Oxford University Press's
Academic Insights for the Thinking World
We may talk a lot of turkey during the holiday, but US Thanksgiving is really all about the sides. Yes, we pile our plates with mashed potatoes and green beans, but we also feast on the many other great sides the English language has to offer.
The strange exclamation in the title means “Fiddlesticks! Humbug! Nonsense!” Many people will recognize the phrase (for, among others, Dickens and Agatha Christie used it), but today hardly anyone requires Betty Martin’s help for giving vent to indignant amazement. However, the Internet is abuzz with questions about the origin of the idiom, guarded explanations, and readers’ comments.
The child in me was excited to see ‘adulting’ as one of the shortlisted words for the Oxford Dictionaries Word of the Year 2016. Adulting is on the minds–and tongues–of many of my millennial-generation college students. They explain that it is about assuming adult responsibilities like managing money, showing up at a job, buying food and paying rent, getting health care, and more.
The lexicographers at Oxford Dictionaries have been at it again with their choice of Word of the Year 2016 – ‘post-truth’. Now call me a pedant but I’d have thought ‘post-truth’ is two words, or at the very least a phrase, (‘Pedant!’ I hear you all shout) but I’m assured that the insertion of a hyphen creates a compound word that is not to be sniffed at. How then do words such as ‘post-truth’, ‘alt-right’, and ‘Brexiteer’ combine to explain the current situation of global political chaos?
This is a postscript to last week’s post on fog. To get my point across, as they say, let me begin with a few short remarks on word origins, according to the picture emerging from our best dictionaries.
Word of the Year 2016 is… post-truth. After much discussion, debate, and research, the Oxford Dictionaries Word of the Year 2016 is post-truth – an adjective defined as ‘relating to or denoting circumstances in which objective facts are less influential in shaping public opinion than appeals to emotion and personal belief’.
Some years ago, I sent off a manuscript to an editor. After the usual period of review, the editor sent back a note saying that he liked the work, but suggested that I should make it “less academic.” I reworked a number of things and sent back a revised version with more examples and a lighter tone. A week later, I got a short email back saying “No really, make it less academic.”
The idea that many, if not most, people exhibit physical signs – tells – when they lie is an old idea – one that has been extensively studied by psychologists, and is of obvious practical interest to fields as otherwise disparate as gambling and law enforcement. Some of the tells that indicate someone is lying include:
Sometimes when looking at some piece of reality, puzzling choices have to be made when describing it as ‘one’, as ‘many’ or perhaps as neither ‘one’ nor ‘many’. Three woodblock prints of the artist Hokusai can illustrate the issue.
“Fog everywhere. Fog up the river,… Fog down the river….” This is Dickens (1852). But in 1889 Oscar Wilde insisted that the fogs had appeared in London only when the Impressionists discovered them, that is, they may have been around for centuries, but only thanks to the Impressionists, London experienced a dramatic change in its climate.
The election campaign season licenses two cohorts—politicians and journalists—to take up an even greater share of public discourse than is normally allotted to them. Both of these groups have a demonstrable and statistically verifiable tendency towards cliché, and so it is to be expected that in what’s left of the run-up to the US elections, the public forum will be awash in clichés. And so it is!
Language is, of course, how we communicate political ideas to each other. But what is not often realized is that the language we use can itself be political. Often on the face of it, the way in which our language is structured — the words themselves or their denotations — are seen to betray no political significance. Many feminists criticize the traditional idea that language is a neutral vessel that merely depicts reality.
I am in Palermo, sitting on the floor of the puppet museum with a circle of teenagers. Around us hang gaudy, dormant marionettes of characters from the Orlando Furioso: the valiant Orlando and his horse Brigliadoro, his rival Rinaldo, his beloved the beautiful Angelica. Their stories are amazing, the stuff of epic and romance; but in fact the teenagers around me, all boys, have been through adventures no less extraordinary, though harsh and real.
Betty Tompkins came of age as a painter in the 1960s and 1970s. Though she has been a working artist for over 40 years, Tompkins has inspired renewed interest since the early 2000s, with a new generation of viewers responding to her unique voice and technical skill. As a woman and a feminist artist, Betty Tompkins is no stranger to the barriers against female voices, both in the art world, and in culture at large.
The verb curse, as already noted, occurred in Old English, but it has no cognates in other Germanic languages and lacks an obvious etymon. The same, of course, holds for the noun curse. The OED keeps saying that the origin of curse is unknown.
Peter Gilliver has been an editor of the Oxford English Dictionary since 1987, and is now one of the Dictionary’s most experienced lexicographers; he has also contributed to several other dictionaries published by Oxford University Press. In addition to his lexicographical work, he has been writing and speaking about the history of the OED for over fifteen years. In this two part Q&A, we learn more about how his passion for lexicography inspired him to write a book on the development of the Oxford English Dictionary.