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dictionaries, grammar, spelling, language use, and slang

dictionaries, grammar, spelling, language use, and slang

Shakespeare’s Bawdy

July 14, 2009 by Roy Johnson

all the Bard’s smut, indecency, and suggestiveness

Eric Partridge was a maverick, self-taught Australian lexicographer. In addition to scholarly work on grammar and linguistics, he specialised in slang, swearing, and the colourful language of everyday life. In this classic work from 1941 he combines a study of ‘rude language’ with a scholarly reading of Shakespeare. The result in Shakespeare’s Bawdy is a marvellous compilation of Shakespeare’s linguistic inventiveness and an in-depth study of imagery, allusion, innuendo, and metaphor. Structurally, the book is composed in its first part of introductory essays on sexual, homosexual, and general bawdy; and then in its second part a major glossary of terms, with quoted examples from the plays and poetry.

Shakespeare's Bawdy Partridge assumes that all the opinion, references, and allusions represent Shakespeare’s own personal opinion, rather than that of the characters who express them. This is an approach which many today would take to be critically naive. But I don’t think this matters too much. Most people reading the book will be delighted with Partridge’s learned swashbuckling style, grateful for his scholarship, and amused by the plethora of examples he explores. Here’s a typical example which illustrates both the scholarly detail and the amazing density of the sexual reference he uncovers:

boat hath a leak, her. To Edgar’s Come o’er the bourne, Bessy, to me’, the Fool adds, ‘Her boat hath a leak And she must not speak Why she doth not come over to thee’ (Lear, III vi 25-28). Perhaps, ‘she is having her period’, but probably ‘she is suffering from gonorrhoea’. (Cf. leaky.)
The boat may be the female body (cf. carrack), a rich prize that a man is ready to board; or it may, by a shape-allusion, be the female pudend.

This is a linguistic register in which innocent words such as ‘neck’ and ‘nose’ are used to imply sexual body parts, and even the pronunciation of the single letter ‘n’ may be used suggestively. What the majority of these entries reveal however is not simply the sauciness and ribaldry of Shakespeare’s language, but his amazing power of coining metaphors and the spectacular profundity of his imagination.

This is one of the first volumes in Routledge’s re-issue of books which have established themselves as classics. They are now available for those who missed them first time round, and for a younger generation for whom the authors are just frequently-cited names in bibliographies.

Because they have now acquired the status of ‘set texts’, the current editions have been given introductions, prefaces, and notes which place them in historical context and offer a scholarly apparatus which make them even more valuable than their original editions.

All Partridge’s books are a joy to read, and this is no exception. This is a handsomely produced book – well designed and printed, and very good value at the price. It’s a series which deserves to prosper.

© Roy Johnson 2002

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Eric Partridge, Shakespeare’s Bawdy, London: Routledge Classics, 2001, pp.291, ISBN: 0415254000


Filed Under: Slang Tagged With: Dictionaries, Eric Partridge, Language, Reference, Shakespeare, Slang

Specialist Dictionaries

November 5, 2009 by Roy Johnson

Specialist dictionaries have two distinct advantages over conventional reference books. First, they can include far more specialist terms, technical jargon, and explanations of meanings than a normal (average-sized) dictionary. And second, they will help cut down the amount of time you are likely to spend searching for terms. Many of them also include mini-essays on complex topics.

Specialist Dictionaries - Dictionary of AllusionsThe Oxford Dictionary of Allusions is a guide to and an explanation of cultural references commonly found in writing and arts of all kinds. It covers major issues from the classical period to contemporary mass media – including cinema and television. Topics are listed thematically – dancing, danger, darkness – and all entries are cross referenced in an index. This is an attractive new publication.

 

Specialist Dictionaries - Dictionary of CatchphrasesThe Oxford Dictionary of Catchphrases is a compendium of famous sayings and expressions from the world of film, radio, television, and the music hall on both sides of the Atlantic. The sort of thing you might recognise in – Can I do you now, sir?, Shut that door!, Who loves ya, baby?, Bono Estente!, and Eat my shorts!. It offers the original sources for the sayings, as well as fascinating background details about the context and sometimes the history of the performer.

