight line.  The Greek parabolḗ was derived from παραβάλλω (parabállō) (I set side by side”), from παρά (pará) (beside) + βάλλω (bállō) (I throw); a doublet of parable, parole, and palaver.  It had a different sense in Pythagorean geometry.  The adjectival form parabolic (figurative, allegorical, of or pertaining to a parable) from the Medieval Latin parabolicus from the Late Greek parabolikos (figurative) from parabolē (comparison) is now probably the most widely used.  In geometry, in the sense of “pertaining to a parabola”, it’s been in use since 1702.  A parabola is a curve formed by the set of points in a plane that are all equally distant from both a given line (called the directrix) and a given point (called the focus) that is not on the line.  It’s best visualised as a shape consisting of a single bend and two lines going off to an infinite distance.

Monza

On the Monza banking: Maserati 250F (left), Ferrari F555 Supersqualo (centre) & Vanwall VW2 (right).

The Autodromo Nazionale di Monza (National Automobile Racetrack of Monza) is now the fastest circuit still used in Formula One, the highest recorded speed the 231.5 mph (372.6 km/h) attained during qualifying for the 2005 Italian Grand Prix by a McLaren-Mercedes MP4-20 (in qualifying trim) on the long straight between the Lesmo corners and the Variante del Rettifilo.  Built in 1922, the Italian Grand Prix has been held there every year since 1949 except in 1980 when the track was being modernised and it’s a wonder the track has survived the attention of the Fédération Internationale de l'Automobile (the FIA; the International Automobile Federation).  Once an admirable body, the FIA has in recent decades degenerated into international sport’s dopiest regulatory body and has for some yers attempted to make motorsport as slow, quiet and processional as possible, issues like DEI (diversity, equity and inclusion) now apparently more important than quality of racing.  Set in the Royal Villa of Monza park and surrounded by forest, the complex is configured as three tracks: the 3.6 mile (5.8 kilometre) Grand Prix track, the 1.5 mile (2.4 kilometre) short circuit and the 2.6 mile (4.3 kilometre) high speed oval track with its famous steep bankings which was unused for decades left to fall into disrepair before it was restored in the 2010s.  The major features of the main Grand Prix track include the Curva Grande, the Curva di Lesmo, the Variante Ascari and the famous Curva Parabolica.

On the parabolica: 1966 Italian Grand Prix.

The Curva Parabolica (universally known as “the parabolica”) is the circuit’s signature corner, an increasing radius, long right-hand turn and the final corner before the main straight so the speed one can attain on the straight is determined essentially by the exit speed from the the parabolica; a perfect execution is thus essential for a quick lap.  Although in motorsport it’s common to discuss the lengths of straights, one notable statistic is that even at close to 150 mph (200 km/h) speed with with the fastest cars take the curve, to transit the the parabolica takes just over 7.6 seconds.  Improvements to both the cars and the circuit means it’s now a less dangerous place but many drivers have died in accidents at Monza, some on or approaching the parabolica including Wolfgang (Taffy) von Trips (1928–1961) and Jochen Rindt (1942-1970).  In 2021, the Monza authorities announced the parabolica officially would be renamed “Curva in honor of former Ferrari factory driver Michele Alboreto (1956-2001) who to date remains the last Italian driver to win a Formula One Grand Prix for Scuderia Ferrari.  It’s likely most will still refer to the curve as “the parabolica”.

The Monza circuit in its configuration for the 1955 Italian Grand Prix (left) and a Mercedes-Benz W196R (streamliner) exiting the parabolica ahead of two W196Rs in conventional open-wheel configuration.  The 1955 Italian Grand Prix was the seventh and final round of the World Championship of Drivers, the French, German, Swiss and Spanish events all cancelled in the aftermath of the disaster at Le Mans.  It was the fourth and last appearance of the Mercedes-Benz W196R streamliners which, after some bad experiences on the relatively tight Silverstone circuit, were restricted to the fast, open tracks.  Mercedes-Benz also withdrew from top-level competition after 1955 and, as a constructor, it would be half a century before they returned to Grand Prix racing.

