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Punctuation – how to use it correctly

September 12, 2009 by Roy Johnson

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Punctuation – definition

punctuation in english Punctuation in English language is used in writing to show the stress, ryhthm, and tone of the spoken word.

redbtn It is also used to clarify the meaning of sentences.


Examples

redbtn There are four common marks of punctuation:

redbtn These represent pauses of increasing length in a sentence.

comma [ , ]     semicolon [ ; ]

colon [ : ]     full stop [ . ]


Use

redbtn The following paragraph uses all the four common marks of punctation.

Punctuation should always be used lightly, even sparingly, and as accurately as possible. You will discover through practice that there are three basic rules: the comma, semicolon, and colon mark increasingly long pauses; full stops are used to separate distinct sentences; and a new paragraph should always
be employed to begin a new topic or point of argument.

redbtn NB! ‘Punctuation’ in speech is produced by tone, rhythm, stress, and intonation.

redbtn The four most common marks of punctuation are dealt with in detail in their own sections:

commas – semicolons – colons – full stops

redbtn The other common marks of punctuation are described below:

brackets – exclamation mark

dash – oblique stroke

hyphen – question mark

redbtn Some miscellaneous remarks on punctuation.


redbtn Brackets (these) are used to insert a remark (like this, for instance) or a qualification of some sort into a sentence.

redbtn Take care! If they are used too frequently they create a choppy, unsettling effect.

redbtn Full details in the section on brackets.


redbtn The dash (—) is used to indicate a sudden change of thought, an additional comment, or a dramatic qualification.

That was the end of the matter — or so we thought.

redbtn Dashes can also be used in pairs to insert a comment or a short list:

Everything — furniture, paintings, and books — survived the fire.

redbtn They should not be used as a substitute for brackets, or mixed with them.

redbtn The dash is not the same thing as the hyphen (which is shorter) but this distinction is rarely made in the UK.


redbtn The exclamation mark (!) indicates surprise, anger, or alarm.

What a mess!
Get out of this house at once!
The ship is sinking! Jump in the lifeboat!

redbtn Exclamation marks should be used with restraint. The more frequently they occur, the weaker becomes their effect.

redbtn The novelist F. Scott Fitzgerald once remarked that using an exclamation mark was rather like laughing at your own jokes.


redbtn The question mark [?] is used to show that a question has been raised.

redbtn The question mark is always placed at the end of the sentence.

redbtn The following examples are questions:

What are you going to do?
How much is that doggy in the window?
Why is that woman staring at us?

redbtn Since the question mark is placed at the end of a sentence, no full stop is required. [If you look closely, you will see that the question mark (like the exclamation mark) contains its own full stop.]

redbtn The following are not questions.

He wondered what to do next.
She asked herself the same question.
What will happen to them is a mystery.


redbtn The hyphen [ – ] is a short dash used to connect (parts of) words.

redbtn These might be prefixes:

re-enter         co-operate         pre-enrol

redbtn They can be compound adjectives:

multi-storey car park        extra-marital sex

redbtn They can be used when when forming compounds such as

son-in-law        couldn’t-care-less


redbtn The oblique stroke [ / ] is sometimes used to separate items in a list:

oil/water mix Kent/Surrey boundary
italic/Roman type 1972/73

redbtn It should not be used as a substitute for words such as and, plus, and or.

redbtn Try to avoid the either/or construction and such lazy (and ugly) compounds as this:

‘it will help to create an entire social/sexual/ideological system’.

redbtn The oblique stroke might be useful when taking notes, but it should be avoided in formal writing for the sake of elegance.


redbtn Miscellaneous remarks on punctuation.

redbtn Many aspects of punctuation are ultimately a matter of personal preference and literary style.

redbtn The general tendency in most public writing today is to minimise the amount of punctuation used.

redbtn There are also minor differences in practice between the UK and the USA.

redbtn The suggestions made above are based generally on conventions in the UK.

redbtn Double punctuation [“What’s the matter!?”] is rarely used, except in very informal writing such as personal letters or diaries.

redbtn The combination of colon-plus-dash [: — ] is never necessary. Some people use this [it’s called ‘the pointer’] to indicate that a list will follow, but the colon alone should be sufficient.

redbtn The importance of punctuation can be illustrated by comparing the two following letters. In both cases, the text is the same. It’s the punctuation which makes all the difference!