 

Specialist Dictionaries - Dictionary of EuphemismsThe Oxford Dictionary of Euphemisms is much more than a collection of polite expressions. It’s also a detailed inventory of slang, sexual code terms, metaphors, evasiveness, underworld argot, and indecent language. Topics that invoke euphemism are sex, lavatories, drinking, drugs, crime, and death. The not-so-obvious are commerce, politics, warfare, illness, and ideological belief. Written in a scholarly yet very witty style. Packed with goodies.

 

Specialist Dictionaries - Dictionary of FolkloreThe Oxford Dictionary of English Folklore is a compendium of folklore, beliefs, customs, myths, and superstitions. It covers activities such as cheese rolling, Morris dancing, and well dressing; mythical characters such as Robin Hood, Merlin, Beowulf, and father Christmas; what people believe about parts of the body or days of the week; and beliefs associated with simple items such as plants and hedgehogs.

 

Specialist Dictionaries - Dictionary of Foreign Words and PhrasesThe Oxford Dictionary of Foreign Terms lists 8,000 terms, drawn from over forty countries around the world, that have found their way into the English language. From ab origine to mystagogue and zucchetto. What is the plural of fez? How should we pronounce millefeuille? And where would you see a strabismus?

 

 

Specialist Dictionaries - Dictionary of IdiomsThe Oxford Dictionary of Idioms explains the meanings of proverbs, traditional sayings, and metaphorical expressions – such as raining cats and dogs and over the moon. It contains American and Australian as well as UK examples. A date of origin is often given and many entries are supported by illustrative quotations. This will certainly be useful for anybody learning English, as well as for people interested in the oddities of the language.

 

Specialist Dictionaries - Dictionary of the InternetThe Oxford Dictionary of the Internet explains the thousands of new technical terms which have come into use via the Net. Includes newsgroup abbreviations, the language of e-commerce, software technology, security, and the arcane language of hackers, whitehats, and alpha geeks. It gains its strength from concentrating in depth on the Internet and its infrastructure, rather than on general computing terms. Comes with CD-ROM.

 

Specialist Dictionaries - Literary TermsThe Oxford Dictionary of the Literary Terms explains the difference between an epic poem and a tragedy, between classical and romantic, between naturalism and realism. The entries range from definitions of the absurd to zeugma, and it is in fact a guide to a mixture of old-fashioned grammatical terms, traditional drama, literary history, and criticism. It contains over 1000 of the most troublesome literary terms you are likely to encounter.

 

Specialist Dictionaries - Brewer's DictionaryBrewer’s Dictionary of Phrase and Fable is an old classic which lists the meanings and origins of common phrases, sayings, and fables. It also covers both real and mythological people and places. Its unique charm – which has kept it a best-seller for more than a hundred years – is that it is based on a solid foundation of the Greek and Roman classics. Much loved by crossword puzzle fans. Once you start reading, it’s a difficult book to put down.

 

Specialist Dictionaries - Oxford Dictionary of QuotationsThe Oxford Dictionary of Quotations is a compendium of memorable sayings by the witty and famous – from Mae West’s Is that a pistol in your pocket, or are you just glad to see me? to Lytton Strachey’s pithy last words, If this is dying, I don’t think much of it.. Fully cross-referenced. Can serve as a straight work of reference if you are stuck for the source of a famous quotation.

 

Specialist Dictionaries - Roget's ThesaurusRoget’s Thesaurus is a classic and much-loved reference book. It’s a compilation of synonyms and antonyms – words which mean the same or the opposite of a word you choose. Most people use it to find alternatives for words which they wish to avoid repeating. It can save you hours of head-scratching. So popular that it never goes out of print. A great reassurance for anyone who might feel insecure about language matters.

And now, as Monty Python used to say, for something completely different …

Specialist Dictionaries - Roger's ProfanisaurusRoger’s Profanisaurus is a compendium of all the slang words, smut, double entendres, and sex and toilet talk you will ever need – plus a lot more you might not actually want to know. It’s compiled from the pages of VIZ – the very politically UN-correct comic monthly, and it’s hysterically funny. This is DEFINITELY not for the faint-hearted, but if you understand even half the terms, you’ll get full marks for street cred.