The parabolic arc: A wheel drops off a Boeing Dreamlifter on take-off, describing a a classic parabolic arc.  The Boeing 747-400 Large Cargo Freighters (LCF) were created using a modified 747-400 airline frame and were most associated with their use carrying Boeing 787 Dreamliner parts between the US, Italy & Japan.  It was an unusual configuration in that it was required to carry components which while large, weren't particularly heavy.

Aesthete

Aesthete (pronounced es-theet or ees-theet (especially British))

(1) A person who has or professes to have refined sensitivity toward the beauties of art or nature.

(2) A person who affects great love of art, music, poetry, etc and indifference to practical matters.

1880–1885: From the Ancient Greek αἰσθητής (aisthētḗs) (one who perceives), the construct being aisthē- (variant stem of aisthánesthai (to perceive)) + -tēs (the Greek noun suffix denoting agent).  It was a Victorian back formation from aesthetics, from either the German Ästhetik or the French esthétique, both from Ancient Greek αἰσθητικός (aisthētikós) (of sense perception), from αἰσθάνομαι (aisthánomai) (I feel).  There is probably no exact synonym, the closet being connoisseur but it conveys a slightly different implication and the derived noun hyperaesthete is used sometimes as a term of derision directed at the excessively civilized.  The rarely used alternative spellings esthete & æsthete are now used only as literary devices and are otherwise obsolete.  Aesthete is a noun and aesthetic is a noun & adjective; the noun plural is aesthetes.

Aestheticism

View of Amalfi (1844), pencil, ink & water colour by noted aesthete John Ruskin (1819-1900).

Aestheticism was a nineteenth century movement in European art now best remembered for the doctrine that art exists for the sake of its beauty alone, with no need for it to serve any political, didactic or other purpose.  The modern expression most associated with the movement is l’art pour l’art (art for art’s sake).  The movement is held to have been a reaction to the prevailing utilitarian social philosophies and what was said to be the ugliness of the industrial age and the philistinism of the newly prominent mercantile class.   Its philosophical framework was built in the eighteenth century by German philosopher Immanuel Kant (1724–1804) who argued for the autonomy of aesthetic standards, set apart from considerations of morality, utility or pleasure.  The idea attracted many including Goethe (Johann Wolfgang von Goethe (1749–1832), Samuel Taylor Coleridge (1772–1834) and Thomas Carlyle (1795–1881) and it was the French philosopher Victor Cousin (1792–1867) who, in 1818, coined the phrase l’art pour l’art.  It was at the time controversial.  The establishment regarded art and literature as part of the ethical and social construct, something certainly challenged by what seemed a decadent display of sensuality and a flaunting of sexual and political experimentation.  The phrase art for art’s sake became identified with the energy and creativity of aestheticism but was adopted also by those who feared the implications of a decoupling of art and morality: that the dangerous ideas of art could infect politics and challenge the social order.

Aesthete is now rare and the more familiar related form is the noun & adjective aesthetic (1) concerned with beauty, artistic effect, or appearance; appealing to one's sense of beauty or art & (2) the study of art or beauty; that which appeals to the senses; the artistic motifs defining a collection of things.

Epoch

Epoch (pronounced ep-uhk or ee-pok)

(1) A particular period of time marked by distinctive features, events etc.

(2) The beginning of a distinctive period in the history of anything.

(3) A point in time distinguished by a particular event or state of affairs; a memorable date.

(4) In geology, any of several divisions of a geologic period during which a geologic series is formed (much associated with rock formation).  An epoch (the shortest division of geologic time) is a sub-division of a period.  As a geochronologic unit, an epoch can range between hundreds of thousands to millions of years.

(5) In astronomy, an arbitrarily fixed instant of time or date, usually the beginning of a century or half century, used as a reference in giving the elements (such as coordinates of a planetary orbit) relating to a celestial body.

(6) In astronomy, the mean longitude of a planet as seen from the sun at such an instant or date.

(7) In chronology, astronomy & computing, a specific instant in time, chosen as the point of reference or zero value of a system that involves identifying instants of time.

(8) In physics, the displacement from zero at zero time of a body undergoing simple harmonic motion (the displacement of an oscillating or vibrating body at zero time).

