How rare soever it may be

July 27, 2015

Muriel Spark - The Abbess of Crewe - Penguin book coverChapter 3 of Muriel Spark’s witty novel The Abbess of Crewe (1974) begins with a lingering description of an object that proves centrally significant to the story unfolding in loose parallel to Watergate, the events of which Spark satirises.

One word in one line in particular interests me, and is underlined, but the whole paragraph is a pleasure to read:

Felicity’s work-box is known as Felicity’s only because she brought it to the convent as part of her dowry. It is no mean box, being set on fine tapered legs with castors, standing two and a half feet high. The box is inlaid with mother-of-pearl and inside it has three tiers neatly set out with needles, scissors, cottons and silks in perfect compartments. Beneath all these is a false bottom lined with red watered silk, for love-letters. Many a time has Alexandra stood gazing at this box with that certain wonder of the aristocrat at the treasured toys of the bourgeoisie. ‘I fail to see what mitigation soever can be offered for that box,’ she remarked one day, in Felicity’s hearing, to the late Abbess Hildegarde who happened to be inspecting the sewing room. Hildegarde made no immediate reply, but once outside the room she said, ‘It is in poison-bad taste, but we are obliged by our vows to accept mortifications. And, after all, everything is hidden here. Nobody but ourselves can see what is beautiful and what is not.

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When without = unless

July 17, 2015

In A. L. Barker’s darkly comic novel John Brown’s Body (1965) there is a use of the word without that’s fairly unusual nowadays:

She moaned, curling deeper into the dark. Nothing was finished or forgettable. Jack said that everyone went off balance sometime – at spiders or red rags or, in his case, temperance hotels. But this thing of hers was so almighty that she would have prayed to it if it would have done any good, asked to be let off a little, excused just enough to make it endurable. Painlessness she did not expect, not without she died and was born another person, but a little less cruelty, a grain of consciousness – the final humiliation was in not knowing herself – this she would have begged and prayed for if she thought anyone or anything was listening. [my underlines]

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A–Z of linguistics in rhyming couplets

July 2, 2015

Here’s a self-explanatory bit of silliness from Twitter yesterday. There were requests to assemble it somewhere, for convenience and posterity, so I thought I’d reproduce it on Sentence first.

I’ve replaced the quotation marks I used on Twitter with italics; other than that it’s identical. The tweets are all linked, so you can also read them by clicking on the date of this introductory one:

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A is for ARBITRARY: a sound’s tie to meaning.
B is for BACK-FORMED, like dry-clean from dry-cleaning. Read the rest of this entry »


Chimpanzee pant-hooting, termiting, and gesture

June 28, 2015

Here are a few items of linguistic interest from In the Shadow of Man, Jane Goodall’s account of her pioneering study of chimpanzee behaviour in Tanzania in the 1960s. I featured In the Shadow of Man in a bookmash a couple of years ago, but that was before I had read it.

Jane van Lawick Goodall - in the shadow of man - book coverTo describe chimpanzees’ practice of fishing for termites (with a twig, vine, grass stem, straw, or finger), Goodall uses various conventional phrases, such as fishing for termites and termite-fishing, which seems the default. But she also verbs termite itself, just as we’ve long done with fish:

As the termite season wore on there could be no doubt that Flo’s older offspring were kidnaping Flint with the deliberate intent of getting their mother to stop, at least for the time being, her endless termiting. […]

Fifi, on the other hand, was a keen termite fisher, and when Flint, wanting to play with his sister, jumped onto her and scattered the insects from her grass stem, she was obviously irritated. Over and over she pushed him away roughly. Fifi still played with Flint frequently herself when she was not termiting . . .

Termites taste a little like cashew nuts, apparently:

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The semantic scope of ‘Martian’

June 24, 2015

When the horror comedy film Slither came out in 2006, I thought it far too derivative, with major plot points and big reveals rehashed from ideas I’d seen before – in David Cronenberg’s Shivers and Rabid, Brian Yuzna’s Society, and the entire first half of George Romero’s career.

But there were things I liked about it too, so I felt I owed it another look. Second time around I appreciated its queasy charms and lively sense of fun much more, and as an unexpected bonus it contains a brief semantic dispute.

This takes place in a car as our heroes escape from unspeakable weirdness and try to figure out what’s going on. Slight spoilers follow in the subtitled images below. Some dialogue is repeated here to accommodate editing cuts and show who’s speaking. If strong language bothers you, flee now while you can.

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Fixer-upper(er) and funnerer reduplication

June 22, 2015

My recent post on ludic language has prompted me to dig up and rework some old notes on playful reduplication in English. I’ll begin with a short comic verse by author and editor William Rossa Cole:

I thought I’d win the spelling bee

And get right to the top,

But I started to spell ‘banana,’

And I didn’t know when to stop.

The poem’s title, ‘Banananananananana’, as well as underlining the joke draws our attention to how unusual a spelling banana is. Once you start the string of alternating a’s and n’s that constitute the bulk of the word, it’s easy to imagine absent-mindedly overshooting the mark, stuck in a groove like Langton’s Ant on its endless highway.

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Mx: a gender-neutral title; and ludic language

June 12, 2015

I have two new posts up at Macmillan Dictionary Blog. The first is about a term you might not be familiar with but whose profile seems certain to grow: Mx – a new gender-neutral title.

Mx, which has been in use since at least 1977, made headlines lately because an OED editor said it might be added to that dictionary soon. (So far, Macmillan appears to be the only major dictionary to have done so.) Increasing use of Mx will lead to more recognition of it, both public and official, but since it’s still quite niche I aimed mainly to cover the basics, link to resources, and make the case for its linguistic, political, and cultural value:

To date, Mx has been accepted by various local councils, universities, banks, law societies, the Royal Mail, and government services such as the NHS and HM Revenue and Customs. Clearly it is gaining momentum.

Mx has been adopted by many people who don’t identify as female or male. (Non-binary people can complete a survey on the topic here.) Such preferences should never be assumed – for example, it’s not obligatory for transgender people, but rather an option they may or may not find suitable. Speaking of preferences, Mx is usually pronounced ‘mix’ or ‘mux’, the latter reflecting a sort of stressed schwa, like the options for Ms. When I asked about it on Twitter, Mx-users confirmed both pronunciations.

Or it may be pronounced as an initialism, ‘em ex’. The post also looks briefly at some of the parallels between Mx and Ms, and at the challenges of consciously engineering language.

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Ludic language and the game of grammar surveys a subject close to my heart – or rather a cluster of subjects in the intersection of language and play:

Play is something we associate with children, but there’s nothing intrinsically childish about it, and language offers a large and inviting board on which to do it. This aspect of language helps explain the longstanding tradition of verbal play in informal discourse – what we might call ludic language, from the same root (Latin ludus ‘sport, play’) as ludo and ludicrous. And it’s popular in languages around the world – the latest Ling Space video has some great examples.

Structured language games are another feature. Puns and riddles allow for variation atop a familiar template, while Scrabble, rebuses and tongue twisters are perennially popular. Nor is the playful use of language always trivial…

The post lists additional examples of language play of various structural types. This includes recent online fads like doge and can’t even, which seem deliberately ungrammatical, and I speculate on what motivates the subversive element of this linguistic behaviour.

Older posts can be found in my archive at Macmillan Dictionary.


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