 

Specialist Dictionaries - Cassell's DictionaryCassell’s Dictionary of Slang is a guide to ‘unconventional English’ – as slang and swearing is often called. It contains over 60,000 entries covering slang from all parts of the English-speaking world, including Britain, North America, Australia, New Zealand and South Africa, from Elizabethan times to the present. It gives definitions for the jargon used by criminals in Victorian London to the drugs culture of the modern world.

 

Specialist Dictionaries - Oxford Writers DictionaryDictionary for Writers & Editors is a specialist dictionary for writers, journalists, and text-editors. It offers rulings on words and spellings which are commonly problematic (Muslim or Moselm, gypsy or gipsy?); the names of people and places; foreign words and phrases we commonly use (petit-bourgeois); abbreviations; capitalization and punctuation. Covers the difference between hyphens and dashes and acts as a potted encyclopedia for historical names.

 

Specialist Dictionaries - Oxford Spelling DictionaryThe Spelling Dictionary from Oxford University Press is a dictionary in which the meanings of words are not included. What you have instead is an account of how the word is spelled (or spelt) any variant spellings it might have, and how it is used in different parts of speech. Each entry also shows where the major and minor words breaks should occur in the case of its being hyphenated.

 

Specialist Dictionaries - Dictionary of Classical Myth and ReligionThe Dictionary of Classical Myth and Religion is a comprehensive A to Z reference to the classical world. In addition to Greek myths and Roman festivals, it covers Greek and Roman religious places, monuments, religious personnel, divination, astrology and magic, and contains many entries on Judaism and Christianity in Greek and Roman times. Some of the entries are the length of mini-essays.

© Roy Johnson 2009


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Spelling Guide

May 21, 2009 by Roy Johnson

beginner’s simple guide to spelling and language

Spelling worries many people. Understandably so, because mistakes in spelling are often regarded as a black mark in terms of literacy and written competence. Oxford University Press have just brought out a series of short beginners’ guides on communication skills. The emphasis is on compact, no-nonsense advice directly related to issues of everyday life. In his Spelling Guide Robert Allen takes a reassuring line in explaining why spelling is difficult in English, and he offers a variety of solutions to the problem.

Spelling Guide Beginners in particular will find his approach very helpful, and even advanced users will probably learn a thing or two. He starts by showing you how to use dictionaries, then how to use spell-checkers. He explains how and why English spellings have often become so irregular. And fortunately, he also explains the cases where some rules do apply.

Some of his advice tips over into tutorials on the nature of language – quite rightly. For instance, one good tip for many people is that the apostrophe in terms such as who’s and it’s stands for a missing letter. Knowing this might help you to understand the spelling, and help you put the apostrophe in the right place.

He deals with all the most common problems – not only the most notorious misplaced apostrophe, but the s/z issue in words such as realise/realize, and word endings, especially the doubling of consonants in words such as regret/regretted. (Yet it’s target/targeted – how strange!)

There’s a whole chapter explaining why spelling is such a complex issue. Basically, it’s because English is comprised of so many different languages. The influence of Latin, Greek, Anglo-Saxon, French, and German are all still actively present.

The second half of the book is a series of checklists of ‘problem’ words – short (weird) long (accommodation) confusables accept/except) noun and verb forms (advice/advise) how to choose the right ending (stationary/stationery) verb endings (finalize/surprise) irregular plurals (banjos/zeros) and words with Latin and Greek endings (addendum/vortex).

The chapters of this book are short, but almost every page is rich in hints and tips. The strength of this approach is that it avoids the encyclopedic volume of advice which in some manuals can be quite frightening. This is a book which will reassure those who need it.

© Roy Johnson 2003

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Robert Allen, Spelling, Oxford: Oxford University Press, 2002, pp.128, ISBN: 0198603835


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Teacher’s Guide to Grammar

June 3, 2009 by Roy Johnson

teaching language and the national curriculum

The other day I overheard a young girl of around eight ask her mother “What’s a phoneme?” Not surprisingly, her mother didn’t even understand the question. And the girl added, “I think it’s part of a word” – which was not a bad shot. This made me realise just how firmly traditional English grammar was back in our national curriculum. And when I thought of the poor teachers having to implement this policy, my heart sank on their behalf. I think Deborah Cameron would understand and sympathise with this feeling, because this teacher’s guide to grammar is aimed specifically at existing and would-be classroom workers. They now have the unenviable task of introducing what is essentially the study of linguistics into the daily life of schoolchildren.

