Showing posts with label Language. Show all posts
Showing posts with label Language. Show all posts

Wednesday, March 2, 2016

Back Formation and our Latin Heritage



"Back Formation" is a grammatical term for describing the linguistic process of shortening and simplification caused by dropping a suffix. Burgle evolved subsequent to burglar and statistic formed after the field of study, statistics. A 'pea' is a shortened version of an older original, in this case 'pease' which was not plural, and meant 'a pea', but now means many 'peas'.

I remember a friend, a salesman who made comic attempts to repair damage caused by back formation. One of his favorite expressions was "It's not rocket scientry", in lieu of "It's not rocket science".

He also took liberties with the middle of words - "That's mathically unproven," instead of, "mathematically unproven." The word science dates from the 1300's and scientific, from 1589. Scientry is not a word at all but I wish it was. I love it.

My boeuf about Latin cognates is this: 

The Romans, via the French and Norman invaders of England, brought a Latin lexicon to English. Latinate roots, sprang from a military regularity of conjugation and syntax, and offered an ability to conjugate all variety of meanings.

Latin was designed like an all purpose tool-kit, an engineer's language, broadly covering such concepts as inside and outside (introvert and extrovert), or before and after (predict and postprandial). It's precise, superb at description.

It's a bridge builder's language developed as a kind of verbal math. The regulation of distant territories, the supply of far-flung armies and the construction of aqueducts and coliseums across the civilized world arose because of the precision of Latin as a language for dispensing military orders.

English inherits two major systems of expression. Latin, which excels at matters of business and government, for example liberty, and the older Anglo-Saxon cognates for poetic expression, for example freedom. These pairs are throughout English, inebriated vs. drunk, tolerate vs. stand.

Notice how in the last example tolerate is quite specific, whereas stand has a huge variety of meanings. The Germanic and Anglo-Saxon roots give English it's power.

"Hasten to the point would you!" I can hear my friends now. What do Latin cognates have to do with back formation?

Latin derived words are are built up of parts, often three or more. But language naturally does not tolerate pointless complexity. Some of those parts need to be dropped, over time. Back formation is the natural process by which English speakers often omit the front, middle or back portions of their words. One could say Latin syntax is ritualistic, a bit like Sanskrit, logical, and repetitive. In a ritual things are added or subtraced at the back, front, or middle. They subtract the same way.

-:-

Onto Celtic and Saxon roots of English poured a new vocabulary, in full force with William the Conqueror. At that magic moment, England inherited the power of Latin, as a language of Empire, through a Gallic filter. The new words conquered, literally:

     con·quer  (kngkr)
     v. con·quered, con·quer·ing, con·quers
     1. To defeat or subdue by force, especially by force of arms.
     2. To gain or secure control of by or as if by force of arms: scientists battling to conquer disease; 
     a singer who conquered the operatic world.
     3. To overcome or surmount by physical, mental, or moral force: I finally conquered my fear of heights. 
     [Middle English conqueren, from Old French conquerre, from Vulgar Latin *conquaerere,
     from Latin conqurere, to procure : com-, intensive pref.; see com- + quaerere, to seek.]

We may have lost the expressive power of Old English, but gained the power to dominate, to control, and to organize.

France and England reacted differently to injections of foreign linguistic power. The French standardized - beginning in the seventeenth century the Académie Française unified, codified, and deciding what was French and what was not. French has gone the way of Latin, dying from too much regularity, and planning.

Perhaps because of the organization imposed by William, the English subconscious became hungry for expressive power that got lost.

British upper classes held onto their irregular verbs, and used them as badges of birthright, and prestige. Language evolved a caste-system unto itself. Scotsmen returned from the Indian colonies, uttering new words like 'curry', 'thug' and 'pyjama'. The empire dispatched them back to their crass speaking realms with a curled upper lip. A similar division divided Cockney London from West End. The Scottish wag morphed into the badge of a servant engineer.

I'm for the power and innuendo of the street. Bring on the life of the word! Put me on the ground where a new lingo is evolving.

And so England's class strata, defined itself with the difficulty of spoken English, and injections of new vocabulary into a new street vernacular. Ports of entry for vocabulary were through the lower classes. New expressions flooded English Central from India, the Americas, Australia, and were shared on the streets of every foreign colony. England's upper crust assumed a select few of these expressions, but to this day reject many commonly accepted figures of speech.

In theory, a new word is English if a) it is pronounceable, and b) it has been used a number of times in English speech. If it bears the stamp of Latin logic, or has been formed by an organic linguistic process, it has an upper hand.  Isn't it true that any new English word has the upper hand?

Meanwhile French is slowly dying as a language, at least in France. The Académie Française is fighting back, by trimming the dictionary!

For centuries the Academy approved or rejected vernacular changes to French. Writers beginning with the Encyclopedists, defined what is French. As a result, spoken French retains little of the imported richness from French colonies in Africa and the Americas. The classic French dictionary, dies of malnutrition.

