Alex Steer

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Notes on work in progress

205 words | ~1 min

I'm working on a few language-related things of possible general interest at the moment. One is for this blog, and is intended in follow-up to this post (and this follow-up) on Language Log, relating to the history of the meaning of the controversial phrase 'to bear arms' (in the Second Amendment to the US Constitution). As far as I know no historical lexicographers have got seriously involved in this yet, and it deserves a more detailed treatment than it's had so far.

The other, not for publication here yet (because it's for publication elsewhere), is a corpus-based analysis of the changing profile of philanthropy in the UK press over the last five years. Some fairly brute-force searches are already turning up some interesting patterns, though I've got a lot to do to refine them. All being well, I'll post here sometime in the next few months on the results and the methodology used for this.

I'm also doing some research on the history of the word 'charity', though I'm not saying what for (yet, anyway).

# Alex Steer (26/06/2008)


We're always going forward 'cos we cannot find reverse...

1358 words | ~7 min

BBC News Online's Magazine section has declared war against an adverbial phrase.* The phrase in question is 'going forward', which is singled out as a prime example of 'office speak': the kind of professional jargon that, at least to the writer of that piece, 'cloaks the brutal modern workplace in such brainlessly upbeat language'.

Having just moved from the world of academic research and editing to a profession in which I routinely deal with people from a business and accounting background, and being as I am just across the Thames from the dreamless spires of the City, I can sympathize to some extent, if only by attesting to the extraordinary prevalence of the term. It's worth explaining, though perhaps with less of a wearied sigh than the BBC website has managed, that 'going forward' means, in essence, 'from now on', or 'in future'. I'd never heard it being used 'in the wild' until I consorted with business people, I'll admit. But my two questions are: why do they use it, and why is it so hated?

The answers to these two questions may be related. The key to both of them is an understanding of the nature of jargon. Jargon is what sociolinguists call specialized discourse, and what lexicographers still sometimes refer to as technical vocabulary. This is perhaps a slight misnomer, as it suggests that jargon is restricted to technical professions. It isn't: it can be found anywhere where people with shared expertise want to save themselves some time, be they painters, priests, or papyrologists.

Jargon of most kinds has the capacity to induce incredible loathing, indignation, and rage in the most mild-mannered of people. I say most kinds, because there are some kinds of specialized discourse which are so entrenched that they usually pass beyond lay scrutiny. No-one seems to object (thankfully) that scientific or mathematical papers are frequently incomprehensible to those without the appropriate training. (If you are interested in how scientists talk, I recommend Thomas Kuhn's The Structure of Scientific Revolutions, the book which brought us a new sense of word 'paradigm', and with it the concept of the paradigm shift.) But it's not hard to find examples of people lashing out at specialized discourses which are perceived to be rather closer to what we might call 'everyday' or 'public discourse'. The jargon of literary theorists, for example, is frequently the target of scathing abuse, arguably based on the fact that literature is felt to be so much a part of public discourse in so many parts of the world (consider the role of vernacular literature in national identification and determination, past and present - and visit Poet's Corner in Westminster Abbey if you don't believe me), yet literary theorists often talk about it in ways that require a lot of specialist understanding. Sometimes, of course, the charge of obscurantism can be shown to be justified. Very rarely, though, does anyone get around to suggesting that the popular idea of literature as public or national or communal is limited and incomplete, and that, by being rather anti-populist, literary-theoretical jargon might be reflecting another view of the history of writing, one that flows rather less smoothly through the world. (That's definitely outside the scope of a blog post, though.)

If you buy superficially my idea that literature is a type of cultural activity which is considered public and whose jargon is hated for unsettling that idea, then might we say the same about business? Far more central to the economy than the production of literature (on the whole), commerce has been a public discourse since at least the thirteenth century, when the first commodities trading associations began their work. 'Business' is now a huge part of the UK's economy, and millions of us are within its sphere of influence. It's so widespread that - unlike the language of literary theorists, or of pure mathematicians - the language of business routinely follows us out of the office and into the street, onto the television, into the newspapers. Little wonder, if so many of us spend so much of our lives using a shared jargon, we find it hard to put down at the end of the day, or assume that others outside the speech community will know exactly what we mean.

