Monday 25 July 2022

Getting drank

Beavertown Brewery currently have these billboard adverts up, with the slogan Out of this world beer. Drank on Earth

A billboard advertising Beavertown beer, on a street with sky and trees in the background. The text says 'Out of this world beer. Drank on earth.'
Photo: @nicholasd on instagram

The verb drink is one of our irregular verbs, as it doesn't have a past tense of drinked, adding the regular past tense ending -ed, and instead changes its vowel, so you say I drank beer not I drinked beer. It also does this for the participle, which is what you use for various things including perfect aspect (I have drunk beer) and passive (The beer was drunk by me). This passive participle is also the one we use for things like relative clauses (The beer that is drunk on Earth). 

But there is variation! Not everyone has all three of these forms in all contexts. For a lot of people, drank is used for all the non-present forms (I drank the beer, I have drank the beer), while for others, drunk is used (I drunk the beer, I have drunk the beer). For everyone, the adjective is drunk, though (no one says I am drank!), which I think is a nice indication that it's somehow separate from the verb. 

In formal English, then, this slogan would say Out of this world beer, drunk on Earth, because it's the relative clause type: this is short for which is drunk on Earth. They've chosen instead to go with the form used in more informal contexts and said Drank on Earth. The company's image is very informal and friendly, so they presumably felt it fit more with that vibe, and it has the added benefit of not being mistaken for the adjective which might imply getting drunk, not a good look from the point of view of the advertising standards people. 

Monday 18 July 2022

Performing a flying fuck

At our students' graduations this week, a colleague told me about a (non-canonical) ballet step which, because of the particular way that it's performed, is called the Flying Fuck. 

(As an aside, we had a conversation about how many of the names of dance steps are bodily, sexual or generally risqué, something that is also true of one of the types of dance that I do.)

So as you probably know, there is an expression, I don't give a flying fuck. It means that you don't care at all. For anyone who's using this blog to learn English (ill-advisadly, maybe), it's pretty rude so go carefully. 

In this expression, a flying fuck is what linguists would call a Negative Polarity Item or NPI. These are words that don't sound grammatical in a sentence without a 'licensor', often a negation, hence the name. So we can say (1) but not (2), where there is no negative word in the sentence to license the NPI and it sound really weird: 

(1) I don't give a flying fuck about his career prospects. 

(2) *I give a flying fuck about his career prospects. 

There are actually more licensors than just negation. Lots of NPIs can be licensed by expressions like exactly two. We can see this with another NPI, any

(3) *Some people have eaten any salad. 

(4) Exactly two people have eaten any salad. 

NPIs are tricksy and puzzling. There are several different theories to explain why they work the way they do, all of which are appealing in some way, and none of which quite satisfy completely. For example, some theories of how NPIs work predicted that flying fuck would not be licensed by exactly, as it's what is sometimes known as a 'minimiser', but it actually sounds ok to me: 

(5) Exactly two people give a flying fuck about his career prospects. 

I think this fact would be predicted under what seems to me to be the most widely-accepted (current) idea, however, which is known as 'non-veridicality' and is essentially about (4) being more specific than (3), though in more technical terms than that. 

But especially interesting to me is the fact that because this is the name of a ballet step, the exact same expression can completely lose its NPI status, and doesn't need licensing at all: 

(6) They performed a perfect flying fuck.

(7) The dance opens with a flying fuck. 

I like this sort of almost-literal interpretation of the expression to repurpose it for the name, at which point it becomes just a bog-standard phrase like any other. 

The literature on this is very fun to read, by the way, because it's full of phrases like I don't give a flying fuck so I recommend it. 

Friday 8 July 2022

Despatches from Barcelona

I’m just back from Barcelona. If you haven’t been, I recommend it, it was great! Here’s a selection of linguistic observations. 

I spoke mostly (Castilian) Spanish to people I interacted with while I was there, though people who live there speak Catalan. I don’t have any great insight on Catalan other than it’s a cool language. It does have this interesting spelling thing: because <ll> is a letter, but sometimes two instances of <l> occur together, they put a dot between them to separate them. So there’s a metro station called Paral.lel, for instance. This seems very helpful, if not strictly required. 

In general, people did speak Spanish back to me as well, which is something that seems to vary in different places. I spoke French in Paris, but mostly people spoke back in English. Perhaps my French accent is bad enough that it just felt easier… and it definitely wasn’t that people didn’t speak English well in Barcelona. Pretty much everyone we talked to spoke it fluently. 

That’s partly a result of the massive levels of tourism there. Before I went I’d read that tourism is getting to be a problem there, and I wasn’t sure how that could be. In Margate we moan about the DFLs (Down From London) clogging up our local bars and making a mess on the beach in summer, but they bring in money and allow the town to thrive. But I could see what they meant when I was there. There were so many of us, and I could see how Airbnb must be causing a real housing crisis. I saw a sticker saying ‘You tourist kills my neighbourhood’. Just to bring it back round to linguistics, I wondered if this was a generic singular (like ‘the Humboldt penguin lives in South America’), or a vocative (addressing the audience) and it was directed at me. 