Teacher's Guide to GrammarCameron starts by dispelling some of the common misconceptions and myths about grammar, and making the important distinction between written and spoken English. Instead of looking at grammatical rules then giving examples, she works the other way round, examining the way language is actually used, then drawing some general lessons from it. First the way words are formed (morphology) then how sentences are built up via regular syntax and well organised phrases.

All the points she makes are illustrated by short modern examples drawn from the way people actually speak and write, and she offers some quite useful tables which I can easily imagine teachers using in their classes.

She delivers some interesting analyses of scientific writing, newspaper headlines, and children’s creative prose to illustrate the use of compression in writing by using noun phrases. The same is true of her treatment of verbs. Instead of dry grammatical definitions, we get a more useful account of the function of different verb forms and modality – making statements about different periods of time and various shades of possibility and probability.

She also offers careful analyses of real examples of student writing – not merely to point out grammatical errors, but to reveal the real structure of the language holding together the meaning underneath the surface. And many of these ‘mistakes’ are features of language which novelists and poets use deliberately for artistic effect.

The whole of the debate over Standard English and dialect/received pronunciation is put into refreshing historical context, as is the use of different registers (which interestingly enough are not a prescribed requirement of the national curriculum).

She demonstrates in a way which classroom teachers will find useful that non-standard speech can co-exist quite easily along with standard writing. And she concludes with an examination of the special circumstances surrounding English as an additional language (EAL).

Anyone faced with the need to understand grammar or explain it to others will find this book useful. It’s good that linguists of Deborah Cameron’s stature are putting their intellectual shoulder to the wheel in helping the classroom teacher.

© Roy Johnson 2007

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Deborah Cameron, The Teacher’s Guide to Grammar, Oxford: Oxford University Press, 2007, pp.163, ISBN: 0199214488


Filed Under: Grammar, Language use Tagged With: Grammar, Language, Language use, The Teacher's Guide to Grammar, Writing skills

The Economist Style Guide

June 16, 2009 by Roy Johnson

best-selling guide to English usage and style rules

The Economist prides itself on good quality writing. The Economist Style Guide is the print version of their in-house guide on grammar and English usage which they issue to all their journalists. It’s designed to promote precision and clarity in writing – and the advice it offers is expressed in a witty and succinct manner. It gives general advice on writing skills, points out common errors and cliches, offers guidance on consistent use of punctuation, abbreviations and capital letters, and contains an exhaustive range of reference material.

The Economist Style GuideIt also includes a special section on American and British English, a fifty-four page fact checker, and a glossary. I particularly like the section called ‘Common Solecisms’ which warns against popular misunderstandings and points to words often used incorrectly.

Anticipate does not mean expect. Jack and Jill expected to marry; if they anticipated marriage, only Jill might find herself expectant.

The emphasis of the illustrative examples is on current affairs, politics, economics, and business – but the lessons in clear expression and the examples of tangled syntax and garbled journalese will be instructive to all writers who wish to sharpen their style.

It takes quite a tilt at the language of political correctness – and I think some of the following advice might be challenged. But it is so refreshingly un-stuffy, one reads on with a smile in the mind.

Avoid, where possible, euphemisms and circumlocutions promoted by interest-groups. In most contexts the hearing-impaired are simply deaf. It is no disrespect to the disabled sometimes to describe them as crippled. Female teenagers are girls, not women. The underprivileged may be disadvantaged, but are more likely just poor.

The guidance is arranged in logical, separate sections – political terms, metaphors, apostrophes, spelling, Americanisms – so you can easily find what you need. The bulk of the advice deals with common problems of English such as the difference between ‘compare with‘ and ‘compare to‘, but I was glad to see that rather like Keith Waterhouse (Waterhouse on Newspaper Style they do not leave the excesses of their own profession unexamined.

Avoid expressions used only by journalists, such as giving people the thumbs up, the thumbs down or the green light. Stay clear of gravy trains and salami tactics.