Perhaps that's why 'office speak' is so hated. So prevalent, always there, but always slightly jarring because slightly different. Terms like 'leverage', 'upscale' and 'capacity-build' aren't widespread enough to be unambiguously common currency: they will mark you out as a desk warrior just as surely as banging on about architraves will mark you out as a plasterer. Or a lunatic.

Of course, there is jargon and there is jargon. Jargon may be used to cover up painful truths or to disguise points of contention. In this case, I'd agree, it might be worth taking a stand, as George Orwell led the way for us to do with the concept of Newspeak. But not all jargon is newspeak. Is 'going forward' really 'cloak[ing] the brutal modern workplace' in a way that 'from now on' is not? My short answer is no.

So, to answer my second question first, what role does the term have in business jargon? Well, that's a bit of a false question, as it assumes that linguistic redundancy needs a reason, and it doesn't. But its prevalence should make us ask about its origin.

It seems to come from the practice of management accounting. Company accountants are, as you'd expect, necessarily rather concerned about making sure that their companies have enough money to be going on with in order to survive financially. Income can, after all, ebb and flow somewhat across a financial year. (Imagine you work for a company that makes greetings cards. While birthday cards may keep the money coming in all the year round, you can expect to see big spikes at Easter, Christmas, Mother's Day, etc.) So, when preparing accounts and budgets, accountants tend to take a company's income for the year, subtract its expenses, and see what surplus profit is left over (or, if they've overspent, what the deficit is). Assuming this surplus isn't given straight to the company's shareholders as a dividend, it is carried over onto the balance sheet for the following year. Thus a company that has a surplus that it carries over is said to have that surplus 'going forward' from one year's accounts to the next.

This term has solidified into an adverbial phrase and acquired a more general sense meaning 'in future', 'from now on'. But, you might say, in this use it scarcely counts as jargon: you gain no value from using 'going forward' compared to 'from now on'. This is true: in fact, it's a piece of jargon that has lost much of its technical sense. The technical sense is, of course, still widely used. You just don't hear it, as you'd expect, outside the context of management accounting, where it carries on harmlessly.

It seems perverse, then, to attack 'going forward' as a piece of 'office speak'. The problem is not that it's an inaccessible piece of jargon, but that it's not jargony enough. In the end, the problem is that it's a perfectly straightforward term that's still slightly unfamiliar in many contexts. And so, in the end, the attack on 'going forward' boils down to little more than some people encountering an unfamiliar term and slating the people who use it, because they prefer their own. To pretend otherwise is, I fear, to cloak the brutal modern world of public discourse with brainlessly upbeat cod-sociolinguistics.

* On a side note of unbelievable pedantry, the title of the above-linked article ('Are you going forward? Then stop now') ambushes the unwary reader slightly, as here 'going forward' is constructed from the present participle of the verb and the adverb 'forward', whereas in the phrase which is the focus of the article's loathing 'going forwards' is an adverbial compound. I did say it was almost unbelievably pedantic...

# Alex Steer (22/06/2008)


Allo, Mary Poppins...

278 words | ~1 min

A note from the intersection of lexicography and hip-hop: listening to 'American Boy' by Estelle feat. Kanye West is a worthwhile experience in itself because it's a good tune, but the rap section in the middle particularly deserves attention because of its rather playful appropriation of contemporary British slang.

Who killin em in the UK. Everybody gonna to say you K, reluctantly, because most of this press don't f**k wit me. Estelle once said to me, cool down down don't act a fool now now. I always act a fool oww oww. Aint nothing new now now. He crazy, I know what ya thinkin. Ribena, I know what you're drinkin. Rap singer. Chain Blinger. Holla at the next chick soon as you're blinkin. What's you're persona about this Americana Brama? Am I shallow cuz all my clothes designer? Dress smart like a London Bloke. Before he speak his suit bespoke. And you thought he was cute before. Look at this peacoat, Tell me he's broke. And I know you're not into all that. I heard your lyrics, I feel your spirit. But I still talk that CAAASH, cuz a lot wags want to hear it. And I'm feelin like Mike at his Baddest. The Pips at they Gladys. And I know they love it, so to hell with all that rubbish.

'Before he speak his suit bespoke' is also the best tailoring-related pun I've heard in any song this year.

Link: lyrics.