Dear John:

I want a man who knows what love is all about. You are generous, kind, thoughtful. People who are not like you admit to being useless and inferior. You have ruined me for other men. I yearn for you. I have no feelings whatsoever when we’re apart. I can be forever happy — will you let me be yours?

Gloria

Dear John:

I want a man who knows what love is. All about you are generous, kind, thoughtful people, who are not like you. Admit to being useless and inferior. You have ruined me. For other men, I yearn. For you, I have no feelings whatsoever. When we’re apart, I can be forever happy. Will you let me be?

Yours, Gloria

Self-assessment quiz follows >>>

© Roy Johnson 2003


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Filed Under: English Language Tagged With: English language, Grammar, Language, Punctuation, Writing

Quite Literally

June 27, 2009 by Roy Johnson

problem words and how to use them properly

Do you know the difference between blatant and flagrant? Do you know the plural of cul-de-sac? This is one of those books which is supposed to be a source of reference, but which for any language enthusiast is so entertaining, you can’t put it down. In this sense it’s rather like Bill Bryson’s Troublesome Words and Mother Tongue, Keith Waterhouse’s Newspaper Style and Lynne Truss’s recent Eats Shoots and Leaves.

Quite LiterallyWynford Hicks offers a comprehensive tour – from accede to zucchini. His examples are very up to date, taken from recent newspapers, magazines, and fiction – and not all of them positive. There’s a bad example of ‘due to’ quoted from the second sentence of Harry Potter and the Order of the Phoenix for instance. He takes a lot of trouble over words of foreign origin which do or do not need their accent – cafe, pate – and he takes the trouble to illustrate all his points with practical examples:

adapter, adopter
an adapter is someone who adapts, eg a novel for the stage, while an adopter is what you need when your electric plug doesn’t match the socket.

Some of his judgements I would take issue with. For instance, I think he is wrong to suggest that there’s no capital in achilles heel, though we can see why there is no need for an apostrophe; and I don’t see why dover sole doesn’t need a capital either, as he claims.

But of course a lot of these terms are ‘disputed’ – and different style guides offer different interpretations. For instance, celibate can mean either unmarried or abstaining from sex. It doesn’t matter if it’s voluntary or not. There’s lots of scope for controversy here. For this reason, I’m going to keep this guide alongside all the rest.

Like most style guide compilers, he has his own favourites – such as a reliance on the Longman Guide for matters of judgement, and an amazing confidence in Salman Rushdie for an ear to good usage. But I liked the fact that he was able to quote grammatical mistakes from the work of Iris Murdoch, Doris Lessing, and Margaret Drabble.

He’s good on those many words in English which look deceptively similar, but which have quite different meanings:

definite, definitive
definite is precise, definitive is precise and conclusive

And he offers a ruling on one of the most difficult punctuation cases I know:

dos and don’ts
which once had three apostrophes, but now only needs one

He takes into account the differences between American and English usage, and foodies might be interested in his distinction between two terms which are often confused:

marinade, marinate
meat or fish is marinated (soaked) in a marinade, a mixture of wine/vinegar, oil, herbs, and spices. Fruit is macerated, soaked in alcohol and sugar.

He’s very good at spotting persistent misuses – parameter for boundary, militate/mitigate, rebut/refute, sensual/sensuous, and so on.

This is a useful, humane, and non-pedantic guide to good English, and a thoroughly entertaining book. Even though I disagreed with the occasional item, I read it from first page to last.

© Roy Johnson 2004

Quite Literally   Buy the book at Amazon UK

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Wynford Hicks, Quite Literally, London: Routledge, 2004, pp.251, ISBN: 0415320194


Filed Under: Language use Tagged With: Grammar, Language, Language use, Quite Literally

Received pronunciation – what it means

September 13, 2009 by Roy Johnson

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Received pronunciation – definition

received pronunciation Received Pronunciation [or RP] refers to the accent used by such people as the Royal Family, BBC newsreaders, and members of the upper class.

redbtn It refers entirely to accent and not to content.

redbtn RP is a speech style which is based on social class and not on geographical region.