Lastly, a phonology one. On our last day we went to a nice ice cream place with old-fashioned decor, granizado, orxata, etc. They had a sign that said ‘More sits upstairs’. Much as I would love this to be an adorable use of the verb ‘sit’ as a noun, I suspect it’s a result of the words ‘sits’ and ‘seats’ being more or less homophonous if you have Spanish phonology. Spanish (and probably Catalan, I don’t know for sure) doesn’t have what linguists call a ‘phonemic distinction’ between the vowels in those words, which means that there isn’t an equivalent pair of words where the only difference is the vowel, like English ‘sits’ vs ‘seats’. And if your language doesn’t have a phonemic distinction, it’s really really hard to hear it and remember the difference in another language. 

Wednesday 4 May 2022

Is a great deal more than a lot?

I'm sure this survey made it clear what the options meant, but to me, 'a lot' and 'a great deal' mean exactly the same thing. 

Screenshot reading '27% of respondents said [Brexit] had affected the a great deal, and 14% a lot'


Monday 25 April 2022

Going places in Welsh and English

I'm learning Welsh on Duolingo. Most people in our department are doing a language on it, in some cases for practical purposes but for many of us, for family reasons. In my case, my grandmother was Welsh and spoke it as a first language, so I feel a connection to it for that reason even though I'm not Welsh myself. My other grandparents also lived in Pembrokeshire for a long time, though they weren't Welsh, and so when we visited we'd hear it spoken, especially if we went along the coast a bit to Carmarthenshire. 

I knew a fair amount about Welsh grammar before I began, because I'm a linguist so I happen to know quite a few things about quite a few languages that I don't speak, and Welsh is a language that has been studied and written about reasonably often. It's frequently studied alongside others as well as in its own right because you can compare it to other Celtic languages for within-family comparative work, or with languages from other families where it's useful as an example of a language that has VSO word order. 

Backtrack! VSO? V stands for Verb, S for Subject and O for object, and these three letters are how we talk about the basic or default order of the elements of sentences in a language. English is SVO: [S The British public] [V despise] [O the current government]. This is one of the two most common orders globally, the other being SOV (e.g. Korean). VSO is less common and it can be useful, when examining linguistic theories, to illustrate how they work in languages with this order. The same VSO order is found in languages all over the world, including Berber, the Mayan languages, and Te Reo Māori. 

There are lots of other interesting things about Welsh grammar, obviously, it's just that this is the one I happen to have read most about because word order is the area I've worked in most of all. And of course VSO is an abstraction and there is widespread use of auxiliary verbs (the English equivalent would be something like The British public is despising the government) which is still VSO but it's not quite so straightforward as just classifying languages and being done with it. Luckily, I suppose, or I'd be out of a job. 

So all this is to say that as I begin to work out what the heck is going on with this language, I might write some posts about it. So far I'm floundering in the dark as many things are very different from English. The app starts you off with things where you can make comparisons, but I'm honestly finding some of it baffling. Of course you don't get explicit grammar instruction on Duolingo, so I've got myself a grammar book as well to help me work out the things that aren't easily deducible. 

I assume they deliberately choose constructions to teach you that are similar to your language of instruction (English, in my case), to make things easier at the beginning. For me, a linguist, some of this was actually really surprising to me. For instance, all of the prepositions and articles that I've had to use so far have worked just like in English. Maybe this doesn't sound so strange but I know very well that prepositions and articles are infamously unpredictable and variable across languages. So when I'm getting sentences to translate that include a direct word-for-word equivalent of going to the office or whatever, I'm surprised. The main thing that has been different in this respect is the absence of an indefinite article (a/an in English), so here I felt back on more solid ground as I know this is a feature common to lots of languages and fully expected it. 

Another, more specific, thing that seems weirdly the same is the verb(-type thing) mynd, which apparently means 'going'. English uses go for a travelling or motion event, like going to the office: I'm travelling from one place to another. Welsh also appears to do this: mynd i'r swyddfa is the direct equivalent, and both languages need to use it with a subject and an auxiliary verb: I'm going to the office or Dw i'n mynd i'r swyddfa. Here's the weird bit though: English also uses go for expressing the future, which is not totally bizarre but also not universal by any means, and Welsh seems to do the same. So just as in English you can say I'm going to wait here, you can say Dw i'n mynd i aros yma in Welsh, and they both express future with no motion involved. This use of go for expressing the future isn't unique to English and Welsh (French and Spanish have it, and Jamal Ouhalla describes it for Moroccan Arabic here) but it's also not that common. Perhaps someone can tell me whether this similarity is a result of the very close contact between the languages, a shared familial feature, or simply coincidence that both languages have travelled this grammaticalisation path, just like Moroccan Arabic. 