True, the brevity of French made it a wonderful vehicle for philosophers, thinkers, and existential poetry. But the starved vocabulary does quadruple or quintuple duty due to an overall paucity of word count, and thus excels at expressing abstract concepts. Slang combining existing 'legal' French words grows like weeds. The average French word has more dictionary meanings by far, than the average word English, but less words by far.

So, whether my friend was aware of his role in this process of converting common argot into new expressions, 'rocket scientry', since 1990, is emerging as an alternative way of saying 'rocket science', though he may have been joking, or pleading the scientrist's amendment.


Monday, October 21, 2013

Language on Pots

My pottery has hit a new obsession - language.

Drawing and writing seem to be merging onto ceramic form.

I can't let the figure alone! Drawings are starting to morph into a kind of shorthand, the figure becomes a kind of pictographic script.

A starting point for the evolution of a new kind of thinking.

A graffiti, or scrawl of a Buddhist poet.

Figure drawing is the departure point. It has nothing to do with taste. I haven't made ten thousand brush strokes of pine or bamboo with a brush made from the tail of a dog. I haven't mastered 10,000 Kanji characters or practiced the English calligraphy with the broad quill of a turkey.

But I have drawn, from life, and from my imagination, with my life. I'll take the reflexes learned from that kind of drawing, and turn it into a kind of shorthand, a code if you like, that reduces the language of the figure, and turns it towards writing. Towards sense . . . towards commentary.

My goal is to do this in ceramic where another force enters the picture, fire and fusion of glazes and oxides on the surface of the pot. This radically changes the outcome.

On some of my tea-bowls I'll do a quick landscape and then subject that bit of study to the blasting of a wood-fire  where the ash runs, and drips and destroys half of what I've drawn or written.



In such bowls my attempt at landscape are minimal, a dash for a horizon, a slash for a tree, a scribble for a bush, a sloping line for a roof.

The fire transforms the statement.

So lately I've been experimenting with ways the fire can transform the language of the figure. Here's an example:


But what about using the reflexes of the hand, the brush, to simplify and reduce the language of the figure?



So I began to think of the figure as a kind of package of options. What sort of hat, what sort of face, what sort of belly, pose, etc. . .  and then how, in a brief shorthand, can this be put into almost comic strip form.

Doing this requires suspending conscious thought and instead drawing instinctively. I'll think in advance generally about each drawing . . . for instance a few days before I glaze I'll say to myself, "I'll put witches hats on some women, and fancy wide brim hats on others . . " but then when the brush is in my hand I'll draw without even thinking of hats or breasts or bodies at all. I scribble literally, and let the brush run wild. . . . 




As one interested in language, poetry and coding, How much I can put into this script? 

Actions carry content, but some actions contain a muddle of inputs, and the result is not decipherable. The problem of language is one of efficiency. How much meaning can be encoded into a single brushstroke? What is the depth of culture that can fit into a single action or movement?

Letting the subconscious mind turn drawings into letters was a process that mankind achieved over a period of at least ten thousand years. From cave paintings to the Phoenician aleph is a long journey.


Is it possible to create a personal language based on drawn forms and accomplish that process in one lifetime?

If so, then the fire that is making the transformation is not kiln fire, but fire of the mind.


Wednesday, June 19, 2013

Conversate on the Train



A friend posted this on his Facebook page:

    "If you need to conversate, please use the other cars."
                (Conductor on the train, 'conversating' with us . . .)

Another friend criticized. Conversate he argued, is not a word:

    "It's 'converse' and 'conversation' combined . . . One's a verb, the other a noun. 
      You can't make it both. So it satisfies nothing."

I jabbed a reply:

     "Some diehard word columnist must be a rider on your train, . . . you could probably even track down 'conversate's chief defender!"

I decided to look up conversate online.  It is a word, first recorded use in 1973:

Merriam Webster:

     con·ver·sate intransitive verb \ˈkän-vər-ˌsāt\
     con·ver·sat·edcon·ver·sat·ing
     Definition of CONVERSATE:
     nonstandard
     : converse
     Origin of CONVERSATE
     back-formation from conversation
     First Known Use: 1973

Urban Dictionary:

    conversate 
    A word used by backwards, ignorant, illiterate inner city trash who mean to say 'converse'.
    "Yo, I just needs to conversate witcha!" 

The rest of Urban Dictionary citation is unquotable. The Black-Eyed Peas sang the word in the 1990's, part of a song rich with sexual innuendo, "we could let our body conversate", probably because of the ending '-sate' which makes conversate resemble words where the root sat means 'enough' as in satient (giving pleasure, satisfying), saturate, and satisfy. Another citation states:  "(An) Ebonics version of the intransitive verb 'converse'; urban hybrid of the two words 'converse' and 'conversation'”.

Conversate doesn't just mean talk with someone.

Converse, the verb to talk or speak, has the accent on the second syllable, i.e kon-VERSE. Converse with the accent on the first syllable means opposite, or reversed, as in converse of a mathematical theorem. Converse as in All-Stars, the famous basketball shoe is also pronounced KON-verse.