Examples

redbtn Some characteristic features of pronunciation in RP are as follows:

The long vowel in words such as ‘bath’, ‘path’, ‘ask’

Diphthongs in words such as ‘so’, ‘go’, ‘no’, ‘flow’


Use

redbtn Less than six per cent of the population of the UK speaks RP.

redbtn Although this speech style still carries notions of prestige, regional varieties of English are acquiring status equal to RP.

redbtn NB! Remember, RP is not the same thing as Standard English.

redbtn Received pronunciation (RP) is an accent of English which is based on social class rather than on region. Its origins are rooted in notions of prestige and status and impulses of exclusivity.

redbtn However, RP was itself once a regional variety of English. It originated in the East Midlands among the merchants who migrated towards London and the source of trade and wealth.

redbtn RP is therefore not the native London accent (as many people imagine). It is one which acquired strong connotations of prestige, because of its close connections with wealth and power.

redbtn The Cockney accent is the indigenous speech style of the London area. The two styles have existed alongside each other for hundreds of years.

redbtn Because many RP speakers happen to work in the capital city, the accent is falsely perceived as being regional and as belonging to London. On the contrary, RP speakers are scattered throughout the country and throughout the world. For instance, it is quite common for upper class people in Scotland to speak RP – without any trace of a Scottish accent.

redbtn The expansion of the mass broadcast media (radio and television) has meant that a huge variety of speech styles are heard by listeners and viewers every day. It seems as though this is gradually eroding the idea that RP is somehow superior to all other English accents.

redbtn RP is an approximate description of speech style, rather than being an exact specification. This applies to the classification of other accents too. Because speech varies subtly between individuals and between groups and areas, a broad description is all that can be achieved.

redbtn RP itself has changed slightly even over the past fifty years or so. This can be observed by watching films made during the nineteen-thirties and forties. The most obvious development has been the vowel sound in words such as ‘Harry’ which has become much more open. This feature is now used in parodies of that period.

redbtn Even the Queen, as head of state, speaks with a different accent than she had fifty years ago. In 1952 she would have been heard referring to thet men in the bleck het. Now it would be that man in the black hat. Similarly, she would have spoken of hame rather than home. In the 1950s she would have been lorst, but by the 1970s lost.

redbtn Many regional speakers feel embarrassed by their accents. It seems that much social pressure is felt generally because of the long-standing prestige given to RP. Certainly to linguists, RP is only one of many accents, although its special identity as a class accent is interesting.

redbtn Attitudes to RP. The new National Curriculum requires school students to be competent in using Standard English. Many teachers (and parents) wrongly take this to refer to accent. What it actually requires pupils to understand is the use of standard grammatical constructions, together with a comprehensive standard vocabulary.

redbtn There are a number of possible options available regarding one’s own attitude to speech-style:

  • be comfortable with a regional accent
  • be uncomfortable with a regional accent
  • change a regional accent in favour of RP
  • adapt speech-style to the social context

Self-assessment quiz follows >>>

© Roy Johnson 2003


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Filed Under: English Language Tagged With: English language, Language, Pronunciation, RP, Speech

Roger’s Profanisaurus: Magna Farta

July 16, 2009 by Roy Johnson

hilarious dictionary of slang, smut, indecency, and filth

Do you know the difference between an air biscuit and a trouser cough, or the relationship between a pearl necklace and mammary dandruff? Do you know what an art pamphlet and a bongo periodical have in common? Welcome to the world of Viz, linguistic invention, and ribald scatology. Roger’s Profanisaurus is what I would call an ‘advanced’ and deliberately rude dictionary of slang.

Roger's Profanisaurus: Magna Farta The entries are compiled from contributions to the monthly comic magazine. It assumes as a starting point the lowest and most wide-ranging street language for sexual matters, body functions, and gender preference. And it is blisteringly funny, mainly because each expression is defined by the use of further slang terms which are provocatively allusive, offered in a cod serious tone, and take every opportunity to introduce further vulgarity.

You have to be deep into the laddish frame of reference to know what’s going on. But if you’re interested in the connections between slang and linguistic imagination the effort is well worth it, believe me.

Stanky n. The glaze that is left on the shaft of the choad after a bout of kipper splitting. May be zuffled on curtains or wiped on a stankey-chief.

Even the spoof cross-referencing is funny, because one obscure term is often defined by others which themselves need explanation, or are cloaked in comic metaphor – as in

rear gunner n. In aviation terms, a gunner who shoots one of his own side by firing his lamb cannon (qv) into their bomb bay (qv).

snookered behind the red Unable to sink the pink due to the time of month. The only pot on is a difficult brown.