Monday 18 April 2022

It wasn't then, but it was now

Linguists are liable to stop mid-conversation to write down something they or their interlocutor said, if it was linguistically interesting. Out for drinks with colleagues, the following happened. 
David, picking up a nearly-empty beer: Is this mine? 
*David downs the last of the beer*
Me: Well, it was now! 
And at this point we stopped to reflect on the fact that you really can't say that, unless you're a linguist mucking about with language for funnies. 

Now is a flexible sort of thing. It doesn't only mean this precise moment (which can be measured in infinitesimally smaller moments anyway). It can be the present time give or take a few minutes, or a few hours: 
I'm busy right now; I'll call you back when I'm finished. 
Or the present time give or take a few days: 
The delivery is due around now, I think. 
It can be the present time, probably extending into the future, since some past causal event or just compared to before: 
We have to submit form 3A now to claim expenses, not form 3B (since the new manager updated the policy). 

We generally have better living conditions now (compared to in the last century), though there are still too many people living in poverty.  

My now was, I think, a present situation resulting from a causal event, where since David had downed the pint, it was now (and forever, I suppose), his. If the beer wasn't his before, It is now

But as I said my line, I mentally switched it from It is now. Because the beer no longer existed, I changed the tense from present (is) to past (was). I left the temporal adverbial now untouched, however, thereby creating a weird mismatch between past time (the tense of the verb expressing the existence of the beer) and present time (the adverbial expressing the time that the state of affairs described pertains to). 

This is why we have things like present perfect and past perfect, that you might have studied at school: I have drunk the beer is present (state of affairs) and perfect (action completed in the past), so although the beer is already drunk, I'm describing the present situation. I had drunk the beer is about a completed action and a past state of affairs – the situation that I'm describing, in which the beer had already been drunk, was at some past time. 

I was, in effect, trying to make now cover both the present time (our current situation) and a past time (when the beer existed). Now can easily include some time in the past, like all of the past time since the new manager changed the policy in the example above, but crucially it has to be conceptualised as not being in a distinct past time. It has to be a single now period compared to a before period (or then, or whatever). So it has to be present tense for a current state of affairs. 

And lastly, the reason my line was a dorky linguist joke rather than an incomprehensible failure of tenses is that the phrase It is now! has become a set phrase or 'chunk' of language. I wasn't consciously referencing the commentary of the 1966 football world cup final, but this is an extremely well-known use of the phrase and I think it has got into people's vocabulary, including mine, as an idiomatic expression. It highlights the inevitability of the current situation, the sense of having pinched a victory, and the impossibility of having the outcome reversed. 

Monday 11 April 2022

At last, someone has written about Wordle!

I've held off on blogging about Wordle, because everyone else did it, and because I didn't have anything particular to say. People tend to assume that if you're a linguist, you like word games, but I don't think that's any more true for us than for normal people. Some of us do, others don't. I happen to love crosswords (because there is a quiz or a puzzle element) and dislike Scrabble (because I'm not good at anagrams). I do, as it happens, love Wordle. I love logic puzzles like sudoku, and this is basically just a logic puzzle with an added constraint. 

There is, or used to be, a board game called Mastermind which was a pure logic version of Wordle. (If you don't know what Wordle is, by the way, I don't know where you've been. It's what we all spent the early part of 2022 doing.) There, the thing you had to guess was the sequence of coloured pegs. There were only a few colours, and only a sequence of four, so much fewer than the 26 letters and five slots that Wordle involves. And you needed like ten goes to get it, rather than the six that you get with Wordle. The rules were the same: you got told if you'd got one right and in the right place, or right but in the wrong place, or wrong. You weren't told which one, though, which did make it harder in that respect (otherwise it would have been incredibly easy). I loved this game and I'm not sure why I never had my own copy (maybe no one else liked playing it with me, or maybe I never mentioned that I liked it?) but I played it when I was at other people's houses. 

So yes, I do love Wordle, because of the logic puzzle aspect. The word part of it does add something interesting for me, though. I like the constraint it puts on the possible answers. It's not the case, as in Mastermind, that every combination is equally possible. Some just aren't, or are much less likely, and that's due to the rules of either languages in general, or English in particular. So an example of a language-in-general thing is that there are going to be some vowels in the word, and some consonants. An example of an English-in-particular thing is that the last letter is probably an 'e' or a consonant, because we don't have so many words that end in 'a', 'i', 'o' or 'u' (though we do have some, so it's not absolutely ruled out). Another English-in-particular thing is that if you know you've got an 'h' in there somewhere, it's possibly the first letter but if it's not, you've likely also got a 't' for 'th' or a 'g' for 'gh' in there. Not always; ahead would have stumped me in that case. 

Screenshot of my Wordle stats showing a normal distribution with most words taking me four guesses to get.

