Topics to learn for MAT

United States customary units

Length

unit equal to Metric

1 point (p) 0.4 mm

1 pica (P̸) 12 points 4.2 mm

1 inch (in) 6 picas 2.54 cm

1 foot (ft) 12 inches 3.048 dm

1 yard (yd) 3 feet 0.9144 m

1 mile (mi) 1760 yards 1.609344 km

Area

Unit Equal to Metric

1 square survey foot (sq ft or ft2) 0.9 dm

1 square chain (sq ch or ch2) 4356 sq ft 4 dam

1 acre 10 sq ch 4 hm

1 section 640 acres 2.6 km

1 survey township (twp) 36 sections 93.2 km

Capacity Volume

Unit Equal to Metric

1 cubic inch (cu in) or (in3) 1.6 cl

1 cubic foot (cu ft) or (ft3) 1728 cu in 2.8 dal

1 cubic yard (cu yd) or (yd3) 27 cu ft 0.8 kl

1 acre-foot (acre ft) 1613.333 cu yd 1.2 kl

Liquid Volume

Unit Equal to Metric

1 minim (min) 1 drop 0.1 ml

1 US fluid dram (fl dr) 60 min 3.7 ml

1 teaspoon (tsp) 80 min 4.92892 ml

1 tablespoon (Tbsp) 3 tsp 1.47868 cl

1 US fluid ounce (fl oz) 2 Tbsp 2.95735 cl

1 US shot (jig) 3 Tbsp 4.4 cl

1 US gill (gl) 4 fl oz 1.18294 dl

1 US cup (cp) 2 gi or 2.4 dl

1 (liquid) US pint (pt) 2 cp 4.73176 dl

1 (liquid) US quart (qt) 2 pt 0.946353 l

1 (liquid) US gallon (gal) 4 qt 3.78541 l

1 (liquid) barrel (bbl) 31.5 gal 1.192405 hl

1 oil barrel (bbl) 42 gal 1.58987 hl

1 hogshead 63 gal 2.38481 hl

Dry Volume

Unit Equal to Metric

1 (dry) pint (pt) 0.6 l

1 (dry) quart (qt) 2 pt 1.1 l

1 (dry) gallon (gal) 4 qt 4.4 l

1 peck (pk) 2 gal 0.8 dal

1 bushel (bu) 4 pk 3.5 dal

1 (dry) barrel (bbl) 3.281 bu 1.1 hl

Mass
 Unit Equal to Metric

Avoirdupois

1 grain (gr) 0.6 dg

1 dram (dr) 27 11⁄32 gr 1.8 g

1 ounce (oz) 16 dr 2.83495 dag

1 pound (lb) 16 oz 4.53592 hg

1 US hundredweight (cwt) 100 lb 50.8023 kg

1 long hundredweight 112 lb 50.802345 kg

1 ton (short ton) 20 US cwt 907.185 kg

1 long ton 20 long cwt 1016.047 kg

Troy

1 grain (gr) 6.5 cg

1 pennyweight (dwt) 24 gr 1.55517 g

1 troy ounce (oz t) 20 dwt 3.11035 dag

1 troy pound (lb t) 12 oz t 37.3242 dag

Art facts

Poetry

Structure of poetry

Stanza: series of lines grouped together an separated by an empty line from other stanza

Couplet (2 lines)
Tercet
Quatrain
Cinquain
Sestet
Septet

Form: Lyric Poetry; Narrative Poem; Descriptive Poem

Types of poems:

Ode: Usually a lyric poem of moderate length, with serious subject.

Elegy: It’s a lyric poem that mourns the dead

Sonnet: It’s a lyric poem consisting of 14 lines. 2 kinds the Italian and the Shakespearean

Ballad: It’s a narrative poem has a musical rhythm.

Epic: long narrative poem , about legendary or historical hero.

Sound Patterns:

Rhyme: repetition of similar sounds

Rhythm and Meter

Words sounds

Alliteration: the repetition of initial sounds on the same line or stanza

Assonance: repetition of vowel sounds

Consonance: Repetition of consonant sounds

Onomatopoeia: words that sound like that which they describe

Repetition: repetition of entire lines or phrases to emphasize key thematic ideas

Parallel Structure: a form of repetition where the order of verbs and nouns is repeated.
Figurative/connotative devices:

Simile: is the rhetorical term used to designate the most elementary form of resemblances: most
similes ares introduced by “like” or “as”.

Metaphor: leaves out like or as and implies a direct comparison between objects or situations.

