Seven videos about language

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:

Link love: language (75)

A fresh batch of linguistic items for your listening, viewing, and reading (lots of reading) pleasure. There are a few new language podcasts on the scene, but I’ll save those for a separate post.

 

On gibberish.

An auditory illusion.

The etymology of Triscuit.

On capitalizing Black and White.

Free ebook: Making Sense of “Bad English”.

A brief history of strange English street names.

The social value of linguistic creativity in a pandemic.

Scots Syntax Atlas: mapping oot the dialect

The Scots Syntax Atlas (SCOSYA) is a fantastic, newly launched website that will appeal to anyone interested in language and dialect, especially regional varieties and their idiosyncratic grammar. Its home page says:

Would you say I like they trainers? What about She’s no caring? Have you ever heard anyone say I div like a good story? And might you say You’re after locking us out? All of these utterances come from dialects of Scots spoken across Scotland, but where exactly can you hear them?

To answer this question, we travelled the length and breadth of Scotland, visiting 145 communities, from Shetland in the north to Stranraer in the south. We were particularly interested in the different ways that sentences are built up in these different areas. This part of a language is called its syntax, and it’s one of the most creative aspects of how people use language.

The resulting interactive Atlas has four main sections: How do people speak in…?, Stories behind the examples, Who says what where?, and Community voices. The two questions are self-explanatory. Community voices is a collection of extracts (audio and transcripts) from the conversations recorded – a trove of accent and dialect diversity.

Jodie Foster: ‘He started imitating my accent’

An important character detail in the film The Silence of the Lambs (1991) is the journey of Clarice Starling, played by Jodie Foster, from a rural working-class background to sophisticated city life as an FBI agent.

Take for example this monologue by Dr Hannibal Lecter, played by Anthony Hopkins, during his first encounter with Starling (from 4:15 in the clip; transcript below):

Language change and the politics of accents

These are the topics of my latest posts at Macmillan Dictionary Blog. In Words in constant motion, I write that every aspect of language use is subject to change, that this understandably unsettles some people, but that we can learn to live with it:

We may refuse to accept a new usage, especially if the change happens in our lifetime: Why can’t words stay as they are, with a fixed meaning and sound and use? Words here can be a substitute for deeper concerns. We tend to prefer when things are stable, and find instability disturbing.

The converse also applies. If we get on board with the fact that everything is in flux, it becomes easier to adjust to linguistic change instead of being automatically upset by it. It can be seen as a form of realism.

In The politics of accents, I examine a recent case of linguistic prejudice against a British politician that centred on her regional accent, and consider what motivates such a reaction:

Accents, like other aspects of language use, are sometimes a cynical excuse to judge other people – because they come from a particular area, are in a certain social class, or were educated to whatever level or not. Thus language becomes a tool for stereotypes, prejudice, tribal hostility, and often misogynistic abuse.

These attitudes reflect power differences in society. Nonstandard dialects are often wrongly associated with lack of intelligence, criminality, and other negative attributes. They’re even censured in schools because they are considered inferior.

One of Macmillan Dictionary’s busiest and most interesting features is its Open Dictionary, which relies on reader submissions of words and phrases previously absent from the dictionary. These entries, of course, are vetted and edited by lexicographers before being accepted (which many are not). Liz Potter wrote a helpful post on it last month: What’s the point of the Open Dictionary?

My full archive of posts for Macmillan is available here.

Movie accents: the good, the bad, and the mystifying

Dialect coach and voice actor Erik Singer released a video this week that analyses 32 film actors’ accents, pointing out what they do well and what not so well. There’s a fair range of performances and genres, with some notoriously bad accents and a few surprises.

It’s a highly entertaining video that lasts a little over a quarter of an hour.

Notes on language from Steve Martin

Yes, that Steve Martin. I just read Born Standing Up: A Comic’s Life, his engaging account of his early years as a stand-up comedian and gag writer for TV, and I’d like to share a few short passages that relate to language.

On one of his endless trips around America as an aspiring freelance comic, Martin began taping his shows with a cassette recorder ‘in case I ad-libbed something wonderful’. This led to his abandoning a routine in which he drank a couple of glasses of wine, because when listening to the tape later he could hear himself slurring. He never drank alcohol before or during a show again.

He also made another significant change based on reviewing the tapes:

Texas-born and California-raised, I realized I was dropping my “ings” – runnin’, walkin’, and talkin’ – and I worked like Eliza Doolittle to elevate my speech. It was a struggle; at first I thought I sounded pretentious and unnatural. But I did it, though now and then I slip back into my natural way of speakin’.