© Roy Johnson 2010

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The Economist Style Guide, London: Economist Books, 10th edition 2010, pp.272, ISBN: 1846681758


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The Fight for English

June 14, 2009 by Roy Johnson

how language pundits ate, shot, and left

David Crystal is a prolific writer on the subject of English language and the way it is used. His output ranges from scholarly works of reference such as The Cambridge Encyclopedia of Language, to popular studies of modern usage such as his recent Words, Words, Words which tries to keep track of concepts of language. This latest book The Fight for English is his defence of descriptive grammar. In a sense it’s his riposte to the very popular work by Lynne Truss, Eats, Shoots, and Leaves which knocked Harry Potter off the best-seller lists two or three years ago.

Descriptive grammarShe was arguing for an adherence to traditional notions of grammar and correctness. Crystal is here saying that language changes all the time and that there is nothing you can do about it. What he offers is a historical tour through what has been written about the English language. This tour takes him from AElfric in 1000 AD to the present. Our language started with a cultural mix of Latin, English, and French (with English very much at the bottom of the prestige table) but all the time it was absorbing an enormous number of loan words. (This is why the lexicon in English is bigger than other languages – and why there are so many irregularities of spelling and grammar.)

The advent of printing began the process of standardisation – though it was hampered at first by lots of regional variations. Then early attempts at spelling reform were thwarted by lack of agreement between competing suggestions.

The first textbooks on grammar began to appear in the late sixteenth century and were followed by attempts to ‘regulate’ language via institutions such as the Royal Society. These too were unsuccessful – just as those of the Academie Francaise continue to be today.

Crystal has a high regard for Dr Johnson, compiler of the first really authoritative dictionary in English – but as he points out, even Johnson realised, after his monumental efforts to pin down the spelling and meaning of words, that language changes:

This is a lesson everyone who studies language eventually learns. You cannot stop language change. You may not like it; you may regret the arrival of new forms and the passing of old ones; but there is not the slightest thing you can do about it.

He makes what can be a complex issue easy to understand by breaking his argument down into separate short chapters – Standards, Grammar, Punctuation, Spelling – and so on. And he presents the whole development of English as a constant flux, with tensions between linguistic pedants and actual popular usage. It’s a process which he sees as self-correcting:

Languages seem to operate with an unconsciously held system of checks and balances. If a group of people go wildly off in one linguistic direction, using a crate of new words, eventually—if they want to continue as part of society and be understood by its other members—they will be pulled back, and they will drop some of their neologisms. At the same time, a few of the new words will have been picked upon by the rest of the community. And so a language grows.

He mounts a vigorous attack on prescriptive grammarians, then the same on the pronunciation police – demolishing all their pontifications with the same argument – that the ‘standards’ which they claim to be absolute are often either recent innovations, or are already out of date.

The latter part of the book is an assessment of the current state of English language teaching in schools, and an explanation of why he finds hope in the National Curriculum, which he helped to frame. This is a user-friendly book, written in a plain-speaking style, and his arguments are ultimately convincing. But he’s not as funny as Lynne Truss.

© Roy Johnson 2007

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David Crystal, The Fight for English, Oxford: Oxford University Press, 2007, pp.256, ISBN: 0199229694


Filed Under: Grammar, Language use Tagged With: Descriptive grammar, English language, Grammar, Language, The Fight for English

The Handbook of Good English

June 30, 2009 by Roy Johnson

guide to grammar, punctuation, usage, and style

Some writing guides are not much more than a list of grammatical rules, with illustrative examples and tips on what to avoid. Even though it uses grammatical elements as its structure, The Handbook of Good English is almost the opposite of that. Edward Johnson is an editor with a passion for language and the way it is used. What he seeks to explain is not just grammatical rules but the reasons why some forms of writing are more persuasive and elegant than others.

The Handbook of Good English And he does this in a very leisurely manner, which is what makes this book so long – and comprehensive. He starts with sentences, then works his way to parts of speech and punctuation. At best, the examples and explanations he gives are good for being so succinct – as in his discussion of the gerund:

I dislike that man’s wearing a mask and I dislike that man wearing a mask are different statements. In the first, the wearing of the mask is disliked; in the second, the man is disliked. In the first statement, wearing is a gerund – that is, a special verb form that functions as a noun.

