Showing posts with label humo(u)r. Show all posts
Showing posts with label humo(u)r. Show all posts

the c-word and gendering mansplaining

In 2011, Douglas Bigham asked me if I'd write a piece about "the c-word" for the Popular Linguistics website, which he was trying to get started at the time. He observed:
It *seems* to me that "c---" is less gendered in the UK, but can only be directed at a woman in the US.
(He didn't censor the word, but I have. I'd say it in a linguistics lecture, but putting it on a page is a bit too in-your-face for a blog that wants to be used in schools. I think I've screwed my chances with the nanny software already, though. Of course, I'm talking about the word that's an anagram of the name of a certain Danish king.)

The article never happened (I'm sorry!) and the site closed (I hope unrelatedly, but I will admit my contribution by non-contribution, if necessary). But today I am moved to write a bit about the word because of this (slightly censored for this blog) message I got on Facebook this morning:




I will come back to why I got this message and why I've hidden his full name. Let's just deal with the BrE/AmE difference first.

This message looks like it's from the USA (and his Facebook profile agrees), because he called a woman a 'dumb c-'. Looking at the GloWBE corpus, there are two unique instances of this phrase in the American data. Both refer to women. There are five in the British data and they refer to: a male athlete, a male friend, and fans of a certain football team or football magazine. This is not to say that it can't refer to either sex in either country, but there are definite different tendencies, and they give the word a different feel in the two places. The shift from feminine to masculine in BrE is (of course) part of a more general tendency to use words for women (or our parts) as the ultimate way to put down a man. Which just sums up the status of womanhood in our culture rather neatly.

(The data for stupid c--- are a bit more mixed, but still tending toward(s) AmE=female, BrE=male. And, as we've seen before, the nationality of GloWBE data is probably 15-20% corrupted by the internationality of web data.)

In the UK, the word is thrown around rather easily among men. It can be used among friends in a playful way, but more often (as far as I can tell) it is a term of abuse for men they don't like. The statistical analysis in the GloWBE corpus marks it as a particularly British word, with 1634 British uses to 467 American ones. The statistically "most British and not American" words to come before it are that, fat, black, some and the. (The American data shows up no 'strongly American' collocates.) That shows us that it's often used referentially in BrE--i.e. to talk about people rather than to address them directly, as in "Some c- of an economics analyst on BBC News 24 just tried to equate...".

The British can be amused by how much this word offends many Americans. And it does offend. For me in my American state-of-mind, only certain racial insults are viler than this word. It was a very long time before I could say it out loud at all (I don't think I ever even heard it till [AmE] college/[BrE] university), and I am not usually one who is shy about words.

But the intent with which words are uttered is what really matters and this reminded me of something else that happened recently:
This was in the UK, and what the man yelled (really aggressively at a woman in an open-windowed car) was "YOU STUPID COW". While cow isn't a taboo word, it can be used very aggressively (and also often playfully) to refer to women in BrE. (Worth noting here that everyday life in the UK provides ample evidence against the American stereotype that the English, as a people, are polite.)

I wouldn't claim that  cow got started as a substitute for the coarser anatomical word (women have been insulted by all sorts of animal names for centuries), but I think that in cases like this road-rage incident there's a link. The former c- word for women is now used for men, but cow provides a similar articulatory gesture.

I've seen lots of cases of women reclaiming the c-word as an anatomical term, but less so reclaiming it as a word for people, rather than people-parts. (Compare the word for a female dog, which has been reclaimed often as a word for women showing strength of character in the face of sexism.)

a bit on the mansplaining...

I'd like to say a bit about what led to this point. It started when the Linguistic Society of America shared a link on its Facebook page:

 

