英语词源字典 - 在线词源网站

fur [fur 词源字典]: fur: [14] Old English did not have a distinct word for ‘animal’s hair’ – the nearest approach to it was fell ‘animal’s hide’. Then in the 13th century English acquired the verb fur ‘line with fur’ from Anglo-Norman *furrer or Old French forrer ‘encase, line’. These were derivatives of the Old French noun forre ‘sheath, case’, a loanword from prehistoric Germanic *fōthram ‘sheath’, which in turn goes back to the Indo-European base *pō- ‘protect’.

In the 14th century the new English verb was taken as the basis for a noun, which originally meant ‘trimming for a garment, made from fur’, or more loosely ‘garment made from fur’; it was not until the 15th century that it was used for ‘animal’s hair’.
[fur etymology, fur origin, 英语词源]
abstract (adj.): late 14c., originally in grammar (of nouns), from Latin abstractus "drawn away," past participle of abstrahere "to drag away, detach, pull away, divert;" also figuratively, from ab(s)- "away" (see ab-) + trahere "draw" (see tract (n.1)).

Meaning "withdrawn or separated from material objects or practical matters" is from mid-15c. That of "difficult to understand, abstruse" is from c. 1400. Specifically in reference to modern art, it dates from 1914; abstract expressionism as an American-based uninhibited approach to art exemplified by Jackson Pollock is from 1952, but the term itself had been used in the 1920s of Kandinsky and others.
Oswald Herzog, in an article on "Der Abstrakte Expressionismus" (Sturm, heft 50, 1919) gives us a statement which with equal felicity may be applied to the artistic attitude of the Dadaists. "Abstract Expressionism is perfect Expressionism," he writes. "It is pure creation. It casts spiritual processes into a corporeal mould. It does not borrow objects from the real world; it creates its own objects .... The abstract reveals the will of the artist; it becomes expression. ..." [William A. Drake, "The Life and Deeds of Dada," 1922]

Then, that art we have called "abstract" for want of any possible descriptive term, with which we have been patient, and, even, appreciative, getting high stimulation by the new Guggenheim "non-objective" Art Museum, is reflected in our examples of "surrealism," "dadaism," and what-not, to assert our acquaintance in every art, fine or other. [Report of the Art Reference Department of Pratt Institute Free Library for year ending June 30, 1937]
avenue (n.): c. 1600, "a way of approach" (originally a military word), from Middle French avenue "way of access," from Old French avenue "act of approaching, arrival," noun use of fem. of avenu, past participle of avenir "to come to, arrive," from Latin advenire "to come to," from ad- "to" (see ad-) + venire "to come" (see venue). Meaning shifted to "a way of approach to a country-house," usually bordered by trees, hence, "a broad, tree-lined roadway" (1650s), then to "wide, main street" (by 1846, especially in U.S.).
science (n.): mid-14c., "what is known, knowledge (of something) acquired by study; information;" also "assurance of knowledge, certitude, certainty," from Old French science "knowledge, learning, application; corpus of human knowledge" (12c.), from Latin scientia "knowledge, a knowing; expertness," from sciens (genitive scientis) "intelligent, skilled," present participle of scire "to know," probably originally "to separate one thing from another, to distinguish," related to scindere "to cut, divide," from PIE root *skei- "to cut, to split" (cognates: Greek skhizein "to split, rend, cleave," Gothic skaidan, Old English sceadan "to divide, separate;" see shed (v.)).

From late 14c. in English as "book-learning," also "a particular branch of knowledge or of learning;" also "skillfulness, cleverness; craftiness." From c. 1400 as "experiential knowledge;" also "a skill, handicraft; a trade." From late 14c. as "collective human knowledge" (especially "that gained by systematic observation, experiment, and reasoning). Modern (restricted) sense of "body of regular or methodical observations or propositions concerning a particular subject or speculation" is attested from 1725; in 17c.-18c. this concept commonly was called philosophy. Sense of "non-arts studies" is attested from 1670s.
Science, since people must do it, is a socially embedded activity. It progresses by hunch, vision, and intuition. Much of its change through time does not record a closer approach to absolute truth, but the alteration of cultural contexts that influence it so strongly. Facts are not pure and unsullied bits of information; culture also influences what we see and how we see it. Theories, moreover, are not inexorable inductions from facts. The most creative theories are often imaginative visions imposed upon facts; the source of imagination is also strongly cultural. [Stephen Jay Gould, introduction to "The Mismeasure of Man," 1981]

In science you must not talk before you know. In art you must not talk before you do. In literature you must not talk before you think. [John Ruskin, "The Eagle's Nest," 1872]
The distinction is commonly understood as between theoretical truth (Greek episteme) and methods for effecting practical results (tekhne), but science sometimes is used for practical applications and art for applications of skill. To blind (someone) with science "confuse by the use of big words or complex explanations" is attested from 1937, originally noted as a phrase from Australia and New Zealand.