Synecdoche: it’s a form of metaphor, which in mentioning an important part signifies the whole

Symbol: it’s like simile or metaphor with the first term left out.

Allegory: can be defined as a one to one correspondence between a series of abstract ideas and a
series of images or pictures presented in the form of a story or a narrative.

Personification: occurs when you treat abstractions or inanimate objects as humans, giving them
human attributes, powers, feelings.

Irony: takes many forms. Most basically, irony is a figure of speech in which actual intent is
expressed through words that carry the opposite meaning.

Poetry groups and movements

15th century

The makars were a diverse genre of Scottish poets during the Northern Renaissance.

16Th century

The castalian Band is a modern name given to a grouping of Scottish Jacobean poests

 King James VI
 Alexander Montgomerie (c. 1544–1598?)
 Patrick Hume of Polwarth (c. 1550-1609)
 Alexander Hume (c. 1557–1609) the younger brother of Patrick Hume
 William Fowler (1560–1612)
 John Stewart of Baldynneis (c. 1567–1605)
 Thomas Hudson (d. 1605)
 Robert Hudson, brother of Thomas

Aeropagus

Is a proposed society or club dedicated to the reformation of English poetry

17th century

Metaphysical Poets
was characterized by the inventive use of conceits, and by a greater emphasis on the spoken
rather than lyrical quality of their verse

Cavalier

was a school of English poets of the 17th century, that came from the classes that supported
King Charles I during the English Civil War (1642–1651). Charles, a connoisseur of the fine
arts, supported poets who created the art he craved. These poets in turn grouped themselves
with the King and his service, thus becoming Cavalier Poets

Danrin

is a school of haikai poetry founded by the poet Nishiyama Sōin[1][2] (1605 to 1682). The name
literally means 'talkative forest'. It aimed to move away from the serious 'bookishness' popular
in Japanese poetry at the time and to become more in touch with the common people,
therefore infusing a greater spirit of freedom into their poetry.

18th century

it has recurred in various Neoclassical schools since the eighteenth century Augustan poets
such as Alexander Pope

19th century

Pastoralism was originally a Hellenistic form, that romanticized rural subjects to the point of
unreality. Later pastoral poets like William Wordsworth, were inspired by the classical pastoral
poets such as Edmund Spenser, Christopher Marlowe.
The Parnassians were a group of late 19th-century French poets, named after their journal,
the Parnasse contemporain. They included Charles Leconte de Lisle, Théodore de
Banville, Sully-Prudhomme, Paul Verlaine, François Coppée, and José María de Heredia. In
reaction to the looser forms of romantic poetry, they strove for exact and faultless
workmanship, selecting exotic and classical subjects, which they treated with rigidity of form
and emotional detachment.
Romanticism started in late 18th century Western Europe, but existed largely within the
nineteenth. Wordsworth's and Coleridge's 1798 publication of Lyrical Ballads is considered by
some as the first important publication in the movement. Romanticism stressed strong emotion,
imagination, freedom within or even from classical notions of form in art, and the rejection of
established social conventions. It stressed the importance of "nature" in language and
celebrated the achievements of those perceived as heroic individuals and artists. Romantic
poets include William Blake, William Wordsworth, Samuel Taylor Coleridge, Lord Byron, Percy
Bysshe Shelley, and John Keats (those previous six sometimes referred to as the Big Six, or
the Big Five without Blake); other Romantic poets include James Macpherson, Robert
Southey, and Emily Brontë.
Symbolism started in the late nineteenth century in France and Belgium. It included Paul
Verlaine, Tristan Corbière, Arthur Rimbaud, and Stéphane Mallarmé. Symbolists believed that
art should aim to capture more absolute truths which could be accessed only by indirect
methods. They used extensive metaphor, endowing particular images or objects with symbolic
meaning. They were hostile to "plain meanings, declamations, false sentimentality and matter-
of-fact description".
Modernist poetry is a broad term for poetry written between 1890 and 1970 in the tradition
of Modernism. Schools within it include Imagism and the British Poetry Revival.
The Fireside Poets (also known as the Schoolroom or Household Poets) were a group of
19th-century American poets from New England. The group is usually described as
comprising Henry Wadsworth Longfellow, William Cullen Bryant, John Greenleaf
Whittier, James Russell Lowell, and Oliver Wendell Holmes, Sr..
20th century