He covers every possible combination of circumstances which can arise to create problems: how to show quotations within quotations, dashes within parentheses, foreign words, and the titles of newspapers, plays, and the parts of a book. His thoroughness is almost exhausting. There are twenty-seven pages on the comma and thirty-four on the hyphen alone.

He’s what might be called a liberal or tolerant prescriptivist, because whilst permitting occasional exceptions, he does ultimately seek to establish rules:

the functionless comma does no harm, but nevertheless, commas that have no function should be omitted, just as words that have no function should be omitted (see Rule 1-4).

He takes full account of the differences between American and UK use of English, and it is interesting to note that (contrary to what UK traditionalists imagine) changes and influences operate in both directions.

Grammar issues apart, the chapter most readers will enjoy is his last – where he gives excellent advice on writing style. This covers subtle matters such as tone, diction, pace, attitude, and construction.

But at times, his approach is not so felicitous. I found it slightly annoying that a lot of his topics started off with bad examples. There are so many reasons why writing can be clumsy and ill-formed, this leads him into lengthy discussions of all the possible corrections and alternatives, after which he is forced to say:

It must be admitted that the correct versions of these sentences are much harder on the ear or eye than the incorrect versions, and that rewriting them would be advisable.

It’s a book which will probably be of most use to those people who already have a reasonable command of basic English, but who would like to know why some common grammatical problems are wrong or unacceptable – as well as how to put them right. In this sense it can be used as both a book of instruction or reference.

© Roy Johnson 2000

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Edward D. Johnson, The Handbook of Good English, New York: Washington Square Press, 1991, pp.426, ISBN: 0671707973


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The Life of Slang

March 9, 2012 by Roy Johnson

where slang comes from, and what it’s used for

The Life of Slang is a study of linguistic creation. We know that when a slang word is introduced into the language, it can become Standard English if it is adopted by enough people and put into general use. And of course the reverse can happen when a Standard English term is used in a new way and thereby becomes slang – which is what’s happened to the term gay since the end of the nineteenth century. In fact the process can continue, and by re-adoption the slang word is taken back into Standard English as a legitimate and additional meaning of the term.

The Life of SlangPeople commonly object to slang when it is first introduced – particularly if it comes from another country such as Australia or the United States. But then resistance weakens (among some groups) and people become late adopters and start to embarrass their children by employing slang which is not a natural part of their verbal register – which is why the elderly Duchess of Cornwall made herself ridiculous by describing the engagement of her stepson (and future king of England) as ‘wicked’.

Another popular misconception is that the English language is somehow ‘infected’ by slang from other languages. This is simply not true. Some terms are found useful and adopted, others are not. You don’t hear English people using ditzy, which is a perfectly normal American term for silly or scatterbrained. And Americans refer slightingly to their own lower-class as ‘trailer trash’ not ‘chavs’. Both countries are selective about the terms they wish to borrow and use.

There’s also a longstanding belief that the use of slang impoverishes somebody’s verbal skills or their range of diction. Once again, there is no evidence to support this belief. Slang is simply an additional tool for communication which is used to mark attitudes to a topic or membership of a group. In fact all speakers can switch in and out of a variety of linguistic registers with no trouble. This is an endemic feature of language use.

In this very readable study of slang, Julie Coleman examines the way in which slang is formed – which turns out to be the same way as Standard English, through word-combination, back formation, and borrowings.

How it’s imported from other countries is a different matter. She puts a great deal of store on cross fertilization between British and American troops during the first world war – but this doesn’t seem altogether convincing, given the brevity of contact between the two forces.

There’s an analysis of literary texts from Chaucer onwards that seeks to provide evidence for her claim that the use of slang increases as time goes on. In fact she claims that slang was not commonly used before the renaissance, but admits that she has no evidence to prove it. She also covers slang from other English-speaking countries – Australia, New Zealand Canada, and even India

A great deal of her exposition is a historical account of underworld cant taken to Australia by transported British felons – and despite Australian national pride, developed from the early nineteenth century onwards. Australia is particularly rich in slang since it receives its linguistic influences from two English-speaking sources – both Britain and the United States.