I've been paying attention to how I solve them, and I usually get the answer on the fourth go. I imagine this is true for most people, as we'd expect a 'normal distribution' with very few right on the first or second go (that's a lucky guess) and few taking six (that's some bad luck or a word that has many very similar to it). 

I'm not sharing any new insights on how to solve them – I just do the same as you all do and rule out the most common letters first until I can see what it's likely to be. But what interests me is how quickly you get to the point where it can only realistically be one word. This is normally where I am by guess four. 

Here are a couple of recent ones, where the answers were epoxy and lowly. Just coincidence that they both end in a 'y', I think. I vary my starting words but always try to include some common letters. Sometimes I just use things I see nearby like the dogs' names. In both these cases, by the time I'd had three guesses I didn't have many right, but I had ruled out nearly all the possibilities, and there was only one possible word that I could think of in each case that could fit what I knew. 


Screenshot of Wordle with the word 'lowly', correct on the fourth go with few correct letters on the previous three. The previous image shows the same but for 'epoxy', but I can't edit the alt text for some reason.

This is the most satisfying way of playing the game, I think. If you end up with only one letter to get and several possibilities, it becomes chance and annoying, and if you get it right with some lucky guesses you don't feel like you earnt it, whereas this way you feel happy that you worked it out. 

I also saw Lesley Jeffries talking about doing it in other languages, and noting that her guess distribution was much more spread, presumably because her vocabulary is not a large in those languages and so she is likely to need more goes to get it right than the average speaker of that language would (and she noted that she is relying on phonotactics, which is those rules of the language that I mentioned earlier). 

Monday 4 April 2022

Foreshadowing via conjunction

There is a film called Willy's Wonderland, starring Nicolas Cage, and it is bizarre and wonderful. You should watch it. Cage has to spend the night in a disused family amusement animatronic kids' party type place, working as a cleaner in order to pay off the bill for fixing his car. The man who makes this deal with him says something along the lines of, 

'You walk out of that building in the morning and I'll have your car waiting for you.'

I've written before about conjunctions ('and') working as a conditional, in my post about the instruction(?) Don't touch the actors and they won't touch you. There, I noted that you could interpret the whole sentence as a statement of fact, that you shouldn't touch the actors and, independently, they also will not touch you, but that in fact we interpret it as a conditional: if you don't touch the actors, they won't touch you. 

In the line from this film, the same is true. Either the man was saying to Nicolas Cage that he'd be able to leave in the morning and when he did so his car would be ready, or, very much foreshadowing what was to come, that there is a possibility that he might not walk out in the morning but that if he did, his car would be waiting. 

I felt like the intonation gives us a clue as to which it is, but I lack the technical skills to show you how it goes on this blog. It's something like this, though: in the conditional interpretation, we get rising intonation to the end of the first clause and then falling on the second one, whereas on the statement of facts interpretation, they're both falling, and similar to each other. 

(Yes, this could also be a threat, as noted in that other post as well. Context would have made that really weird – who offers to fix your car as a threat?)

Monday 28 March 2022

How many times is too many for words?

How many times do you need to use a word in one piece of writing or speech before it's too many? 

In the novel 'We' by Yevgeny Zamyatin, a word meaning 'rose-coloured' or 'rosy' is used several times. The version on Project Gutenberg translates it in one of those two ways, and there are 27 instances (24 of rosy, 3 of rose-colored). In my copy it was translated as roseate, an uncommon word, and that was certainly enough times for me to first notice it, then become distracted by it, and eventually become annoyed by it to the point where it's the main thing I remember about the book. I'm sure in the original it's fine and probably has a stylistic purpose but it was way too high frequency for it not to stand out for me. Because it was highly salient, it's stuck in my memory extremely effectively. 

In one of the podcasts I listen to, The Knitmore Girls, one of the hosts used the word cocoon for the second time within an hour-long episode and caught herself, saying she was using that word a lot in that episode. Just two uses isn't that many, certainly not as many as 27 instances of roseate in a short novel, but it was salient enough to stick out for her and so more than once was too many. 

Monday 21 March 2022

Disappearing, and being disappeared

The verb disappear is normally what we call 'intransitive', which means that it has one participant: the person who disappears. Like this: 

The leftovers disappeared. 

If anything follows the word disappear, it's either some extra optional information, or it's a continuation of the discourse and the 'disappear' phrase is done: 

The leftovers disappeared overnight. 

The leftovers disappeared, which I'm very annoyed about because I was going to have them for lunch today. 

If we want to talk about more than one participant, like if we have both the thing that disappears and also someone who causes the disappearing to happen, we have to add in another word, make

The kitchen staff made the leftovers disappear. 

English being the flexible language that it is, you can find examples of 'transitive' disappear, which is when we just put the two participants of the action right there with the verb: 

VICE has disappeared the post from its website (from M-W)

But English also being the kind of language that doesn't like redundancy (this is all languages tbh), because we already have a way of doing this with make, the 'cause to disappear' meaning takes on a more specialist meaning than the other one, so that they are distinct in their function as well as their form. Content warning now for examples relating to war and dictatorships. Here's some more examples from Merriam-Webster: 

Her son was disappeared during Argentina's so-called Dirty War.