The Imagists were (predominantly young) poets working in England and America in the early
20th century, including F. S. Flint, T. E. Hulme, Richard Aldington and Hilda Doolittle(known
primarily by her initials, H.D.). They rejected Romantic and Victorian conventions, favoring
precise imagery and clear, non-elevated language. Ezra Pound formulated and promoted
many precepts and ideas of Imagism. His "In a Station of the Metro" (Roberts & Jacobs, 717),
written in 1916, is often used as an example of Imagist poetry:
The apparition of these faces in the crowd;
Petals on a wet, black bough.
The Objectivists were a loose-knit group of second-generation Modernists from the
1940s. They include Louis Zukofsky, Lorine Niedecker, Charles Reznikoff, George
Oppen, Carl Rakosi, and Basil Bunting. Objectivists treated the poem as an object;
they emphasised sincerity, intelligence, and the clarity of the poet's vision.
The Harlem Renaissance was a cultural movement in the 1920s involving many
African-American writers from the New York Neighbourhood of Harlem.
The Beat generation poets met in New York in the 1940s. The core group were Jack
Kerouac, Allen Ginsberg, and William S. Burroughs, who were joined later by Gregory
Corso.
The Confessionalists were American poets that emerged in the 1950s. They drew on
personal history for their artistic inspiration. Poets in this group include Sylvia
Plath, Anne Sexton, John Berryman, and Robert Lowell.
The New York School was an informal group of poets active in 1950s New York
City whose work was said to be a reaction to the Confessionalists. Some major figures
include John Ashbery, Frank O'Hara, James Schuyler, Kenneth Koch, Barbara
Guest, Joe Brainard, Ron Padgett, Ted Berrigan and Bill Berkson.
The Black Mountain poets (also known as the Projectivists) were a group of mid
20th century postmodern poets associated with Black Mountain College in the United
States.
The San Francisco Renaissance was initiated by Kenneth Rexroth and Madeline
Gleason in Berkeley in the late 1940s. It included Robert Duncan, Jack Spicer,
and Robin Blaser. They were consciously experimental and had close links to the
Black Mountain and Beat poets.
The Movement was a group of English writers including Kingsley Amis, Philip
Larkin, Donald Alfred Davie, D. J. Enright, John Wain, Elizabeth Jennings and Robert
Conquest. Their tone is anti-romantic and rational. The connection between the poets
was described as "little more than a negative determination to avoid bad principles."
The British Poetry Revival was a loose movement during the 1970s and 1980s. It
was a Modernist reaction to the conservative Movement.
The Hungry generation was a group of about 40 poets in West Bengal, India during
1961–1965 who revolted against the colonial canons in Bengali poetry and wanted to
go back to their roots. The movement was spearheaded by Shakti
Chattopadhyay, Malay Roy Choudhury, Samir Roychoudhury, and Subimal Basak.
The Martian poets were English poets of the 1970s and early 1980s, including Craig
Raine and Christopher Reid. Through the heavy use of curious, exotic, and humorous
metaphors, Martian poetry aimed to break the grip of "the familiar" in English poetry,
by describing ordinary things as if through the eyes of a Martian.
The Language poets were avant garde poets from the last quarter of the 20th
century. Their approach started with the modernist emphasis on method. They were
reacting to the poetry of the Black Mountain and Beat poets. The poets
included: Leslie Scalapino, Bruce Andrews, Charles Bernstein, Ron Silliman, Barrett
Watten, Lyn Hejinian, Bob Perelman, Rae Armantrout, Carla Harryman, Clark
Coolidge, Hannah Weiner, Susan Howe, and Tina Darragh.
The Misty Poets are a group of Chinese poets whose style is defined by the obscurity
of its imagery and metaphors. The movement was born after the Cultural Revolution.
Leading members include Bei Dao, Gu Cheng, Duo Duo, and Yang Lian.
The New Formalism is a late-twentieth and early twenty-first century movement in
American poetry that promotes a return to metrical and rhymed verse. Rather than
looking to the Confessionalists, they look to Robert Frost, Richard Wilbur, James
Merrill, Anthony Hecht, and Donald Justice for poetic influence. These poets are
associated with the West Chester University Poetry Conference, and with literary
journals like The New Criterion and The Hudson Review. Associated poets
include Dana Gioia, Timothy Steele, Mark Jarman, Rachel Hadas, R. S.
Gwynn, Charles Martin, Phillis Levin, Kay Ryan, Brad Leithauser.
Proletarian poetry is a genre of political poetry developed in the United States during
the 1920s and 1930s that endeavored to portray class-conscious perspectives of
the working-class.[1] Connected through their mutual political message that may be
either explicitly Marxist or at least socialist, the poems are often aesthetically
disparate.[2]