(9) In AI (artificial intelligence), one complete presentation of the training data set to an iterative machine learning algorithm.

1605-1615: From the Medieval Latin epocha, from the Ancient Greek ἐποχή (epokhḗ) (epochē) (a check, cessation, stop, pause, fixed time, epoch of a star (ie the point at which it seems to halt after reaching the highest, and more generally the place of a star (thus the extension of use to “a historical epoch”))), from ἐπέχω (epékhō, (to hold in, check), the construct being ἐπι- (epi-) (upon) + ἔχω (ékhō) (to have, hold), from the primitive Indo-European root segh- (to hold).  The early seventeenth century adoption in English of epocha was in the sense of “point marking the start of a new period in time” and it was used by scholars and theologians of momentous events in history (the crucifixion of Christ; the Visigoths gathering at the gates of Rome etc).  Less than a decade after epocha had entered the language, the transferred meaning “a period of time” was in use and it entered the jargon of geology in 1802 although the technology then did not permit precise measurements and exploration was then embryonic (what are now understood as dinosaur fossils not so classified until 1824) so most of the early estimates of geological epochs were inaccurate.

Confusingly, “epoch” can be used either to refer to a distinct and defined historic period (ie with an agreed beginning & end) or the event associated with the beginning of that period.  The latter concept is best understood in the adjectival forms “epoch-making” and “epochful”.  Subepoch is a technical term from geology, used as a geochronologic unit comprising one or more ages, being a period of generally agreed significance within an epoch.  The companion superepoch (two or more sequential epochs references as one for illustrative or didactic purposes is non-standard.  In statistical analysis, sub_epoch, base-epoch, super_epoch & primary_epoch exist as commands in aspects of database handling and manipulation, the link being the use of “datum” as epoch’s coordinate term in cartography and engineering.  The alternative form epocha was in use between the seventeenth & nineteenth centuries.  Epoch is a noun & verb, epochful, epocjless & epochal are adjectives and epochally is an adverb; the noun plural is epochs.

Bal du moulin de la Galette (Dance at Le Moulin de la Galette, 1876), oil on canvas by Pierre-Auguste Renoir (1841–1919), Musée d'Orsay, Paris

The Belle Époque (appearing in texts often as La Belle Époque with capitalization not always used) was a period in European history characterized by peace, progress, cultural refinement and artistic innovation; the term was an adoption of the French La Belle Époque (literally “the beautiful era” and best understood as “the golden age”).  Historians date the start of the Belle Époque from the end of the Franco-Prussian War (1970-1871) although, “on the ground” it likely wasn’t so clear-cut because the impositions of war reparations made the first few post-war years “difficult” in France so “mid-1870s” may be a better point of origin.  The Belle Époque lasted until the blast of World War I (1914-1918) destroyed the continent’s sense of optimism and ended an era characterized by what might now be call an “end of history” feeling that held things like wars, famines and plagues were in the past and the future would be one of progress and improvement.

Art Nouveau.

An advertisement (1899) for Moët & Chandon's champagnes, designed by Czech painter & graphic artist Alphonse Mucha (1860–1939):  “White Star” champagne (left) & “Grand Crémant Imperial” (right).  The product is very much a period piece, Art Nouveau characterized by swirling shapes, stylized representations of women and intricate floral motifs.  For those with enough disposable income, La Belle Époque must have been an amusing time to live.  The “modern industrial” sense later summoned by the straight, sharp and geometric lines of Art Deco was a deliberate rejection of Art Nouveau's intricate, hand-crafted aesthetic yet in Art Deco the influence of the earlier style often is apparent.  Although by the 1920s unfashionable and in the inter-war years casually dismissed by many critics and historians, Art Nouveau's popular appeal never went away.  While there was never really a “revival”, the style's motifs remained a staple of commercial graphic art and the various “nostalgia movements” before being “cherry picked” by pop art, psychedelia and postmodernists.   