Under his repressive regime, tens of thousands of Chileans were 'disappeared', tortured and killed. 

It [Nineteen Eighty-Four] imagines a secretive regime that surveils its people and polices even their thoughts, disappearing anyone who rebels against the order. 

It has taken on this specialised meaning of the imprisonment or killing of political dissidents. 

Perhaps, if you're paying close attention, you might notice that only the last one actually has two participants mentioned: the 'secretive regime' and 'anyone who rebels'. The others only mention the person who disappeared. But here we have an exception that proves the rule, because these are passive sentences (He was disappeared vs The government disappeared him). You can only make a passive sentence with a transitive verb, because to do so you need to promote the object (the thing the verb happens to) to be the subject of the sentence: 

I (subject) ate the leftovers (object).

The leftovers were eaten. 

You can't do it with a sentence with only one participant to begin with, because then there's no object to promote. Or, if you prefer, you can, but by doing so you're adding in another understood participant: 

Not passive, one participant: The boat sank (perhaps with no particular cause). 

Passive: The boat was sunk (by someone in particular, though we aren't told who). 

While it is true to say that the political dissidents disappeared, it is more informative to say that they were disappeared, because it informs us of the involvement of a third party who deliberately caused this 'disappearance'. 

Tuesday 15 March 2022

Best pub for precisely 8.5km is decent

There's a sort of trope that Japanese has no swear words, and instead you insult someone simply by using the wrong level of politeness. As with all these things, it's based on a grain of truth (there are linguistically-encoded formality registers) but it's also really xenophobic and demeaning to essentialise cultures in this way, as it perpetuates racial or national stereotypes of Asians/Japanese people. Plus, you miss out on the actual interesting facts about Japanese honorific speech if you skim the surface like this (you'll have to go somewhere else for those, though, as I am not a Japanese expert). The truth is often more interesting than the factoid and I encourage you to learn more if you didn't know about this! 

So probably I didn't even need to bring that trope up apart from I like to share information about languages, but some things I saw lately reminded me that English (and any other language, probably) is also perfectly capable of being highly insulting without using actual insults, and we do it with pragmatics. 

First, a tweet from @mralanjohnsmith, his second appearance on this blog in recent times, included this photo and observation: 

(Photo shows a cafe's outdoor A-board with things like 'awesome food', 'delicious cakes', 'the best brew', and 'decent staff'.)

Secondly, this one: 

Both of these seem to be maligning another establishment but not by directly saying anything bad. They in fact both just say good things about themselves. However, they do it in such a way that we fill in the blanks and infer a whole lot more. 

The 'decent staff' cafe has a lot of very enthusiastic words like 'awesome', 'the best'. So among these, 'decent' sounds like fairly low praise, meaning only tolerably good. I had a quick look on Urban Dictionary to see if the kids these days are using it in a more positive sense, and while there are a couple of entries with that sense, most have the 5/10 meaning. It seems strange, then, to put this on your advertising. The cafe could be saying that, if it's honest, its staff are only pretty good, but given that the staff wrote the sign, we might interpret it as more likely that they're comparing themselves to other places. Those other places may have good coffee, but this place has 'the best!' Those other places may have good food, but the food here is 'awesome!'. And by extension, if this place only has 'decent' staff, the other places must have less than decent staff, and the next level down from decent is, well, not good. 

The other sign, rather than saying too little, gives us too much information. If you said you serve the best pint for miles around, we interpret this to mean you think you're pretty good, but haven't literally done a taste test and got votes and so on. The non-specific nature of the claim means that it's not verifiable, because it's not meant to be. The pub next door might have something to say about it, but a pub five miles away can safely consider itself out of range of the claim. But as it says 'for 8.5km', which is a specific measurement, it just can't be interpreted as 'a large area' or 'a long way' in the way that a round figure like 'ten miles' could, so we wonder what is precisely 8.5km away. Is it, as the person suggests, that there is some other pub within that range that they're saying is less good? Perhaps the village is 8.5km in size, so it's a way of saying it's the best in the village? or is it, as I think I'd be inclined to think, that 8.5km away is a better pint? 

Monday 28 February 2022

It end ups being a word

[Please note that this is a schedule post and I am currently observing my union (UCU)'s industrial action over pensions, pay, workloads, and equality.]

English has a group of verbs that you might know as 'phrasal verbs'. It's things like cheer up, find out, turn off. They include what looks like a preposition (up, out, off) so can be hard to distinguish from normal verbs with a preposition following them. To add to the complication, verbs that are not really phrasal but might have a preposition after them come in two types: they have to have a particular preposition, or they can have any old one optionally. Here's a classic Linguistics 101 example to clarify: 

Look can occur with no preposition at all: 

I'm not sure where it is, I'll look. 