Some of them are clearly comic inventions, such as

Snogging water;   a male grooming lotion that smells like Joan Collins’ knickers. After shave.

but the majority are explanations of common terms, such as horizontal jogging, rear admiral, and tradesman’s entrance, and there’s also lots of rhyming slang and examples of street language ‘shown’ in the work of famous writers.

You’ll need a strong stomach to take in all the lavatory terms, but essentially it’s kind-hearted smut and self-consciously outrageous sexism – not at all vicious. And there are also, en passant, some interesting sociological details:

Sports bag n. A handy cottaging accessory in which one partner stands to conceal his feet and avoid detection by lavatory attendants looking under the door.

The latest and hugely enlarged edition has just appeared which the publisher describes as “an exhaustive lexicon of four letter filth which contains over 10,000 useful words and phrases to turn the air bluer than a baboon’s arse.”

For those who may not know, the Roger in the title is ‘Roger Mellie, the Man on the Telly’ – one of the regular characters in Viz who specialises in vulgarity. This book is filthy, extremely funny, and very well informed. Since its first appearance it has gone through many new editions. Make sure you get the latest and biggest.

© Roy Johnson 2007

Roger's Profanisaurus: Magna Farta   Buy the book at Amazon UK

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Roger’s Profanisaurus Rex IV: The Magna Farta, London: Dennis Publishing, 2007, pp.480, ISBN: 095485778X


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Filed Under: Dictionaries, Slang Tagged With: Dictionaries, Language, Magna Farta, Roger's Profanisaurus, Slang

Roget’s Thesaurus

July 16, 2009 by Roy Johnson

best-selling reference for word alternatives and opposites

Roget’s Thesaurus is a classic and much-loved compilation of synonyms and antonyms. It was first published in the middle of the nineteenth century, and although the arrangement of its entries has been modified from time to time, it has remained in print ever since. When do you need a thesaurus? Basically, most people use them to find alternatives for words which they wish to avoid repeating. And they are very popular with fans of crossword puzzles.

Roget's Thesaurus If you’ve already shown off by using the word ‘benevolence’, you look up the term and discover ‘philanthropy’, ‘generosity’, ‘benignity’, ‘charity’, and ‘unselfishness’ as synonyms (same or near-same meaning). The headword is also explored in its form as a noun, verb, adverb, and adjective. Thesauri (that’s the plural) also include antonyms (opposite meaning) and Roget has always given examples of expressions in common usage.

So in this case, it includes ‘good Samaritan’ and clichés such as ‘heart in the right place’ and ‘milk of human kindness’. Roget’s is a thesaurus which you dip into for some nugget of information, and stay there tasting and sampling for much longer than you had intended.

The book has always been a big favourite with crossword puzzle fans, because the entries throw up alternative word possibilities of the kind which are often locked in their clues.

It’s a treasure trove of verbal information (sorry – another cliché) which is why the original compiler’s name has always been retained in the title as a guarantee of value. Make sure you get the latest edition, because lots of quotations have been added.

© Roy Johnson 2004

Roget's Thesaurus   Buy the book at Amazon UK

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Roget’s Thesaurus, London: Penguin, 2004, pp.848, ISBN: 0140515038


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Filed Under: Dictionaries Tagged With: Antonyms, Dictionaries, Language, Reference, Roget's Thesaurus, Synonyms

Secret Language

March 8, 2010 by Roy Johnson

Codes, Tricks, Spies, Thieves, and Symbols

Language is itself a code. In its written form it’s an abstract set of signs to represent speech, and in its spoken form an extremely complex set of rules for making intelligent communication using sounds. But if that isn’t complex enough, human beings seem to have a natural tendency to make things even more complicated by inventing all sorts of games, variations, and tricks with language. It’s amazing how far the examples in Barry Blake’s Secret Language go back – certainly to the earliest days of written languages, which have themselves now become a sort of secret code which must be deciphered.

Secret LanguageRather surprisingly, many of the early examples of word squares and double acrostics he discusses come from curse tablets which people believed were effective for anything from defeating fellow athletes in competition, to curing the bite of a rabid dog.