That's a bad piece of  (AmE) subhead /(BrE) standfirst writing. What it means is that studies are equivocal about whether bilingualism helps cognitive development. What it says is that there might not be any advantage to bilingualism. Linguists know well about these debates, and so I posted an ironic comment on the article:
"not show any real benefits"? Like speaking two languages isn't a real benefit?
I later added a smiley face. But without the smiley face  Mr Jason, above, felt the need to explain to me that there are studies that have said that there are cognitive benefits of bilingualism and other studies that have said there are not. (He deleted his explanation before I received his personal message.) I went back-and-forth in my mind a bit about how to respond to it, and I went with this comment-reply:
Sorry, is this what they call 'mansplaining'? It was a critique of the phrasing. I do know this. I do teach it!
And in the morning, I got the private message you see above. Before reporting him to Facebook and blocking him, I did get a look at his public profile. According to that, he had studied English Applied Linguistics at a Wisconsin university less than 10 years ago. I am not including his full name here, because, honestly, it's not worth whatever further abuse he might be willing to give. I have once before received a very similar Facebook message from another  young man (that one in Ohio) after I beat him repeatedly on an online game and he accused me of cheating. (I no longer play on-line games against people I don't know.) I know a male Scrabble champion who gets such cheating-accusation abuse all the time. All they needed to do was google his name to know how silly their accusations would sound. But that seems to be expecting too much of some people. So here are some helpful rules if you want to insult people on the internet.
Rule #1 for insulting people on the internet: find out who you're insulting first.
Rule #2 for insulting people on the internet: don't insult people on the internet.
(I bother with rule #1 because you might learn something interesting. )

Now, you might say here that I did not follow rule #2. I would disagree that I literally insulted, though I will admit that it seems to have had the same effect. I used the word mansplaining in order to call out a behavio(u)r. I did not call the person anything. Maybe that one needed a smiley-face too.

I had weighed whether to call it mansplaining (and even when I did, I did so indirectly), but in the end I went with it (and even got a 'like' and a supportive message about it). I've posted this Jason's message on my Facebook page and have been discussing it with my friends this morning. One (male) friend, whil{e/st} being sympathetic to my situation and angry on my behalf, said
this is why I'm not a fan of the word 'mansplaining'. Let's not taint the name of a whole gender because of these morons.
And I've got mixed feelings about that. I replied (in part):
I have had my joke explained to me three times and it has been by a man each time. Any genitals-free behavio(u)r can be done by anyone, sure, and I have used 'mansplain' at least once of a woman, but that doesn't mean it's not gendered behavio(u)r. Just like I argued two weeks ago(?) that I felt it important to call out creepy behavio(u)r as 'creepy' I think this needs to be called out for what it is. [...C]alling it out with the 'man' is to acknowledge male privilege, and I think men (and whites and straights) need it pointed out once in a while that they are coming from a position where they've assumed some things based on that privilege. I 40% agree with you, but I 60% agree with me.
The creepy thing relates to another debate with my Facebook friends. When an inappropriate appreciation of my photo was posted in the '10th blogiversary' post, I went back and forth a bit about whether to just delete the comment or to thank him for the other part of the comment, followed by "but let's keep it non-creepy, please".

In that case I got a mix of advice in both directions. I put up the "thank you for your kind comments on the blog, but please let's keep it non-creepy" comment and deleted it almost immediately (I don't know whether the post will have gone out to people who were following the thread by email) and then deleted his comment (because I do have a comments policy and I just didn't want to spend my time debating it with strangers). I found it interesting that several female friends suggested paraphrases of the comment (mostly without the warm thanks part) that changed creepy to inappropriate or that asked for "no personal comments, please" or that I not post a photo of myself. I reacted to those suggestions [in part] with:
I don't mind personal comments. I don't like creepy comments. If I'm going to [comment on] it, I'm going to say 'creepy'. [...]  'Inappropriate' doesn't tell him what was inappropriate about it. Creepy does. Some guys don't reali{s/z}e what creepy is [...]

I post pictures to be more human. Having a face isn't an invitation for somewhat sexual comments about it. I do have a comments policy where I say that I reserve the right to delete things that aren't in the spirit of helpful conversation. But I'm not interested in banning comments about appearance. If someone says "You look just like one of my cousins!" or "I think your hairstyle has got more British while you've lived there" (I don't think it has!), that can be a bit of fun.
So, as I said above, I 60% think that when unfortunate behavio(u)r is gendered, it's important to point out the genderedness of it. That way, you hope that the person who's creeped you out, or exasperated you, or insulted you might go ahead and think about their sociali{s/z}ation to act in this way and to maybe pause to think a bit more about the things they've been led to believe about the world.  Maybe before "helping"  someone who's said something that they think "needs help", they might pause to wonder whether there's another possible interpretation of what she's said (it could have been a joke) or whether she might know more about the topic than you do.