# Alex Steer (26/03/2008)


Ing-ing

526 words | ~3 min

Finding myself at a car boot sale over the Easter weekend, I started reflecting (because there wasn't much worth buying) on the phrase to go car booting, and its formation. The compound car boot is its most obvious component. It's in a specific sense, meaning (and shortened from) car boot sale (which is, in turn, taken from the more literal sense of car boot, being that from which one's unwanted stuff is sold). One can say, in British English, 'I went to a car boot this morning', and no-one will think you're strange (unless it's a cold morning).

But what about the -ing? The automatic assumption is that to go car booting (or to go running, fishing, etc.) involves a participle of the verb, so there must be a verb to car boot, meaning to attend, buy, or sell at a car boot sale. However, the -ing forms in these examples are properly nouns: to go ?-ing is a contraction of to go on ?-ing or to go a ?-ing (think of the carol 'Here We Come A-wassailing'), with the -ing-word the name of the activity, and a noun. So, car booting in to go car booting is a (compound) noun. Nor does it even presuppose the existence of a verb to car boot: nouns ending in -ing can form by taking an existing noun and adding the suffix -ing, without the need for a verb to act as an intermediary. (The word parenting is a good example: it forms from parent (the noun) and -ing, not from the much rarer verb to parent.) An important caveat is that while nouns of action do not suppose the existence of the verb, gerunds of action do. If you say 'I like running', then running is the noun. But if you say 'I like running races', then running is a gerund, a word with some of the properties of a noun (in this case, being something it is possible to like) and some of the properties of a verb (in this case, taking an object, 'races'). Gerunds are considered to be forms of verbs. So, if you saw a new word chopsticking in the phrase 'I hate chopsticking', that could be a noun of action derived straight from the noun 'chopstick'. But if you saw it in 'I hate chopsticking prawns' (i.e. taking 'prawns' as an object), you'd have to assume that you were dealing with the gerund of chopstick, verb, because nouns can't take objects.

As it happens, there are examples of both car booting as a noun and car boot as a verb going back to at least the late 1980s. Roughly the time some of the things you see for sale at certain car boot sales first hit the stands, by the looks of them.

# Alex Steer (25/03/2008)


Fun with unbalanced corpora

247 words | ~1 min

This came up in a pub conversation (as many of the best things do): should daddy longlegs (or long legs), another name for the crane fly in British English and the harvestman in American English, be pluralized as daddies longlegs?

My well-trained lexicographer's response, of course, was 'it really doesn't matter': it could be pluralized like that, or as daddy longlegses, or without alteration as daddy longlegs. But, in the interests of interest, here are the resulting (and no doubt massively noisy and so only slightly suggestive) results for number of Google hits:

Daddy longlegs: c124,000 Daddy long legs: c460,000 Daddies longlegs: 9 Daddies long legs: c391 Daddy longlegses: c216 Daddy long legses: c585 Daddies longlegses: 1 (!) Daddies long legses: 0

Finding the unmutated plural is trickier, but "daddy longlegs are" returns c1780 hits, and "daddy longlegs have" c536.

The conclusions?

  1. Plural forms with legses are more common than those with daddies.
  2. If anywhere near accurate, daddy long(-)legs may be the commonest plural, suggesting that the plurality of the legs component may be tacitly extended to the whole lexical item.
  3. It really doesn't matter.

# Alex Steer (18/03/2008)


OED update

131 words | ~1 min

And a quick note to herald the arrival of the latest updates to OED Online. These, published yesterday, represent a quiet revolution in historical lexicography, as the new published material consists of high-profile ranges of words revised out of sequence (much as the OED has for some years added high-profile new entries across the alphabet), rather than the next part of the normal alphabetical rolling revision (currently complete from M to quit shilling). More info about the out-of-sequence revision here.

I worked on some of these entries myself (and no, I'm not saying which ones), so it's good to see them available to the public.

# Alex Steer (14/03/2008)


Errours endlesse traine

426 words | ~2 min

This post by John Crace on the Guardian Arts blog is unfortunate. It contains a claim by a former lecturer of mine concerning Milton's contributions to the English language:

According to Gavin Alexander, lecturer in English at Cambridge University and fellow of Milton's alma mater, Christ's College, who has trawled the Oxford English Dictionary (OED) for evidence, Milton is responsible for introducing some 630 words to the English language, making him the country's greatest neologist, ahead of Ben Jonson with 558, John Donne with 342 and Shakespeare with 229.