English thrives on class warfare. The well-schooled will complain the masses are subverting the language. Strike 'ain't' from English? Be prepared to lose most of "Huckleberry Finn", arguably the greatest work of American fiction. Use only proper English in music? Lose all of rap, most of Dylan and all of the Rolling Stones. If controlling language is your goal, you "ain't gonna get no sat-is-fac-tion".

Conversely, words morph, switch meanings, and put on other people's clothes. I'm reminded of the last episode in Season 5 of the popular TV series, "Mad Men":

An advertising exec named Peter Campbell, has a boring train companion who sits opposite him during commutes, boring until he meets the man's lovely wife in the parking lot. Then he does what advertising execs are supposed to do, he takes her back to her own living room and conversates with her on one of their upholstered chairs. Needless to say, he is not a gentleman, not until he learns she is so depressed that she's headed into shock therapy, and wanted one last tryst of love with Mr. Campbell, something she hopes she'll remember when she wakes up. Alas, when he visits her in the hospital, with flowers, she can't remember him at all. Their lovemaking is gone, like a forgotten word.

This piquant episode, reminiscent of Cheever's "5:48", and Ken Kesey, "Cuckoo's Nest", ended with Campbell slugging her husband on the train, for submitting her to such radical treatment. This won Campbell a stout fist from the conductor in return. He slinks home bloodied, to conversate with his wife.

Photo credit: Still from TV Series, 'Mad Men'

Friday, November 18, 2011

Frontenac



In Rue Frontenac, in Montreal,
I bought a snack of chanterelles.
J'ai vu une fille, she looked a Queen,
I invited her for coffee, son nom, Ondine.

Arrêt à Frontenac, Sud Montréal,
Ate liver pâté, avec fresh girolles.
J'ai cherche ma Reine, au rez-de-chaussée,
Après, j'ai pris, un petit café.

Nous avons rencontré, une fois de Québec City,
Au Château Frontenac, qui inspire cette ditty.
Elle m'a offert la plus audace Terrine,
Et elle me dit alors,  "Mon nom est Justine."

Chez du Maison Frontenac, à Montréal,
J'ai mange un plat, avec mushrooms alors,
Je cherche ma Reine, à côté du ground floor,
Et après, j'ai pris, un café, dehors.

Encore une fois, nous avons mis à Québec,
L'inspiration pour cette chanson, Chateau Frontenac.
Plus audacieuse, elle m'a donné plus de terrine,
Alas, then she told me her nam, Perrine.

Return to Frontenac, Rue Ontario,
Again I ate plates, of chanterelles.
J'ai trouvé Ondine, sur le terrain-sol,
On a bu deux cafés, après ces girolles.



Friday, October 29, 2010

Wait Wait


Language seems to circle perceived truths, or set of facts, but comes no closer. Truth may not be an objective of language at all, only material for it to examine.

What if one were to take language to a place where we don't know anything? This would be a realm that none of us can observe physically. This would not be a place open to examination by supercolliders, or space telescopes, or scanning electron microscopes. There is a realm to which all instrumentation is directly excluded, a realm that is not physical, material or energetic, but rather the realm that participates with us and makes the design of all life.

That is the world of the Psyche . . where all is abstract . . . like language.

What language is spoken there? Translation that come from that realm seem incomplete, inaccurate, misinterpreted. Yet we know whenever it speaks, as if only it, held the microphone closest to our own hearts.

In this territory, it's up to each of us to invent metaphors to make it comprehensible, to our conscious selves, or the people back home.

Has science been any use at all?

On the contrary I would argue science put on blinders about certain topics. Advanced scientific techniques have struck out in discovering the root and media for psychic phenomena.

This constitutes a sad state of affairs - modern science let its heritage rot.

Pagan beliefs, gods with names and areas of influence, spells, rituals, these are the language of the psyche. Ancient in origin, they are quite scientific in their methodology in areas where science seems somehow excluded. Why can't we measure 'life'. Why can't we identify the soul or being-ness of a human being, of a bird. . . of anything.

Carl Jung was a scientist who recognized that the ancient language of myths and dreams were the only scientific language advanced enough to decode the language of the psyche. He understood that older forms of 'science' astrology, the black arts, traditional medicine, dream analysis, comparative mythology, were only meaningful tools.

Yet despite Jung, and his teachings, modern science fears a lapse back to pagan mythos.

So, when I write of the Muse, or Quetzalcoatl, or Hermes, I do so in the absence of science, to describe and understand principles that are absolutely real. Thousands of years of human evolution knows they are real, that these are forces much larger and more powerful than human life.

So when I say Ganesh, or Kali, or speak of Mnemosyne, imagine that one day modern science becomes a trifle less arrogant, and actually begins to understand something of the subjects that these great pagan complexes embrace.

Then, only then, will the science of learning advance.

Until then our little discipline will only be able to consider abstract models of matter, and energy, or the plumbing of the body instead of the poetry of the soul. It will have to leave soul, and the unique abilities of life forms to see into the future, to influence events, and solve unsolvable problems, to dreamers.


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