The act of explaining things to people who don't need an explanation can be done by any gender of person to any other gender of person, sure. And it is usually done with no malice. But there's a reason it's been called 'mansplaining' and it is exhausting. Women get their jokes misunderstood or explained to them because there is a cultural assumption that women aren't funny. Many men (in many cultures) are put in positions from childhood where they are listened to, treated as authority, expected not to keep quiet and play along. And so on and so forth.

The main reason not to call out genderedness of gendered behavio(u)r (the other 40%--but it's important to note that my 60/40 split sometimes reverses) is that it makes people defensive when they're treated as a phenomenon and not an individual. And so they might not learn. But if the genderedness isn't pointed out, then they might not consider everything there is to learn there. I tweeted my ironic comment (my joke, if you will) as well:


At the time I'm writing this, 30 people have retweeted it, and 80 have 'liked' it, so I think many are getting the joke. But another three men have tweeted back to 'explain' the line about 'no real benefit of bilingualism' to me. Another follower called one of them out for mansplaining, and the explainer protested that he hadn't mansplained--he just hadn't read the article. So to him, explaining an article you haven't read to a person who has read it (and made a joke about it) isn't mansplaining. To me it is a perfect example. But it may well be the naming of it as a gendered behaviour that (apparently) kept him from thinking more deeply about the matter. This is why sometimes my 60/40 thinking flips to 40/60. I could try to deal with the situation by saying "let's all be good humans and treat each other with respect", and that's what I want in the end. But I think it's hard to think about what "being a good human" means without being able to reflect on sexist privileges, beliefs, and behavio(u)rs. If you've grown up male (and comfortably masculine) in a culture where masculine power and the masculine point-of-view is the default, then your perspective on what it means to be treated badly in that culture starts from a position with a limited view.

Of course, the other reason not to point out sexism is that there are a lot of scary men out there. They send threatening messages. They call the other scary trolls' attention to you. And in Jason's land they're allowed to own guns. America has become a violent opera about the dangers of damaged masculinity. It's a complete Catch-22. Don't call out sexist behavio(u)r, and sexist behavio(u)r is allowed to thrive. Point out sexist behavio(u)r and you might have to live with more (and worse) of it.

(I'm sticking to sexism here, but I think the argument and the dangers are fairly transferable to other kinds of discriminatory structures and behavio(u)rs and the privilege they create. But that might not be for me to say!)

In case you are ever accused of mansplaining or any other kind of unhelpful 'splaining, here are some responses that you might consider:
"Whoops! Sorry about that!"
"It hadn't occurred to me that I was doing that, but thanks for pointing it out."
"Fair enough. Never mind!"
"Hm. That's given me something to think about, thanks."
If you use the last one, please note that you can do the thinking without involving the person who felt mansplained-to. Don't expect them to give you a sticker for working it out. Don't expect that they want an argument about why what you did wasn't really mansplaining. Just take it as someone else's observation on your behavio(u)r. (You don't even have to reply at all on social media.) And then, if you want to be helpful, try to see it from their side.

on  irony

And, yes, it's dangerous to try to achieve irony on the internet. Next time, I'll try to remember the smiley face. British people often comment on Americans' alleged inability to interpret ironic statements (here are two old posts about that: one two and a BBC piece on the matter). There are definite regional differences in this, however, and that may have been a factor here.  I'm a northeasterner. (It may also be relevant that I'm an academic.)  I do irony, and I enjoy it when others enjoy it too.

p.s. avoiding mansplaining

I forgot to add my easy mansplaining-prevention tips for any gender:
  1. If you feel the urge to explain something (especially to a stranger, especially on social media), pause to ask yourself: was I asked a question? 
  2. If you were asked a question, consider: might this be a rhetorical question?
  3. If you weren't asked a non-rhetorical question, there is no need for you to explain.
Regarding the second item: it's not a bad idea to avoid rhetorical questions in writing.
Regarding the third item: this doesn't mean you can't have a conversation about the topic. But rather than trying to explain, you could ask a question and find out more about the other person's relationship to the topic. You could say why you too think the topic is interesting. There are many things you could do that don't involve making yourself seem like a mansplainer...

p.p.s. I've reali{s/z}ed that you can't search for this post on the blog because I've been coy. So: cunt.
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pantomime

How I've managed to blog through nearly five Christmas seasons without doing this one, I don't know. But here I am, finally tackling (BrE) panto, as suggested by Strawberry Yoghurt (in 2008!) and @MarianDougan via Twitter last week. 