Or it can be followed by one of several prepositions: 

I'm not sure where it is, I'll look at a map. 

I'm not sure where it is, I'll look up the address. 

I'm not sure where it is, I'll look in the atlas. 

I'm not sure where it is, I'll look to the stars as my guide. 

I'm not sure where it is, I'll look with my soul. 

OK, I'll stop there before it gets silly. But one of these is different from the others. Compare these two sentences: 

*I'm not sure where it is, I'll look a map at. 

I'm not sure where it is, I'll look the address up. 

In the second one, we can put the preposition at the end, whereas we can't do that in the first one. That's because look up is (in this case) a phrasal verb, and up isn't really a preposition. It's sometimes known as a verbal particle and it's doing something other than signifying direction. Compare it to the same phrase when it's not a phrasal verb. As we just saw, phrasal verbs like this one can move the 'preposition' to the end: 

I looked up the address.

I looked the address up

They can't have any other preposition than the one they go with, though:  

*I looked down the address. 

But if look up is not a phrasal verb, but instead just a normal verb that happens to be followed by a preposition, the opposite is true. You can't move the preposition to the end, but you can change it for another one. (I've added in a bit of context here to make the meaning clear.) 

I looked up the street and saw my friend arriving. 

*I looked the street up and saw my friend arriving. 

I looked down the street and saw my friend arriving. 

Anyway, this is all stuff that's in grammar books, so on to the observational content that you know and love. Someone I follow on twitter used the phrasal verb end up, but treated it as a single unit, putting the verbal ending on the particle, like this: 

...because it end ups reproducing the same situation they want to avoid. 

Normally, you'd expect to see ends up, not end ups. But this does make sense if you consider a phrasal verb to be a single unit. End up is a bit different from look up in that we can't move up anywhere else. It really always does have to be end up, with nothing in between them, and no other preposition than up. The parts don't really mean the same on their own (end could be used in the same way, but it's not). So it's really functioning as a single word in any meaningful sense, and therefore it makes sense to stick the word ending (the 'inflection') on the end of the whole unit, as this person did. 

Monday 21 February 2022

If/had I needed to express a counterfactual

[Please note that this is a scheduled post, and I am taking part in the ongoing industrial action by my union, UCU.]

In a recent tweet, which I won't quote because the subject was too serious and grim for this light and fluffy discussion of linguistics, I saw the construction had/if. Like this: 

This is who I'd have spoken to had/if I needed help. 

It's like when you use and/or, to be clear that it's inclusive. If I write You'll enjoy this if you like fantasy and/or thrillers, then you'll like it if you like just one of those things or both of them. In other words, fantasy and thrillers, or fantasy, or thrillers. It just makes explicit the 'inclusive disjunction' (one or both are ok). 

But with had/if, there's no equivalent thing to make explicit. We can indeed use either of them in this sentence: This is who I'd have spoken to if I needed help and This is who I'd have spoken to had I needed help. But although had is a bit more formal, the meaning is the same, unlike with and/or. They both give a conditional interpretation. This made me wonder about the difference between them and after some struggle with finding out what the 'had' construnction was called (honestly it's hard to google linguistic things sometimes), I found Iatridou and Embick's 1994 article 'Conditional inversion'. 

It's called conditional inversion because it's used in conditionals, and the verb had is inverted with the subject: I had needed help vs Had I needed help. We use inversion a lot, including in questions (Had I needed help? Who can say.). 

So, if and inversion both indicate a conditional: 

If Sabine had eaten the calamari, she might be better by now.

Had Sabine eaten the calamari, she might be better by now. 

(Examples are all taken from Iatridou and Embick 1994, but with the name 'John' changed to 'Sabine' because John is in way too many linguistics example sentences.) 

Here's one difference between them, though. If can be used in situations where the thing might be true, and we just don't know the facts: 

If Sabine has eaten the calamari, there'll be none left for us. 

Inversion, meanwhile, can only be used in what are called counterfactuals, where we know the thing isn't the case, and you're talking about if it had been (but it isn't). In the equivalent example to the one just above, where it may or may not be true, it doesn't sound at all natural:  

*Has Sabine eaten the calamari, there'll be none left for us. 

(Remember the convention that an asterisk means that a sentence is not grammatical for speakers of the language under discussion.) 

And while if can be used with contracted negation (n't), inversion can't: 

If he hadn't seen the car coming, he would have been killed. 

*Hadn't he seen the car coming, he would have been killed.

Had he not seen the car coming, he would have been killed.

So there are some differences. But in the sentence I saw, where we began this, either would have been fine, because it was a counterfactual (she didn't need help), so inversion is ok, and if works in all conditionals so that would have been ok. So there's no reason to include both for covering more bases. It looks like one of those times when it feels like they mean something more than just using one of them, so you include both for the feeling of completeness. 