Those 40-odd years of what came to be called La Belle Époque were not without conflict or economic disruptions and it must be remembered Europe’s “golden age” was one of untroubled pleasure only for a select few, most of the population living lives of hard labor and drudgery, many on a variation of the Hobbesian (the very clever and deliciously wicked English philosopher Thomas Hobbes (1588-1679)) path: “nasty, crowded, brutish and short”.  La Belle Époque is a selective construct of the era’s intellectual and aesthetic landmarks in art, literature and architecture, characterized by opulence, eclecticism and an undeniable dynamism from which emerged movements such as Futurism, Cubism and Art Nouveau.  Viewed from our troubled times, the Belle Époque exists in a warm nostalgic glow and it’s telling the term first gained popularity in France during the 1930s, the decade of the Great Depression.  Even then, La Belle Époque was still in living memory but because it became mythologised as a “golden age”, it was as myth it passed into history.

Lindsay Lohan entering her fifth decade.  Her five eras thus far may loosely be labelled: (1) child star, (2) troubled Hollywood starlet, (3) nemesis, (4) reinvention and (5) redemption.

Signed to the Ford agency, Lindsay Lohan secured her first modelling gig aged three but what’s understood as the “Lindsay Lohan era” ran for the decade after the release of Mean Girls (2004).  It was characterized by her low-speed car crashes, court appearances and becoming a staple of the tabloid press and lower reaches of the glossy magazine industry, a reasonable contribution to GDP (gross domestic product), providing predictable cash flow for paparazzi on both sides of the Atlantic.  Improbable as it once seemed, she proved a survivor in the churn of the industry's destructive “child star” machine and on 2 July, 2026 celebrated her 40^th birthday.  That happened during the 23^rd FIFA (Fédération Internationale de Football Association (the International Federation of Association Football which, for historic reasons, recognizes more countries than the UN (United Nations)) World Cup and, on the day, playing at the Bay Area Stadium in Santa Clara, San Francisco, USA beat Bosnia-Herzegovina 2-0 so that was a good birthday present.  

Geologyin's illustration of the concept of geological epochs.

In scientific usage there is precision, the ICS (International Commission on Stratigraphy) codifying a strict hierarchy on the discipline of geology, the structure being Eon → Era → Period → Epoch → Age.  However, in ordinary English discourse (and even in the work of professional scholars and historians) there is no fixed hierarchy in that an age may be longer than an era and an era may be longer than an epoch; unless following established conventions, writers can opt for whichever word best conveys the intended nuance, a choice that can be influenced by the search for rhetorical effect or the rhythm of the narrative.  So, in the way of English, there are no “rules” but, as a general principle, (1) Age = “known for...”, (2) Era = “lasting period of...” and (3) Epoch = “a period with a turning point that defined its nature.”  The overlaps in use don’t usually cause confusion but among the fastidious there are acknowledged nuances and accepted conventions of use:

(1) An epoch is a distinct period marked by particular characteristics or events, thus the use in geology where defining changes or sets of conditions can be established by scientific techniques such as chemical analysis or radiocarbon dating.  In non-scientific use, because of the etymological lineage, an epoch typically begins with some sort of event thought a turning point or watershed and this can be an organic development with no exact fixed date (the Industrial Revolution) or something decidedly exact (the epoch of the computer operating system Unix is defined as 00:00:00 UTC, 1 January 1970 although this was not first set precisely then).

(2) An age is a period with a specific, dominant association.  That might be a technology (bronze age; oil age; jet age etc), a characteristic (age of empires; age of European colonialism etc) or an individual (Napoleonic age; Elizabethan Age etc).  Unlike the epochs of geologists and astronomers, “ages” can run in parallel or overlap.  While some are sequential such as the “Three Age System” (Stone Age; Bronze Age; Iron Age) tracking the evolution of humanity's tools and metalworking capabilities between prehistory and Antiquity, others can co-exist such as the Age of Sail & Age of Enlightenment.  Because of the nature of the word and historic pattern of use, of the three, “age” is the most flexible and adaptable because it’s merely associative, not exclusive and often with no precise chronology.

