A few years ago I shared six videos about language, so posting seven this time may set a perilous precedent. (I’ve also blogged a bunch of others, before and since, if you want still more audiovisual diversion.)
Below, there are two short, three medium, and two long videos, in that order. See what grabs your fancy.
A wild one to begin: Why Werner Herzog refuses to speak French:
In a recent conversation, I heard the word awkness in reference to a socially awkward situation. I hadn’t heard it before, but its meaning was obvious in context. After all, its cousin awks ‘awkward’ has been around a while; I’ve even used it myself.
When I looked into awkness, I had a surprise. It sounds, as I said on Twitter, like a millennial coinage – and it is, more or less. But not originally: the OED dates awkness to the late 16th century, defining it thesaurusily as ‘wrongness, irrationality, perversity, untowardness, awkwardness, ineptitude’.
The first citation is from a 1587 religious book by Philippe de Mornay (tr. Philip Sidney & Arthur Golding): ‘The skilfull can work much upon little, and by his cunning ouercome the awknesse of his stuffe.’ The citations continue till 1674, with the word also spelled awknesse, awknes, and aukness.
Militate against mitigate looks at this pair of similar words, setting out how each one is used, why they’re easily confused, and how to remember the difference:
Because mitigate (reduce harmful effects) is sometimes like a subset of militate (have an effect), people often use mitigate when they mean militate. We know this because they write *mitigate against. Usually the writer means militate against, but not necessarily. Readers can’t always figure it out, and it isn’t their responsibility. It’s up to writers and editors to know the difference and militate against the error.
Are you incentivized to use this word? plays devil’s advocate for a much-maligned word, reviewing the usage commentary on it and showing why it’s likely to stick around:
Over time, we get used to new usages. We accept them grudgingly or even enthuse about them. Decades later, the ones that survive have become thoroughly familiar and lack the stigma of novelty. The verb contact, for instance, was loathed a century ago but is perfectly unremarkable today. Until that happens, though, these usages provoke contention, with many people looking askance at them or criticizing them vocally. So it is with incentivize.
If you didn’t get a copy of the Stinging Fly and want to read more of this material, you can now do so at the Irish Times website, which has published an abridged version of the essay. (I did the abridging myself, but some of the italics got lost in transit.)
Because the new Stinging Fly is a Galway special, the essay looks in particular at the Galway dialect, though this does not differ hugely from Irish English more broadly. The excerpt below elaborates on that point, using geography as an analogy:
Podcasts have become a bigger part of my media consumption than I expected they would. I’ll stick to linguistic ones here, in keeping with the blog’s theme. New ones keep appearing, leading to dilemmas in time management, but it’s a happy kind of dilemma.
Here, in alphabetical order, are a handful of good language podcasts that entered the scene in 2019–2020. Episode lengths, given in parentheses, are approximate.
I have an essay on Irish English dialect in the latest Stinging Fly (winter 2020–21). The issue, just out, centres on Galway – the city, the county, the state of mind – to tie in with its status as European Capital of Culture this year.
The Stinging Fly is an Irish literary magazine on the go since 1997 and a book publisher since 2005. You can order its publications from the website or, depending on where you are, from your local bookshop.
My essay looks at Galway dialect, though its features are not that different (or different mainly in degree) from southern Irish English in general. The grammar, vocabulary, idiom, and phonology of Irish English are all considered from my vantage point on the Atlantic coast.
I also discuss dialect more broadly, because people new to language studies are often unsure just what it means – linguistically, politically, performatively.
cover art by Maeve Curtis; design by Catherine Gaffney