Monday 14 February 2022

An ilk of that ilk

[Please note that this is a scheduled post, and I am taking part in the ongoing industrial action by my union, UCU.]

You should always learn something at a pub quiz, and I did recently: I learnt what ilk means, as in of that ilk. The question asked us about a phrase that is used generically to mean 'of that type' and specifically in Scottish English and Scots to mean 'of the same name or place'. I had no idea and was coming up with all sorts of nonsense like autochthonous. But of that ilk it was, and once we knew, it was so obvious! An example from the OED of it being used in this way is Wemyss of that ilk, meaning Wemyss of Wemyss

Reading the OED entry is really interesting because it was used to mean family or class, and you can see how that's related to the meaning above. But its origin is in a pronoun, it seems, which has come down to Modern English as each or which (Scots is descended from the same predecessor as Modern English is) and that meant same or alike. You could use it like that for a while, as in the OED's example from 1648, During this ilk time...

It still seems to be pretty widely used in informal contexts today, as a quick twitter search turns up plenty of examples. You'll be pleased to know, I'm sure, that there's also the occasional sighting of the eggcorn version of that elk

Monday 7 February 2022

Catching criminals and watching them in the act

CW: mention of public indecency behaviour in the tweet linked and below, before we get to the linguistics. 

This reply to a tweet of Derren Brown's delighted me. The response is to a screenshot of a takeaway driver review in which the person says they 'caught the delivery guy playing with himself in his car for ten minutes': 

As Alan says above, you can't really catch someone doing something for ten minutes. Why not? 

This is what linguists call 'lexical aspect', and it's basically part of the meaning of the verb, but it also interacts with the tense and other features of the way you use it. It's why if you say I'll go for a walk in an hour you mean that an hour from now, you will go for a walk, whereas I finished my homework in an hour means that it took you one hour to do your homework, and I'll do my homework in an hour is ambiguous: you'll do it in one hour's time, or it will take you one hour to finish it. Notice that I'll go for a walk in an hour doesn't have this ambiguity because it's just not the type of verb that you can say how long it takes to complete. You can, however, say I'll go for a walk for an hour, and then you're expressing the duration of your walk. 

There are a few different systems of classifying verbs in this way, but let's go with the classic one: Vendler's system from 1957. On this classification, catch is what he termed an 'achievement': an instantaneous action, a point in time. While you might have a long build-up to the catching, like a year-long investigation and stake-out, the act of catching itself is an instant in time. Watch, on the other hand, is an 'activity', which is an ongoing process without a pre-defined end point. If it doesn't have a pre-defined end point, then you can specify how long it went on, as in this case (ten minutes). 

You can manipulate these classes, and for instance say that It took ten years to catch the criminal, and then although we're using a frame that specifies the length of the process, that length of time is actually the delay before the achievement takes place: ten years of meticulous planning and investigating, or perhaps alternatively bumbling incompetence. This is why, after the ten years is up, you might say We finally caught the criminal on Tuesday, after ten long years!. Compare this with an 'accomplishment' like write a novel: you can say It took ten years to write my novel, but you can't say I finally wrote my novel on Tuesday, after ten long years!. You'd have to say instead that you finished it on Tuesday, because write a novel includes the process leading up to the completion as well as the completion itself, unlike catch, which is just the completion and not the process. 

Monday 31 January 2022

The pronunciation of plantain

 Please enjoy this nice linguistic observation made by someone on twitter: 

We'll deal with the minor quibble first: –tain is not a suffix in most of these words. For it to be a suffix, it would need to be at least somewhat productively affixable, and really it's just in these words as a remnant. In the verbs it's what we might call a 'bound base', as it comes from Latin tenere 'hold', so contain is 'hold with', maintain is 'hold in the hand', entertain is 'hold together', and so on. In the nouns it's more just an accidental similarity in that mountain, fountain etc come from French words montaigne, fontaine, etc. Plantain comes from Spanish plátano

So, not a suffix per se, but nevertheless, the observation seems to hold. The author of the tweet even provides the exception that proves the rule: bloodstain isn't pronounced like 'tin', but it's also not got the morpheme –tain (as it's part of stain). 

It fits with other noun/verb pronunciations, such as the stress difference on record depending on whether it's a noun (play a REcord) or a verb (reCORD the show). I listen to a lot of knitting podcasts and I've noticed this with repeat, which I would always say with final stress, which I put down to the fact that it's normally a verb. But it can be a noun, in knitting, as your pattern may have a certain number of repeats. While I would still give this final stress, quite a few of the podcasters (all American English, though I'm not sure if that's relevant) will say REpeat with initial stress when it's a noun. 

Our –tain tweeter is making a point about the pronunciation of the final example, plantain, which white people typically say with the 'tayn' version while Caribbean or West African people pronounce it 'tin', so it also functions as a helpful mnemonic in that sense and I for one learnt something here and haven't said it 'tayn' since. 