(3) An era is a period (by human standards usually but not necessarily long) with origins at a certain point (usually an event) and characterized by an enduring pattern; eras tend to be major historical phases or systems (the Nazi era; the analogue era etc).  Generally “era” is used to denote something coherent (though it need not be long); a stretch of history with a recognizable character, a beginning and an end.  That can reference the life of an individual (Queen Victoria lent her name to the “Victorian era” 1837-1901), several individuals (there were four Kings of England named George whose collective reign defined the “Georgian era” 1714-1830) or a specific closed-time set (the “inter war era”: 1918-1939).

Eras tour merchandise.  Canvas tapestry featuring photographs from Taylor Swift’s The Eras Tour, cotton canvas, 800 mm (31½ inches) x 1220 mm (48 inches).

Taylor Swift’s “Eras” project tends to be thought of as a concert tour but it’s better imagined as pop culture’s greatest ever exercise in vertical integration, a merging of music (audio streaming, packaged (in multiples in the case of the vinyl releases) & live performance), video content, merchandise ranging from framed posters, a “limited edition” book, a film with concert footage, outfits emulating those worn on stage, jewellery, hoodies, pillows, stainless steel tumblers and more.  Although there has in recent years been a bit of mission creep, the idea of a canvas tapestry as a piece of tour merchandise in the pop music business would, until recently, likely have occurred to few.  Commerce has moved on from a half-century earlier when, at a Led Zeppelin concert, one might be able to buy a Tee-shirt (in S, M, L & XL), maybe with a choice of black or white (black quickly selling out).

Ms Swift is good with words and for the “Eras” project may have pondered using “Ages” or “Epochs”.  Given the accepted conventions (Age = “known for...”, Era = “lasting period of...” and Epoch = “a period with a turning point that defined its nature.”) and the concept of the “Eras” project, a convincing case could have been made for “Ages” because each subset was thematically distinct while the use of “Epochs” would have worked because the word is understood as a “period of time with a beginning and end” but linking each with a single “triggering event” might have descended to abstractions so “Eras” seems the best choice.  Certainly it’s unlikely she long considered using “Periods”; although etymologically defensible, it would have been decarded on much the same basis as that of the publishers of the magazine Australian Women’s Weekly who, upon in 1983 switching to issuing monthly editions, opted not to change the title to “Women’s Monthly”.

There is of course a vagueness associated with the definitions because not all “eras” and “ages” have as convenient bookends the end of one war and the start of another; that’s why context can matter.  In speaking of the time after World War II (1939-1945), “post-war era” is a common term but the meaning can vary depending on what’s being discussed.  It’d be absurd to speak of 2026 as being in the “post-war” era (although in a sense that’s true) so meaning must be gleaned from context.  The two decade period 1918-1939 came to be called both the “inter-war” and “pre-war” era (although many tend to restrict the latter to a start-point in the mid-1930s) and in much historiography there's sometimes the suggestion the “post-war” era can usefully be said to have ended some 20 years hence; that’s about 1965 so conveniently (1) in the new era of the High Cold War, (2) about the length of a then typical “generation” and (3) in the 1960s, a very different era.  So it can be inexact and some with a focus on political economy fix the end date on exactly 17 October 1973, the day OAPEC (Organization of Arab Petroleum Exporting Countries) proclaimed an oil embargo targeting the US and other states providing military aid to Israel during the 1973 Yom Kippur War.  At that point, the West’s long post-war boom, although already stuttering, ended.  In a similar vein, although also very much a Western-centric view, some historians have argued the nineteenth century is best imagined as a construct running from the close of the Congress of Vienna (1814-1815) to the outbreak of World War I (1914-1918).  There’s much support for that although there are different views about the conceptual view of the twentieth century. While 1914 seems a logical starting-point, candidates for the end date include 1989 (fall of the Berlin Wall (1961-1989)), 1991 (dissolution of the Soviet Union (1922-1911)) and the 9/11 terrorist strikes in 2001.

Taylor Swift Style: Fashion through the eras.

Between March 2023 and December 2024, Taylor Swift’s “Eras” tour took in 149 shows in 51 cities over five continents; each performance ran for a remarkable 3½ hours and there was a mid-tour revision of the song set to interpolate material The Tortured Poets Department (2024), her eleventh studio album.  The “Eras” title was an allusion to the show’s format, a retrospective in which each of her albums was designated as a “musical era”, the many outfits worn tied to those themes and just as each song and each performance was a product, so could be each outfit, some available on-line for purchase by devoted Swifties.  So, as set piece events go, Ms Swift set a high bar and, on revenues in excess of US$2 billion, profits were high and continue to grow.