So, you know, there's this thing called pantomime, right? Marcel Marceau did it. Man trapped in an invisible box and all that. Yes, that meaning of pantomime is found across dialects of English, though it's not what usually comes to mind in the UK. 

But it's probably not what a British person means if they say pantomime this time of year.  Instead, they are referring to (and I'm quoting the Oxford English Dictionary here):

Chiefly Brit. Originally: a traditional theatrical performance, developing out of commedia dell'arte, and comprising a dumbshow, which later developed into a comic dramatization with stock characters of Clown, Pantaloon, Harlequin, and Columbine; = harlequinade n. a (now chiefly hist.). Now usually: a theatrical entertainment, mainly for children, which involves music, topical jokes, and slapstick comedy, and is based on a fairy tale or nursery story, usually staged around Christmas; this style of performance as a genre. (Now the usual sense.)

The now-traditional English pantomime developed in the 19th cent. and was originally limited to a short opening scene to the earlier harlequinade in which Harlequin was handed his wand. Its popularity led to its extension into a full dramatized story with the harlequinade first relegated to a short scene at the end and then disappearing altogether. This process was accompanied by the development of a new set of conventional characters, typically including a man in the chief comic female role (see pantomime dame n. at Compounds 2), a woman in the main male role (see principal boy n. at principal adj., n., and adv. Special uses, and an animal played by actors in comic costume (see pantomime horse n. at Compounds 2).Recorded earliest in pantomime entertainment at Compounds 1.


This use of pantomime derives from the original sense of the word (again the OED):

Originally: (Classical Hist.) a theatrical performer popular in the Roman Empire who represented mythological stories through gestures and actions; = pantomimus n. Hence, more generally: an actor, esp. in comedy or burlesque, who expresses meaning by gesture or mime; a player in a dumbshow.

The 'man trapped in invisible box' and the 'fairytale play with cross-dressing' senses of the word are distinguished in BrE by the way they are clipped.  The former, as in AmE, is also called mime, while the latter is a pantoPantos are a Christmas tradition. Across the UK, most siz(e)able towns' theat{re/er}s at this time of year are taken up with traditional pantos, such as Cinderella, Aladdin, and Dick Whittington and His Cat.  The panto stories have their own characters above and beyond the traditional tales, for example Buttons in Cinderella and the Widow Twankey in Aladdin. These days, pantos are generally meant for children, but there is a parallel, newer tradition of 'adult panto' full of proper drag queens--this year  Brighton (the 'gay capital of Britain') has Dick Whittington and his Pussy.

Here are a couple of televised examples for the uninitiated.  I've only used television ones because the recording quality is miles ahead of the phone-videos from proper stage shows.
This one is from CBeebies, the television channel for preschoolers, and has a little explanation about pantos at the start.  I think it's a pretty decent example of the genre.
This one is from Paul O'Grady's (orig AmE) talk show/(BrE) chat show, and is a bit more in the 'adult' vein (as much as one can be on daytime television--before the watershed). O'Grady is the performer formerly known as Lily Savage.  It's peopled with a cast of household names in the UK who will be completely unknown in the US (including my university's chancellor) and it's studded with cultural references that will pass unnoticed by a non-UK audience.
The OED entry above gives some of the vocabulary that one needs regarding the traditional roles in a pantomime (particularly the cross-dressing roles of the dame and the principal boy). There is also an unwritten law that any conversation about pantomimes must go something like this, in imitation of some of the traditional audience-participation parts of the panto:

A:  I'm going to a panto.
B: Oh no, you're not!

A: Oh yes, I am!

B: It's behind you!!

Now, it is to my shame that I have never attended a traditional panto, even though there's more than one available to be seen in my area each Christmas time.  (The fact that I spend alternate Christmasses in the US bears some of the blame for this sad situation.)  I have, however, been in two original pantos, staged by my always-up-for-fun colleagues in my former school, COGS (Cognitive and Computing Science).  This was before university reorgani{z/s}ation put Linguistics into the School of English, where their idea of holiday fun is a staff performance of The Waste Land (I kid you not. This was our Christmas party this year. You know, "April is the cruellest month". Just the thing to send you to the bottom of a bottle for the holidays.)  Back in COGS, we did two pantos before we were cruelly torn asunder, with the Blinder as the main creative force, but, being geeks, we had our own ideas about what constituted a "traditional tale".  The first was based on the film A.I. (itself based on the Brian Aldiss story "Super-Toys Last All Summer Long").  In that one, I played the love interest, ELIZA, an early chatbot. In the second, Harry Potter and the COGS Phoenix*, I played Gnome Chomsky. I could have had proper career development as a linguistic parodist, had I not been sent to the humanities. I'm only slightly bitter. grrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr

Returning to that other clipping, mime, its use differs somewhat in BrE and AmE as well.  I've been very aware of this lately, as Grover (soon-to-be three years old) is (thanks to her dad) completely obsessed with Singin' in the Rain. For those who don't know the story (which is to say, SPOILER ALERT), it takes place just as the first talking pictures are being introduced, and the (AmE-preferred) movie/(BrE-preferred) film studios are faced with the problem that some of their stars have horrible voices. So, in order to save an already-filmed picture, its soundtrack is recast with Debbie Reynolds' character singing and speaking Jean Hagen's character's parts. At the end of the première, the audience calls for a sung encore, so Reynolds stands behind a curtain and sings 'Singin' in the Rain' while Hagen ______.

How do you fill in that blank?  Better Half (and now Grover) always says mimes, while I would say lip-syncs.  And I see that the OED has the definition:

c. trans. To pretend to sing or play an instrument as a recording is being played; esp. to mouth the words of (a song) in time with an accompanying soundtrack. Also intr., with to, along with, etc.

...while none of the US dictionaries I've consulted have that specific sense.  BrE has lip-sync--in fact my sister-in-law belongs to a choir whose name plays on this term, but in everyday use, the verb mime seems to be preferred. The British National Corpus has 11 definite cases of mime='to mouth words' in its first fifty hits for the verb, and two cases of lip-sync* (*=any characters after), whereas the Corpus of Contemporary American English (which, we must note is 4.1 times bigger) has 179 lip-sync*s and only two mime='mouth words' in the first fifty hits.

Before I go... It's your last chance to nominate words for BrE-to-AmE import of the year or AmE-to-BrE import of the year on the SbaCL Words of the Year page.  I'll be announcing my picks in the next day or two.

* Inside joke: COGS Phoenix was the serious attempt by stalwarts of the school to keep the mission of the school going once it had been wiped out.
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yuck and yuk

Reader Martyn wrote to me back in January with the following:
Ricky Gervais's presentation at the Golden Globes caused some discussion at the Guardian - http://www.guardian.co.uk/film/filmblog/2010/jan/18/ricky-gervais-golden-globes - around the meaning of "yuk", which seemed to be taken by Americans as meaning "laughter" and by Britons as meaning disgust. Wordorigins discussed it here http://www.wordorigins.org/index.php/forums/viewthread/1669/ , again revealing an apparent US/UK split. It would perhaps be interesting to see what your commentators thought …
Indeed, I'm interested to see what you think as well.  But first, I'll subject you to what I think--which is backed up by some dictionaries, so I think they're thoughts worth reporting.  However, we're talking about (a) an interjection and (b) onomatopoeia/slang, and neither of those is really within the realm of truly standardi{s/z}ed language, so we should expect a lot of variation.  (Remember the problem of whoa/woah!)

So, to my American eye, there are two things here that are pronounced the same, but should be spel(led/t) differently.  The interjection of disgust is, to me, yuck, as in: Yuck! Who put Brussels sprouts in the stir fry?!  The slang, onomatopoetic term for laughter is yuk, as in: We had some yuks at the Prime Minister's expense.  (It can also be a verb, but I wouldn't tend to use it that way.) The American Heritage Dictionary allows that the spellings could be reversed, but agrees with me that the default is for the laughter one to be c-less and the interjection to be c-ful.


BrE has the disgust interjection--but often spells it yuk, as illustrated by these two British-authored children's books.  The OED lists the laughter meaning, marking it as chiefly N. Amer., but spells it yuck.  Better Half tells me he knows the meaning from The Beano (British comic book institution*)--I think he's talking about the character Baby Face Finlayson.  Wikipedia says that this character  rode around in a motorised pram [baby carriage], stealing everything that wasn't tied down, whilst shouting 'Yuk Yuk!'"  It's not actually clear to me that that's laughter--can a Beano boy elucidate?