Anagrams, palindromes, acrostics, and riddles all come together in his discussion of the cryptic crossword. These are a surprisingly modern invention, appearing first in 1913, and immediately becoming popular world-wide. There is an entire section devoted to explaining how linguistic tricks inform the setting of clues. He reveals how to interpret them (‘French frock to take off’ = undress) and he throws in some fun examples of word puzzles to solve.

There’s quite a lot on riddles, which are often combined with poetry to create enduring gems such as the Exeter Riddles, and he explains the classic forms of secret codes used by spies and government agents for making messages secure. These are of two types: steganography (which is hiding one text inside another) and cryptography (using a substitution of letters).

Another surprising form of language use he explains is ‘respect language’:

Respect forms of language are often referred.to as ‘mother-in-law languages’, since they are mostly used when a mother-in-law is within earshot. They have the same phonology, morphology, and syntax as the everyday language, but a separate lexicon.

Some people believe that sacred texts contain hidden messages – so when these forms of secret language are used as analytic tools for interpretation of the bible (the Kabbalah) the field is ripe for speculation – though it should be noted that encryption may be suspected more frequently owing to the fact that no vowels were used in classical Hebrew.

Such is belief in the power of words that at its most extreme it takes the form of eating words witten on paper or food – an anthropological form known as ‘contagious magic’. This is still in regular practice of course in the ritual of transubstantiation in the host in Christian churches, where words are transferred (orally) onto wafers for human consumption.

The part of the book I found most entertaining was that on forms of popular secret language – which include rhyming slang, Pig Latin, Polari, back-slang, Tic-Tac, and even L33t – the computer jargon which combines extreme compression, omission, letter substitution, and deliberate mis-spellings.

He concludes with examples of language which are not exactly secret, but in which the communication is not direct – as in the use of irony, euphemism, and deliberate obscurity. These are what he quite rightly puts in the category of ‘everyday oblique’.

And he finishes, logically enough, with instances where language says one thing but references another – as in the use of allusion, quotation, and cultural echoing in which an author or speaker signals a reference to a well known source.

This is a fascinating excursion into an aspect of language studies which includes everything from fun and games to the deadliest forms of subterfuge and political deception.

Secret Language   Buy the book at Amazon UK

Secret Language   Buy the book at Amazon US

© Roy Johnson 2010


Barry J. Blake, Secret Language, Oxford: Oxford University Press, 2010, pp.328, ISBN: 0199579288


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Filed Under: Language use Tagged With: Communication, English language, Language, Secret Language

Semantics – how to understand it

September 13, 2009 by Roy Johnson

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Semantics – definition

semantics Semantics is a part of language studies which focuses on the meaning of what is spoken or written.

redbtn It can encompass whole items such as a lecture or an annual report, or the smallest unit of meaning.

redbtn Linguists do not regard the word as the smallest unit, but the components of a word which carry separate items of meaning.

redbtn The smallest unit of meaning in a language is called a morpheme.


Examples

redbtn Here are some examples of linguistic study which would fall under the title of semantics:

  • Stylistic analysis of the imagery used in a poem.
  • Analysis of point of view in a novel or short story.
  • A study of tragic themes in Shakespeare’s plays.
  • The study of approaches to translation.
  • Tracing the development of English nouns from the Anglo-Saxon period.

Use

redbtn The semantic level of a statement, whether it be spoken or written, can be seen as the reason for its existence.

redbtn Meaning develops and shifts constantly in any language, and semantic study is often an attempt to chart these changes, using the structure of the language as a yardstick.

redbtn The smallest unit of meaning is known as a morpheme. Words can be broken down according to their morphological make up.

redbtn For instance the word horse is a morpheme, because no smaller part of it can stand alone with any significant meaning.

redbtn The same would be true for words such as big, talk, and giraffe.

redbtn However the word horses is made up of two morphemes:

horse [the animal] + s [which expresses a plural].

redbtn So, even though it is only one letter, s can be a morpheme.

redbtn The following sequence shows how a word of one morpheme can become part of a word with two, then three, then four morphemes or separate units of meaning.

attract 1 morpheme
attract/ive 2 morphemes
un/attract/ive 3 morphemes
un/attract/ive/ly 4 morphemes

redbtn However, where the semantic additions to the words are prefixes [un] and suffixes [ive] and [ly], they are called bound, rather than free morphemes.