Wednesday 5 January 2022

Behind the scenes: Diversifying reading lists

Decolonising universities has become something of a buzzword, guaranteed to turn Telegraph readers into frothing puddles of outrage. Every other week they publish an article about subjects getting ‘cancelled’ (also known as modules being updated) or lecturers being ordered to use Twitter instead of historical archives (also known as using an expanded range of sources). Well, buckle up, because that’s what my newest publication is about. Strictly speaking, it’s not decolonisation per se. That’s a deeper, longer, more transformative process that in my opinion might not even be possible without deconstructing universities as we know them. But the article is about diversifying the content of what we teach, and teaching it in a different, more inclusive, more culturally aware way, with the goal of creating a learning environment that is less hostile to students of colour.

This new paper, published today in the London Review of Education (https://doi.org/10.14324/LRE.20.1.01) is co-authored with 12 other people! The long list of authors is because it was really a collaborative effort and we wanted to recognise that, although the writing itself was done by the first four authors listed. The others contributed to the project design and the data collection and analysis, as well as bringing their insight and knowledge. Some of these people are colleagues in different schools at the University of Kent or from the university library, while others are undergraduate student researchers (some of whom have since graduated).

We report on an ongoing project at the university which reviews reading lists for modules in terms of their ethnic and gender diversity, and then supports teaching staff to increase that diversity if they want to do so. It’s necessarily optional, for several reasons: for example, we need to avoid alienating people who have a lot of freedom in their roles and often resent obligatory policies that they don’t see the purpose of (which is what has happened in the past when originally good ideas were imposed top-down without the rationale filtering through). It’s also got to be on top of an already overburdened workload, a problem we note in the article. Perhaps most importantly, the work is only meaningful if it’s done with care and genuine desire for change; simply bunging a few Black authors on the list is at best missing the point and at worst actively harmful. But for those who want to do the work, and are able to do so within their contractual constraints, the library staff and the Student Success Project team have worked up a whole lot of resources to help with this, so the idea is that small interventions like the one we report on can lead to longer-term change across the institution.

Working with the student researchers was the most rewarding experience. From the recruitment process onwards it was eye-opening to see how much they knew about the topic already, how committed they were, and how important it was to them. We specifically recruited (paid) researchers who themselves identified as from the category known in UK HE as ‘BAME’ (Black, Asian, or minority ethnic) as our methodology meant that it was important that they bring their own experiences and stories to bear on the work. One of the researchers in particular found an especial enjoyment of—and flair for—giving talks and presentations on the work, during which he was able to reflect on the importance of the project to him personally in a way that really helped the largely white audience to understand the purpose. He got rave reviews both in the department and at the conferences where we presented the work.

For me, a really interesting aspect was the interviews with staff. I interviewed 70-something members of the school, at all levels from graduate teaching assistants to the Head of School, and from academic and professional services teams. I approached these interviews in a very loose, informal way and kept them fairly short so as not to burden people and turn them against the project. Still, some conversations ended up being very long as people often had a lot to say! The most valuable of these, for me, were the ones that turned out to be a real conversation between me and the interviewee, both of us learning and discussing the topic, and ending up with action points or ways of proceeding with the goal of diversifying reading lists. Sometimes, this was with someone I’d never really spoken to before, but who then became an ally or a go-to person for further conversations, and someone who I knew was pushing forward the aims in their own departments. It also, unfortunately, revealed to me people who were set in their ways and refused to see any other viewpoint, or who believed that the goal was the obligatory, quota-driven approach dispelled above. You can’t change everyone’s mind, and nor should you necessarily, but I was keen to listen to people’s reasons for disagreeing with the goals of the project and sometimes those reasons showed a lack of understanding about how discrimination works and a lack of willingness to learn and grow.

This was my first truly cross-disciplinary project, working with (primarily) sociologists and library specialists and using theories and methods from their fields. Our primary theoretical tool was Critical Race Theory, also much in the press these days, which holds that racism is baked into our systems (in this case, reading lists, courses, university structures). CRT began as a legal theory but is applicable to fields beyond its origins, and has been used in education research before. It was this that helped us to determine our methods and the way we approached the qualitative data obtained from interviews, and it was the reason for the majority of the authors (and all of the student researchers) being people of colour, as the effect of lived experience is a crucial part of the work which I, as a white person from the Global North, couldn’t contribute. I was, however, happy that some of my linguistic practice did end up in the piece, in that the student focus groups I conducted, which produced some extremely rich data, were run following the methods of a sociolinguistic interview such as ones I’ve done in the past. Learning the theories, methods and conventions of a different field has been hard work, but it’s definitely been worth it.

If you click through to the open-access article, you can see the results of the reading list review of the departments in our study, the findings of the interviews with staff and students, and the outcome of the project in the form of the resources for shifting the balance to better reflect the population of our university.