So, even if both uses of yu(c)k are known in both countries, there's still potential for miscommunication because of reverses in spelling.

American has a couple of other yuck/disgust synonyms: ick and ew (often ewwwwww!Ick also gives us the adjective icky (just as yuck gives yucky).  Ick(y) and yuck(y) are often interchangeable, but have slightly different connotations.  I'd prefer ick(y) for something that was disgusting in some sweet or sticky way. Or something that gave me the (orig. AmE) heebie-jeebies, whereas yuck(y) is more likely for something that's just plain disgusting, such as poo(p)Ew is listed by OED as 'originally' AmE, but it's still American enough for a blogging student of mine to remark upon it during a stay in Chicago this summer.  Click on the link to his BrE equivalents...but I must admit not knowing his English leeeeer. Is it something like bleugh?  BrE has ugh, which is usually pronounced just as a vowel but can be pronounced with a back-of-the-mouth fricative.  This won't be unfamiliar to AmE readers, but I think most AmE speakers would think of it as being pronounced 'ugg' and being an expression of exasperation more than disgust.


*Incidentally, The Beano is the home of the British comic book character Dennis the Menace--not to be confused with the much gentler American comic book character Dennis the Menace.  BH & I were just wondering the other day which came first, and it turns out (thanks, Wikipedia) it was the American--by five days!  I think we can put that down to coincidence, then.
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pet, stroke and limerick winner

One of my newer internet addictions is Ross Horsley's My First Dictionary, which is wicked in every sense of the word. One must (if one is me) pause here to note that the 'excellent' sense of wicked is originally AmE. Several of my UK students have assumed that they'd have to explain this trendy BrE slang to me, but I was saying wicked pissa cool with my Bostonian university mates before my current students were even born. (I had a Master's degree by the time my youngest students were born. Who is going to cure me of this senescence?) MFD makes me feel incredibly uneasy and extremely amused at the same time. I don't know if that's a good thing, but I like it. This dose of MFD, from 26 June, raised a lot of discussion of BrE versus AmE in the comments: The comments at MFD were mostly about (mostly BrE) pussy versus (mostly AmE) kitty and the use of having as a light verb in the first sentence. But what struck me, because Better Half strikes me with it all the time, is the use of stroke for where AmE speakers would use the (originally Scottish English) verb pet. So, when I say to Grover Are you petting the kitty cat? Better Half is not far behind with Stroking! Stroking the cat! (He tolerates kitty, no doubt because of the nudge-nudge, wink-wink effect of pussy.) I'm starting to say stroke in this context, in the interest of marital harmony and getting my own back later, but to my AmE ears, it sounds a bit more, um, sexy. This, of course, makes not a lot of sense, since (orig. AmE) (heavy) petting is about (probably orig. AmE) feeling people up. But why should English and my feelings toward(s) it start making sense at this late date? At any rate, I thought an introduction to a very funny website would work as an introduction to our very funny limerick competition. As promised, the judging involved a panel of my friends, whom you may know through their SbaCL-character alter-egos: the Blinder, Maverick, the Poet--and of course Better Half. (With the exception of the ubiquitous last judge, the links take you to their first appearances on the blog.) I asked each to send me their three favo(u)rites, assuming that the cream would rise to the top and there would be a clear front-runner. But there was too much cream. A few got two votes, thus limiting the field a little for my final judging. It came down to Dunce's Rubber and Richard English's Hooters, re-published here:
An eager young Yank on the make Thought he'd finally had his big break. She asked for a rubber but she wasn't a scrubber. Just had to erase a mistake. My girl has a fine pair of hooters Attractive to gentleman suitors. But don't rush too far They're both on her car And she toots them to warn slow commuters.
My decision comes down to the fact that one of these poets had other efforts in the judges' top threes. So, congratulations, Richard English! Your copy of Britannia in Brief will be on its way to you soon, and the authors have asked to reprint the winner on their blog. (Let us know if that's not ok with you!) On a last humorous note, British-Canadian singer-songwriter Luke Jackson (shouldn't he have a hyphenated name?) has sent me a link to the video for his song 'Goodbye London'. This animated treat might strike a chord for the American exchange students out there who've headed back home.
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sarcasm and irony