redbtn In other words, the semantic additions could not stand alone as units of meaning in the same way as the free morpheme [attract] can.

redbtn We can find words made up of one or more free morphemes — such as mantel/piece.

redbtn Alternatively, they might be made up of one or more free morphemes and one or more bound morphemes — such as ir/regular or dough/nut/ting.

redbtn A word can only be split up into separate morphemes when at least one of the semantic units can stand alone.

redbtn Compare the two following examples:

preposterous 1 free morpheme
un/grateful 1 bound + 1 free morpheme

redbtn The meaning of words is not absolutely fixed. New meanings can be attributed to words if enough people use them. Alternatively, meanings can be ‘lost’. This phenomenon is known as ‘semantic shift’.

redbtn The word ‘gay’ for example, has changed its meaning radically during the past twenty years. The word itself remains, but it has undergone a semantic shift. It’s like using the same box for a changed content.

redbtn Sometimes words can ‘disappear’ from use [even though they might remain in a dictionary]. Most people know and use the word unequal, but very few would know that English once had the term inequal for the same purpose. It is now merely a historical curiosity.

Self-assessment quiz follows >>>

© Roy Johnson 2004


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Filed Under: English Language Tagged With: English language, Language, Semantics

Semicolons – how to use them

September 13, 2009 by Roy Johnson

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Semicolons – definition

semicolons The semicolon [ ; ] marks a long pause in a sentence.

redbtn It is half way between a comma and a colon.


Examples

Neither of us spoke; we merely waited to see what would happen.

He usually took great care; even so he made a few errors.

Four objects lay on the desk: a large book; a spiral-bound notepad; a glass vase containing flowers; and a silver propelling pencil.


Use

redbtn Semicolons are used between clauses which could stand alone, but which are closely related.

redbtn They are also used to punctuate lists in continuous prose writing.

redbtn NB! If you’re in any doubt about the semicolon – don’t use it.

redbtn The semicolon marks a pause which is longer than a comma, but not as long as a colon. This is a subtle distinction.

redbtn It is most commonly used between clauses which could be expressed as separate sentences, but which have some logical connection.

redbtn For instance, in the following example there could be a full stop after ‘England’:

Rutland was formerly the smallest county in England; no other area in the land was famous for so little.

redbtn The semicolon is used to avoid ambiguity in sentences composed of phrases of different length and a mixed content:

The Chairman welcomed the President, Dr Garvey; the Vice-President Mr Barncroft and his wife; several delegates from the United States; and members of the public who had been invited to attend.

redbtn Because the semicolon may be used instead of a full stop, some people use it without discrimination. They connect clause after clause with semicolons where no real link exists between them. This creates grammatical confusion and very poor style.

Self-assessment quiz follows >>>

© Roy Johnson 2004


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Filed Under: English Language Tagged With: English language, Language, Punctuation, Semicolons, Writing

Semiotics: the basics

June 8, 2009 by Roy Johnson

Semiotics is ‘the study of signs’ – but what constitutes a ‘sign’? Basically, it can be anything. Its significance will be determined by the context in which it appears and the way in which it is interpreted. The colour red can suggest passion, danger, or heat, depending on where it occurs and who perceives it. Daniel Chandler’s introduction to the subject explains the history and the various strands of the subject in everyday language, using up-to-date examples.

Semiotics: the basicsBasically, his account covers the development of these ideas from the nineteenth-century Swiss linguist Saussure, to post-modern cultural theorists of the present day. Semiotics is a subject which can hardly escape the dominance of language as the most developed system of signs. This is because language has what he calls ‘double articulation’. What this means is that small units (words) can be signs, but they can be combined indefinitely with each other to form other, bigger, or more complex signs. However, the theory leads effortlessly into considerations of linguistics, philosophy, and critical theory, as well as cultural media such as television, photography, literature, cinema, and even academic writing. This is in addition to the more obvious day-to-day sign systems of facial expressions, food, clothing, and social gestures.

His guidance through this multi-discipline maze is thoughtful and clear, and even though you have to be prepared to dip your toes into the waters of critical theory, he has a reassuring manner which makes it a pleasant intellectual experience.

I enjoyed his chapters on metaphor, irony, and codes – though a few more examples of how the theory could be applied would be useful. It would also be interesting to consider why something deprecated in one code (switching point of view in film, for instance) is permitted in another, such as narrative fiction.

