Furniture or gold can be taken away from you, but knowledge and a new language can easily be taken from one place to the other, and nobody can take them away from you.
David SchwarzerTag: language diversity pride culture
it strikes me that the writers most deeply concerned with the state of literary fiction and its biases against women could do a lot worse than trying to coin some terms of their own: to name the archetypes they wish to invert or criticise and thereby open up the discussion. If authors can be thought of as magicians in any sense, then the root of our power has always rested with words: choosing them, arranging them and – most powerfully – inventing them. Sexism won’t go away overnight, and nor will literary bias. But until then, if we’re determined to invest ourselves in bringing about those changes, it only makes sense to arm ourselves with a language that we, and not our enemies, have chosen.
May 14, 2011 Blog post
Tag: language archetypes writings importance-of-words literary-bias
Not long ago, I advertised for perverse rules of grammar, along the lines of "Remember to never split an infinitive" and "The passive voice should never be used." The notion of making a mistake while laying down rules ("Thimk," "We Never Make Misteaks") is highly unoriginal, and it turns out that English teachers have been circulating lists of fumblerules for years. As owner of the world's largest collection, and with thanks to scores of readers, let me pass along a bunch of these never-say-neverisms:
* Avoid run-on sentences they are hard to read.
* Don't use no double negatives.
* Use the semicolon properly, always use it where it is appropriate; and never where it isn't.
* Reserve the apostrophe for it's proper use and omit it when its not needed.
* Do not put statements in the negative form.
* Verbs has to agree with their subjects.
* No sentence fragments.
* Proofread carefully to see if you any words out.
* Avoid commas, that are not necessary.
* If you reread your work, you will find on rereading that a great deal of repetition can be avoided by rereading and editing.
* A writer must not shift your point of view.
* Eschew dialect, irregardless.
* And don't start a sentence with a conjunction.
* Don't overuse exclamation marks!!!
* Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to their antecedents.
* Writers should always hyphenate between syllables and avoid un-necessary hyph-ens.
* Write all adverbial forms correct.
* Don't use contractions in formal writing.
* Writing carefully, dangling participles must be avoided.
* It is incumbent on us to avoid archaisms.
* If any word is improper at the end of a sentence, a linking verb is.
* Steer clear of incorrect forms of verbs that have snuck in the language.
* Take the bull by the hand and avoid mixed metaphors.
* Avoid trendy locutions that sound flaky.
* Never, ever use repetitive redundancies.
* Everyone should be careful to use a singular pronoun with singular nouns in their writing.
* If I've told you once, I've told you a thousand times, resist hyperbole.
* Also, avoid awkward or affected alliteration.
* Don't string too many prepositional phrases together unless you are walking through the valley of the shadow of death.
* Always pick on the correct idiom.
* "Avoid overuse of 'quotation "marks."'"
* The adverb always follows the verb.
* Last but not least, avoid cliches like the plague; seek viable alternatives."
(New York Times, November 4, 1979; later also published in book form)
Tag: humor writing language grammar
Cussing doesn’t come from a lack of vocabulary – I know all the other words. None of them speak the same language that my fucking heart does.
Anis MojganiTag: love language vocabulary
Sometimes, language is the sound of longing
Simon Van BooyLanguage itself is so value-laden as to render value-neutrality almost impossible. Growing up in England I was introduced to the American Revolution by a 'footnote' to colonial history about the 'revolt' of the American colonies. Word choice and the organization of material gave the game away.
Arthur F. HolmesTag: perspective language values word-choice bias
Mocho was a Spanish word that meant maimed or referred to something that had been lopped off like a stump. To call Homer el mocho was, essentially, to call him "Stumpy" or "the maimed one."
It doesn't sound particularly flattering, but among Spanish speakers the giving of nicknames is tantamount to a declaration of love. Things that would sound insulting outright in English were tokens of deep affection when said in Spanish.
Tag: cats language spanish english nicknames
We can trace the communitarian fantasy that lies at the root of all humanism back to the model of a literary society, in which participation through reading the canon reveals a common love of inspiring messages. At the heart of humanism so understood we discover a cult or club fantasy: the dream of the portentous solidarity of those who have been chosen to be allowed to read. In the ancient world—indeed, until the dawn of the modern nation-states—the power of reading actually did mean something like membership of a secret elite; linguistic knowledge once counted in many places as the provenance of sorcery. In Middle English the word 'glamour' developed out of the word 'grammar'. The person who could read would be thought easily capable of other impossibilities.
Peter SloterdijkTag: reading books language humanism grammar
Tragedy's language stresses that whatever is within us is obscure, many faceted, impossible to see. Performance gave this question of what is within a physical force. The spectators were far away from the performers, on that hill above the theatre. At the centre of their vision was a small hut, into which they could not see. The physical action presented to their attention was violent but mostly unseen. They inferred it, as they inferred inner movement, from words spoken by figures whose entrances and exits into and out of the visible space patterned the play. They saw its results when that facade opened to reveal a dead body. This genre, with its dialectics of seen and unseen, inside and outside, exit and entrance, was a simultaneously internal and external, intellectual and somatic expression of contemporary questions about the inward sources of harm, knowledge, power, and darkness.
Ruth PadelTag: language tragedy drama ancient-greece
Language is the medium of literature, and the state of the language at any time can hardly fail to carry literary consequences.
J.A. BurrowTag: literature language
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