I’m very happy to welcome my first guest blogger, a student who’s finished the work for her Sussex degree in English Language and Film Studies, which included a dissertation comparing British irony and sarcasm to American—the latter of which has seen more academic attention. Rather than twiddling her thumbs while awaiting her result, she has graciously allowed us some insight into her work. Gentlepeople, I give you Solo:


As I’m sure you’re aware, the British are very fond of saying that ‘Americans don’t get irony’ and expressing over-inflated national pride in our astounding power of sarcasm. It of course isn’t the case that Americans don't get irony [see this past post--ed.], and while BrE applications of sarcasm can be very subtle, we’re not the unequivocal masters of the form. For example, I always thought the typically AmE expression ‘I could care less’ to be a particularly stupid grammatical error on their part, until this week when I saw it pointed out here, that the expression is in fact intended sarcastically (see also this past post, which is not so kind to Americans--ed.). Perhaps we misinterpret this because in our arrogance we Brits don’t expect sarcasm from Americans without all the attendant cues, bells and whistles. Or maybe because I’ve mainly seen it written down in novels and forums, rather than heard it said aloud.

Over the course of my research into the differences between American and British (especially English) sarcasm however, it became clear to me that the difference isn’t so much in the way we use it, as in the way we define it. While the AmE definition emphasi{s/z}es negativity and saying the opposite of what is meant, Brits seem to have a far broader definition, which includes humorous exchange, clever wordplay and affectionate insults or criticisms of others (even those we don’t know, which I think may be the most fundamental cultural difference).

To put it another way, there are things we British will do in conversation which we would call sarcastic, but which Americans would not. For example, in the irreverent media, Sir Bob Geldof, of Live Aid fame, is frequently referred to as ‘Saint Bob’. Now this is obviously not entirely sincere, but it isn’t fully contemptuous either; we are mocking his interminable altruism and campaigning, but we also respect all his charity work and dedicated parenting. So although we don’t completely mean that he is a saint, we also don’t mean that he isn’t and I think most Brits would refer to that as sarcasm, but I’m also fairly sure our American counterparts would not. Feel free to correct this flagrant generali{s/z}ation ☺

In AmE ‘sarcasm’ seems to be very much a subordinate term for a specific type of pragmatic use. (Many theorists will argue it’s a subcategory of verbal irony, but I won’t go into that here.) But in my (humble) opinion it has a much broader application BrE. Thoughts would be much appreciated.

I shall furnish this largely speculative theori{s/z}ing with some spurious exemplification:

If a friend of mine were to be self-deprecating above and beyond the call of Britishness, I might say something obvious like “Yeah, cos (=AmE ’cause--ed.) you’re the worst national award-winning photographer St. Martin’s [a top art college—ed.] has ever had,” in a heavily sarcastic tone. Equally I might agree in a very sincere sounding way with “Yeah, you are quite sh*t.” Or I might say “Don’t say that, you’re actually really good,” or “You’re not that bad”--both in a way that made it sound like I didn’t think they were good at all. Then again I might feign ignorance and comment “You were lucky to get in really,” or ask “How did you manage to pass the course?” in an ingenuous fashion.

All of these I would quite happily and definitively class as sarcastic utterances, but my research suggests that under the AmE theoretical rubric, they would fall into other categories. I think our predilection for teasing each other and continually (BrE) ‘taking the piss’ has come to be associated with sarcasm as an everyday conversational form in a way that it has not in AmE, where there seems to be more of a time and place for it.

Regional and gender differences in production of sarcasm have been quite conclusively demonstrated in the literature. Megan Dress and others (2008) carried out some research comparing attitudes to sarcasm and likelihood of use between Northern USans, from upstate New York, and Southern USans from Memphis. They found that the Northerners were far more likely to find sarcasm amusing and assume friendly intentions than their Southern equivalents and therefore much more likely to use it spontaneously. The difference was even more marked between the two sets of men. The Northern perspective seems to be much closer to the British attitude, though the sources Dress et al(.) provide suggest that the examples of use may still not be as broad as the unofficial BrE definition seems to allow. A majority of respondents in this study mentioned the negativity of sarcasm, though not an overwhelming majority. This might suggest that the insistence on sarcasm as a negative form is generated by linguists and literary types more than speakers.
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rack

From the "Is this too personal to blog about?" file:

Better Half caught a bit of the sitcom Scrubs the other day (hard not to--between E4 and E4+1, it's broadcast for at least 6 hours each day), in which someone referred to a female character's rack. BH was not yet familiar with this AmE slang term, which the Online Etymological Dictionary explains as 'Meaning "set of antlers" is first attested 1945, Amer.Eng.; hence slang sense of "a woman's breasts" (especially if large), c.1980s.' Unfortunately, BH has taken the opportunity to make a new rhyme to sing to Grover:
Baby has a snack
from her mummy's rack.
At least the juxtaposition of BrE mummy and AmE rack is amusing...