Even when there are precise start and end dates, things can at the margin become blurred.  Pedants enjoy pointing out the 1960s began on 1 January 1961 so an expression like “the 1960s” ends on 31 December 1969 but the decade in which most of those years existed actually includes 1970, a quirk which extends also to centuries and millennia, something ultimately a product of there being no year zero in the calendar now defining BCE (before Common Era) and CE (Common Era) (the pair the secular version of BC (Before Christ) and AD (from the Latin Anno Domini (in the year of the Lord)), all based on the (nominal) birth date of Jesus Christ.  “Ages” and “eras” can at once be “exact” and “indicative”.  Many of the civilizations of antiquity all had their so-called “golden ages” and these tended to be associated with particular dynasties or reigns.  The examples are many and are cross-cultural, including the Gupta Empire in India (mid-third to mid-sixth century AD) founded by Mahārāja Śrī-Gupta, the Tang dynasty (626-684) & the reign of Tae-tsong (618-626) in China and, in Egypt, the reigns of Sethos I and Ram'eses II (1336-1224 BC).  In the West, the use of “golden ages” is legion including in Russia during the rule of Czar Peter the Great (1672-1725) (memorable because the Russian people have not enjoyed many “golden ages”) and, of course, in England, the “Elizabethan age”, referencing the reign of Elizabeth I (1533–1603; Queen of England & Ireland 1558-1603).  However, at the granular level, the idea of the term “Elizabethan age” denoting a “golden age” in literature was contested by the English writer, literary scholar and Anglican lay theologian C. S. Lewis (1898–1963) who, in his Introduction to English Literature in the Sixteenth Century (1654), distinguished the “estimable” literature of the later Elizabethan period from what he called that of the earlier “drab age”.  Lewis found drabness in the poetry and prose of the later medieval period up to the early Renaissance, distinguishing it from the “golden era style” between circa 1580-1603.  Lewis was an uncompromising critic but while most in the profession may well agree much that was written in the fifteenth century and early Tudor period was “drab”, among those published in the period were Sir Thomas Wyatt (1503-1542) and John Skelton (circa 1460-1529); their writing was not beyond criticism but the works were hardly drab.

Sarah Chapelle's (b 1992) Swiftie site documenting looks from The Eras tour: Fearless v6 (worn 18 October, 2024, far left), Midnights v5 (worn 16 August, 2024, centre left), 1989 v2 (worn 19 March, 2023, centre right) and Reputation v1 (worn 18 March, 2023, far right).  Some outfits can be purchased on-line but buyers should note they should not expect their appearance exactly to emulate what's “on the tin”.  

Simulacrum describes an image that while not purely realistic, maintains enough of a likeness for the subject to be recognizable.  In some jurisdictions it can be deemed “deceptive and misleading” if a product is represented in manner judged to be a “deliberate misrepresentation” intended to induce a purchase.  Legal recourse is available but is practical only if enough money is involved (such as real estate); although in theory someone purchasing a McDonalds Big Mac after being tempted by the image in the advertising might have grounds for an action, a claim of under $US10 would not impress a judge and even a class action would, on several grounds, be thrown out.  Presumably a disgruntled consumer could lodge a claim for the “pain & suffering” caused by one's Big Mac not looking as attractive as the one in the advertising but that'd likely anger the judge still more.  The classic simulacrums were the stylish images rendered in the 1960s by Art Fitzpatrick (1919–2015) & Van Kaufman (1918-1995) for GM’s (General Motors) PMD (Pontiac Motor Division) and those of Ms Swift in the Eras Tour outfits are in the same “mannerist but not quite surrealist” tradition.  Although obviously “unrealistic”, these depictions are not “deceptive and misleading” because they’re so obviously simulacral and exist only as devices, the extent of the licence taken illustrated by them appearing next to a flesh & blood Ms Swift in the same outfit.  They are “impossible” rather than “idealized”.