There is a blurred distinction between slang and colloquialism or idiom which is not always easy to disentangle. Words such as wonga and moolah are not used for anything other than slang terms for money, whereas words such as knob and beef can be used in their conventional senses of handle and meat, as well as their common use as slang terms.

She covers terms generated by the press, the music hall, cinema, pop music, television, and radio – with a generous nod to Round the Horne which ‘preserved one form of slang [Polari] that might otherwise have fallen from use altogether’.

She finishes with a survey of the most rapidly developing field of new terms of all – computer technology and its users. The Internet is the ultimate democratic medium and also the most immediate. Events on one side of the world may now be made known on the other as they are happening – via Twitter, Facebook, blogs, and video depositories such as YouTube.

Online dictionaries of slang compiled in the form of Wikis are known to vary greatly in their reliability and quality. Nevertheless, she gives a very respectful account of the user-generated Urban Dictionary. Then, after this fairly exhaustive survey she concludes by re-examining what is required in order to define slang – and it’s not easy.

It’s not necessarily new, or linguistically unusual, or associated with uneducated people, or necessarily vulgar. It’s not just colloquial language taken to an extreme. It doesn’t include dialect or jargon, although local and professional slang do occur. It doesn’t include swearing, though some swearing is slang. Neither is it restricted to the spoken language to the extent that it once was. It isn’t necessarily used for deliberate effect. Slanginess isn’t a quality of words or meanings: what’s slang in one context wouldn’t be slang in another.

In the end she opts to describe it as an attitude to language use which is recognised by fellow users in certain groups. This might seem disappointing to those seeking the reassurance of a quasi-scientific definition. But it strikes me as a step forward, a clearing of the decks from what was once thought to be a simple matter of making word lists and labelling the contents ‘slang’.

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&copy Roy Johnson 2012


Julie Coleman, The Life of Slang, Oxford: Oxford University Press, 2012, pp.354, ISBN: 0199571996


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The Myth of Mars and Venus

June 8, 2009 by Roy Johnson

Do men and women really speak different languages?

A notion has sprung up in the last decade or so that men and women use language differently – even that they are psychologically and genetically hard-wired for language in different ways. This notion has solidified around the expression ‘Men are from Mars, Women are from Venus’, which was the title of a book which became a best-seller in 1992. This current book is Deborah Cameron’s exploration of gender and language from the perspective of an academic specialist in the field.

Gender and LanguageNot to hold back on her conclusions unnecessarily, she points out that the notion is complete rubbish. There isn’t any proof or justification for it in any of the published research. There are only vague ‘surveys’ and pop-journalism which make claims which evaporate under the scrutiny of rigorous examination. So the question immediately arises – why is this myth so widespread and enthusiastically accepted as a universal truth? Why do people continue to believe it, when it’s not true?

The answer to that question is that like most myths, it is comforting. It panders to prejudice and reinforces stereotypes of both men and women. And it spares us the difficulty of looking more closely at what we think we are observing.

She looks at all sorts of research into the relationship between language and gender, and it all points to the same conclusions – that for any investigation, the context needs to be given; that larger samples need to be taken; that general conclusions about choice of vocabulary, volume of speech, interrupting, and verbal dominance cannot be made on grounds of gender without many other factors being taken into account.

Rather than speaking differently simply because they are women and men, women and men may differ in their patterns of language-use because they are engaged in different activities or are playing different conversational roles.

What one person thinks of as a supportive tag question (isn’t it?) is another person’s facilitation. It all points to the need for more scientific rigour before making rash claims.

The most serious argument she makes is that giving credence to these myths can be a dangerous reinforcement of prejudice against both men and women which when translated into social action can result in discrimination, persecution on gender lines, and even social exclusion.

She also backs up her claims with excursions into sociology and ethnography, illustrating the point that behaviour which is often seen as essentially gendered is just a different way of responding because of a particular role being enacted – irrespective of gender.

She actually takes this further, into areas which seem to border on the philosophy of human existence in a way which reminded me very much of the work of Stephen Pinker. The ‘explanations’ of language/gender difference which stem from Stone Age evolutionary psychology are examined under her clear, realistic gaze and shown to be wanting.

This is only a short book, but there are thought-provoking ideas on just about every page.