There are two things wrong with this. The first one Gavin Alexander concedes quite readily, to some extent: 'The OED does tend to privilege famous writers with first usage,' he writes. This is true, though it's too often been used to create the mistaken impression that famous authors have been given first dibs because they're famous. Not so: the OED's policy has always been to include the earliest available example for a sense that may be found. It's easy to forget, in these days of EEBO, Google Books, etc., that during the initial round of editing (the first edition was published in fascicles from 1884 to 1928) there were quite severe restrictions on what was available in consultable editions or concordances, especially for the medieval and early modern periods. Though it's now routinely possible to antedate these first examples from Milton, Shakespeare, et. al., it wasn't then. It's a case of material constraint rather than editorial bias.

But the other mistake is more serious, and has begun to be pointed out in various quarters. The numbers suggest that Gavin Alexander has searched for 'Milton' and 'Shakespeare' in the 'first cited author' module available in the OED Online advanced search. What he's neglected to realize, though, is that until the current round of revision (from 2000 onwards) the OED abbreviated 'Shakespeare' as 'Shakes': type this in, and you will get a further 1663 results for Shakespeare as first-cited author. Milton does not even come close to second place, either: searching 'Chaucer' returns 2006 results, 'Cursor' (for Cursor Mundi) has 1609, 'Lydg*' (for John Lydgate) 783, etc.

A definitely cautionary tale, this one, about the dangers of hasty corpus linguistics. (Not a phrase I thought I'd use today.)

# Alex Steer (14/03/2008)


You've been facewhacked

229 words | ~1 min

On the subject of Facebook neologisms, Laura Varnam tells me that Stuart Lee, in his English Language lecture (Oxford English FHS Paper 1) the other week set students the challenge of coming up with a new word. (The result of the same exercise last year was 'bipod', meaning to share headphones with someone while listening to an iPod or similar, has made it as far as the Urban Dictionary and was cited as part of the language of the 'MySpace generation' by the Guardian.)

This year's task was to find a word for the moment when you log into Facebook and find someone has posted an embarrassing photo of you. The resulting verb is beautiful: facewhack.

I suspect the influence of 'gobsmack' and 'Googlewhack'. With my lexicographer's hat on, I'd say that the word describes the action, not the resulting feeling: to upload an embarrassing or inappropriate photograph of (someone) to the Facebook website; to cause (a person) shock or alarm by doing this. But however you read it, it's wonderful.

So, if you like it, start using it. Happy facewhacking.

# Alex Steer (06/03/2008)


Sleevefacing

197 words | ~1 min

Michael Quinion's World Wide Words newsletter of the 23rd February directed me to this article (Observer Magazine, 3 Feb 2008, p.9), and to the word sleevefacing: the practice of obscuring one's face (or other body parts) in one's Facebook profile picture by holding up a record sleeve, especially one similar enough to its surroundings to cause a visual illusion.

It's a lovely example of a coinage that will probably never get past its very restricted context of use, and of a word playing catch-up with the phenomenon it describes. 'Sleevefacing' is an unusual creation, probably simply from sleeve + face (n.) + ing, since it would require a new sense of 'face' (v.) meaning something like 'to have (something) as one's face; to make a surface covering of (something)'*, which itself would barely be applicable outside this context.

Anyway, a picture is worth a thousand irregular neologisms in this case, so: http://www.sleeveface.com.

* Cf. OED face v. 13.

# Alex Steer (06/03/2008)


Not as funny as it used to be

157 words | ~1 min

1752 G. A. Stevens Distress upon Distress ii. i. 52 (note) His Interpretation is like the Foreigner's, who mistook the Words, under a Sign, Money for live Hair, to signify, Money for living here.

A wonderfully weak foreigner joke from the mid-18th century, made slightly interesting by the fact that 'hair' and 'here' are only a half-rhyme (if that) in modern English, but in 18th century London English rhymed much more closely (both sounding like modern English 'hair').

Compare what looks like the only half-rhymed (as opposed to full-rhymed) couplet in Blake's 'The Tyger' (in Songs of Innocence, 1794): 'What immortal hand or eye / Could frame thy fearful symmetry?' These two, like the rest of the poem, were probably full rhymes in Blake's late 18th-century English.

Links: Blake, Songs of Innocence and Experience (1794), transcript and images.

# Alex Steer (29/02/2008)