However, he summarises his exposition with a useful chapter outlining the strengths and limitations of semiotics as an analytic tool. I was slightly surprised he didn’t include more comment on the Internet as a cultural medium, because this book has its origins as a well-established web site where he has been posting help for his students in the last few years.

Semiotic theory claims that it can reveal the codes and conventions shaping what we might otherwise think of as ‘natural’, which makes it a powerful tool for analysing all forms of culture and human communication. This an excellent basic introduction to the subject, with a good glossary, an index, and a list of further reading.

© Roy Johnson 2007

Semiotics   Buy the book at Amazon UK

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Daniel Chandler, Semiotics: The Basics, London: Routledge, 2nd edition 2007, pp. 328, ISBN: 0415363756


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Filed Under: Media, Theory Tagged With: Communication, Language, Media, Semiotics, Theory

Sentences – how to use them correctly

September 13, 2009 by Roy Johnson

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Sentences – definition

sentences A sentence is a group of words which is usually a grammatically complete statement.

redbtn It is often the expression of a thought.

redbtn In writing, sentences should begin with a capital letter and end with a full stop.


Examples
Command Keep left.
Question Is James joining us for breakfast?
Statement Smoking can damage your health.

redbtn A normal sentence in English usually contains at least three elements: a subject, a verb, and an object.

Subject Verb Object
The cat ate the goldfish
My friend wants your address
Some sheep have black fleece

Use

redbtn The sentence is a unit of meaning in both speech and writing.

redbtn We speak in sentences automatically from the time we first acquire language.

redbtn A sentence is defined as a grammatically complete unit, but it might need other sentences around it to make its meaning clear.

redbtn Constructing written sentences may be difficult. This is a skill which has to be learned.

redbtn Written sentences may be very short [‘Jesus wept’] or very long, but their underlying structure must follow grammatical conventions.

redbtn NB! Short sentences help to create clear expression. Keep them short. Keep them simple.

redbtn There are various kinds of sentences – simple, complex, and compound.

redbtn A simple sentence is one which contains phrases rather than clauses. A simple sentence contains one subject and one object or predicate. For example:

Subject Verb Predicate
I am the head of this department.
We won last Saturday’s match.
Jean is in the house.

redbtn In all the examples above, when the subject is removed we are left with a phrase – an utterance which has no finite verb.

redbtn The expressions ‘in the house’, ‘last Saturday’s match’, and ‘the head of this department’, are all phrases not clauses.

redbtn A complex sentence contains one or more subordinate clauses. In the examples which follow, the subordinate clause is emphasised.

The suspect denied that he had been in the neighbourhood.

You won’t persuade me to stay no matter how hard you try.

Despite the fact that I had ordered the meal, I left the restaurant when I saw him arrive.

I went out shopping, although it was raining, and bought a basket of fruit.

redbtn In all these examples, the removal of the main clause leaves another clause (an utterance with a finite verb) and not a phrase.

redbtn A compound sentence is one in which contains two or more co-ordinating parts.

It’s starting to rain // and I have left my deck-chair outside.

The film we saw last night // was interesting and enjoyable.

We have no red towels // but we have plenty of green ones.

redbtn The following terms can be used to classify types of sentences by their function.

redbtn A statement – grammatically defined by the position of the subject immediately before the verb:

The pen is mightier than the sword.

redbtn A question – grammatically defined by the initial element being ‘how’, ‘what’, ‘when’, ‘where’, or ‘why’:

How many spoons are in that box?

redbtn A command – grammatically defined by the initial positioning of the verb:

Go to the bus stop and wait for your father.

redbtn An exclamation – grammatically defined by an initial ‘what’, ‘how’, and the rest of the utterance being in statement form:

What a pity it’s raining for our picnic!

redbtn It is possible to have meaningful sentences which do not have all three normal elements:

[Subject – Verb – Object]

redbtn In such cases, any missing part is usually implied –

‘[I] thankyou’.

redbtn Many people lose grammatical control of their sentences because they use:

  • features from speech
  • conversational style
  • badly linked phrases
  • vague punctuation
  • faulty syntax

Self-assessment quiz follows >>>

© Roy Johnson 2004


English Language 3.0 program
Books on language
More on grammar


Filed Under: English Language Tagged With: English language, Grammar, Language, Sentences, Writing

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