© Roy Johnson 2008

The Myth of Mars and Venus   Buy the book at Amazon UK

The Myth of Mars and Venus   Buy the book at Amazon US


Deborah Cameron, The Myth of Mars and Venus: Do Men and Women Really Speak Different Languages, Oxford: Oxford University Press, 2008, pp.208, ISBN: 0199550999


Filed Under: Language use Tagged With: Communication, Grammar, Language, Language use, The Myth of Mars and Venus

The Oxford Dictionary of Music

June 30, 2009 by Roy Johnson

definitions and an encyclopedia of musical matters

Actually this is what should be called (for the want of a better term) a dictionary of classical music, because it does not seek to cover all musical genres. Entries run from the note A to the Polish soprano Teresa Zylis-Gara, and include major (and minor) composers plus their works, famous performers and conductors, characters from operas, musical concepts and genres, musical instruments, and even mini-essays on topics such as ‘Electronic Music’.

The Oxford Dictionary of MusicIt’s as up-to-date as one could expect for a work of reference of this kind. There are 12,500 entries on all aspects of the subject, and topics stretch from music of the twelfth and thirteenth centuries to potted biographies of contemporary composers such as Judith Weir and performers such as Cecilia Bartoli. I checked against (for instance) George Benjamin (b. 1960) and Thomas Adès (b. 1970) – and both of them had entries.

Its one nod towards ‘popular’ music is to include mention of song composers such as Irving Berlin and Cole Porter. For anyone interested in music, whether as a student, concert-goer, record collector or Radio 3 listener, it is a welcoming book – in which the author shares his enthusiasm for the obvious as well as the obscure. To give a very typical illustrative example, the section on American composer John Adams runs as follows:

Adams, John (Coolidge) (b Worcester, Mass, 1947). Amer. composer, conductor, and clarinetist. Studies Harvard Univ. and comp. with Kirchner, Del Tredici, and Sessions. Head, comp. dept. San Francisco Cons. 1972-82. Comp-in-res., San Francisco SO 1979-85. One of minimalists, he has deliberately forged an eclectic idiom which borrows from most of the major 20th cent. composers and from jazz. Comps.:

OPERAS: * Nixon in China (1984-7) ; The * Death of Klinghoffer (1990-1); I was looking at the ceiling and then I saw the sky, mus. th. (1994-5); Doctor Atomic (2003-5).

ORCH.: Common Tones in Simple Time (1980); Shaker Loops, str. (1983); Harmonielehre (1984-5); Tromba lontana (1986); Short ride in a fast machine (1986); The Chairman Dances (1987); Fearful Symetries (1988); Eros Piano, pf, orch. or chamber orch. (1989); Chamber conc. (1991); El Dorado (1991); vn. conc. (1993).

VOICE(S) & ORCH. OR ENS.: Christian Zeal and Activity, spkr. on tape., ens. (1973); Grounding, 3 solo vv., instr., elec. (1975); Harmonium, ch., orch. (1980); Grand Pianola Music, 2 sop., 2 pf., small orch. (1981-2); The Wound Dresser, bar., orch. or chamber orch. (1988).

CHAMBER MUSIC: Pf. quintet (1970); American Standard, unspecified ens. (1973).

PIANO: Ragamarole, (1973); China Gates, (1977); Phrygian Gates, (1977).

TAPE ONLY: Onyx, (1975); Light Over Water, (1983).

The entire body text is set in Times New Roman, which for works of reference is a little unfashionable these days – but which I felt was sympathetic to the subject of classical music.

This latest revised edition has been supplemented with 1,000 new entries; lists of composers works have been brought up to date; and the entries now also include musical directors, critics, producers, and designers. Whether we call it ‘classical’ music or anything else, everything you might wish to know about it is covered here. [It’s also now available in a slightly abridged paperback edition.]

© Roy Johnson 2012

Dictionary of Music Buy the book at Amazon UK

Dictionary of Music Buy the book at Amazon US


Michael Kennedy, The Oxford Dictionary of Music, (revised edition) Oxford: Oxford University Press, sith edition, 2012, pp.976, ISBN: 0199578109


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Filed Under: Dictionaries, Music Tagged With: Dictionaries, Music, Oxford Dictionary of Music, Reference

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