Super simulacrum: The Colossus of Rhodes (circa 1560), hand-colored by Dutch portrait and religious painter Maarten van Heemskerck (1498–1574) on an engraving by Dutch publisher & designer Philip Galle (1537–1612).

The Colossus of Rhodes was one of the Seven Wonders of the Ancient World and although it stood for barely half a century before being felled by an earthquake, it's ruins lying for almost a millennium as a kind of tourist attraction before the metal was carted of as scrap to be melted-down an re-cycled.  The notion the statue's legs straddled the entrance to Rhodes Harbor with tall-masted ships passing between them was wholly fanciful; even with modern materials and techniques, such a construction would be impossible.  The engineers and architects of the sixteenth century would of course have known it couldn't be done but such was the allure of the era of Classical Antiquity that brilliant myths seduced the public imagination better than tiresome facts.

Other “era-related” terminology also often used interchangeably relates to that long span of history between the fall of the Western Roman Empire (476 AD) and the dawn of the Renaissance in the late fourteenth century: (1) Middle Ages, (2) Dark Ages and (3) Medieval.  “Middle Ages” is the most obviously descriptive because it refers to the period between the dying gasps of Classical Antiquity and the cultural & artistic revival of the Renaissance while Medieval simply means “relating to the Middle Ages” (although by virtue of association and use, it came to be used also as a slur).  As general principle, historians tend to divide the Middle Ages into (1) Early (476-circa 1000), (2) High (circa 1000-circa 1300) and (3) Late (circa 1300-circa 1500).  “Dark Ages” reflected the prejudices of fifteenth century writers who regarded the earlier Middle Ages (476-circa 1000) as a period of stagnation, lack of progress and “intellectual darkness”, a stark contrast to the idealized vision of Classical Antiquity they constructed from what evidence there was, “filling in the gaps” with imaginations as famously vivid as any of the Medieval scribes and artists responsible for some fabulous beasts.  The Seven Wonders of of the Ancient World” they found especially compelling, some of their speculative depictions of the Colossus of Rhodes and the Walls and Hanging Gardens of Babylon such examples of architectural gigantism even Albert Speer (1905–1981; Nazi court architect 1934-1942; Nazi minister of armaments and war production 1942-1945) might have been embarrassed.  Maybe they looked in awe at the scale of Great Pyramid of Giza and assumed all the ancients operated in “think big” mode.

Tony Abbott (b 1957; Prime Minister of Australia 2013-2015) agitprop.

Mr Abbott's combination of relentless negativity and repetition of 3WSs (three word slogans) contributed to his resounding victory in the 2013 general election although, in office, the results were mixed and it ended badly.  Recently revived as the Liberal Party's federal president (the institution's third “Lazerus with a triple bypass” after Sir Robert Menzies (1894–1978; Prime Minister of Australia 1939-1941 & 1949-1966) and John Howard (b 1939; Prime Minister of Australia 1996-2007)), Mr Abbott unquestionably was one of history's most effective leaders of the opposition but as Roy Jenkins (1920–2003) remarked of Lord Randolph Churchill (1849–1895):  “He was essentially a opposition politician and behaved as such even when in government”.  Of such matters, Jenkins was a fair judge.  Although medieval may literally mean “relating to the Middle Ages” and can be used as a neutral adjective (medieval architecture, medieval manuscripts etc), it is also used as a term of derision: “Mr Abbott’s views on certain topics seem distinctly medieval although, to be fair, the thirteenth century probably never produced a finer mind”.  Used in that way, it implies “outdated, harsh or unenlightened”, a throwback to the stereotypes of the Dark Ages but more recent scholarship has cast doubt on whether the “Dark Ages” was a time as culturally sterile and technologically stagnant and was for centuries an orthodoxy among historians.  A view now more popular is the earlier conceptions of the period were formed because of the relative scarcity of written records and although it’s now clear there was progress in agriculture, law, architecture, theology, literature, engineering and state formation, it is true that compared with what came before and what followed, progress often was fitful.  Of note also is there were in the Renaissance and beyond not a few who didn’t count “advances in theology” as progress worth mentioning.