Speaking of amusing, George Saunders provides a service for British travel(l)ers in his American Psyche column in The Guardian yesterday: "Many of you will travel to the US this summer, where a pound will now buy you a luxury condo in Beverly Hills. Here's a lexicon, so no one will suspect you're British and marry you just because he/she finds the British adorable." Click here to read his lexicon.
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language play--not getting it

It's come up before on this blog that it sometimes happens that people will see an error or non-standardism in English, spoken or written by a speaker of another dialect, and assume that that way of saying/writing is standard in the other dialect. It's a shame, though, when such 'errors' are intentionally non-standard, because then the assumption that it's "just a different dialect" leads the assumer to miss some nuance of the communication. For instance, sometimes I'll say to Better Half, Ya done good. By putting it into a non-standard dialect (and not a dialect that I speak), I'm trying to add a bit of light-hearted affection to the compliment--something that's not communicated by You did well. Better Half knows enough about AmE to get this, but if I said it to a student, they might assume that that's part of the standard dialect that I usually speak and not get that I was trying to build rapport.

Anyhow, a nice example of this 'assuming it's standard' behavio(u)r came up on recently on the (AmE) copy-/(BrE)sub-editors' blog The Engine Room. There, blogger JD admitted to having believed until recently that Americans spell cemetery "sematary" because of the spelling in the title of the Stephen King book, Pet Sematary. In the book, one is supposed to understand that it's misspelt because children wrote the "cemetery's" sign.

That reminds me of being informed by BrE speakers that "thru is the American spelling of through". No, it's not. It's an abbreviated spelling form that is used mainly on signs (or painted on a road surface), and thus it's become the typical way of spelling it in drive-thru. You won't see thru replacing through in American newspaper articles (though it might be handy for an occasional headline--but I cannot recall seeing it in any) or novels--and you'd better not use it in essays for school/college/university.

Do you have any stories of misunderstood intentions due to "it must be the way they say it in American/British English" assumptions?
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seasons and series

Apologies to those of you who wrote to me during my recent confinement, as I wasn't able to respond to e-mail at that time, and the thought of responding to all of those messages now is a bit overwhelming. So, if you're requested coverage of something on this blog, then rest assured that I've marked your request for further attention, and will let you know if/when I cover that topic on the blog. And now...I'll start work on that backlog, starting with a request from my old friend the Ginger Nut (whom we met back here). She writes:
We downloaded what's available of series 3 of the Boosh so far and we're working through it. Here's a BrE / AmE question for you. They [BrE speakers] call a season a series. We use series for the show across time (Seinfeld was a series that ran for 9 seasons) and break it up into seasons which usually correspond to years. What's the BrE equivalent to our use of series?
My read on this would be that BrE doesn't have a series/season distinction, since there really isn't such a thing as a television season in British broadcasting. In the US, new program(me)s [i.e. new (AmE) series] and the new set of episodes of an old program(me) [i.e. the new (AmE) season of an existing (AmE) series] typically begin around the same time in the (AmE) fall/(BrE) autumn. So, one can talk about the television 'season' as something that begins in fall/autumn and continues through to spring. (Some series begin later in the year, after other series get cancel(l)ed , and these are known as [AmE] mid-season replacements.) Because almost all series begin and end at the same points in the year, they tend to be 24 to 26 episodes (13 for the first season of mid-season replacements). This makes them much longer than typical British series (if we're talking about dramas or situation comedies; soaps and reality program(me)s go on FOREVER), which are typically not longer than 12 episodes, and more usually quite a bit shorter--situation comedies are often six episodes, for example. In the US, anything that short would be called a mini-series. In UK television listings, the name of the program(me) is often followed by a fraction, for example:
8:30 Jam & Jerusalem
2/6; series two. Indignant that Spike has saved up to buy a ticket for Glastonbury, Tash resolves to find her way in for free as usual, but things do not go to plan. [Radio Times, 22 Dec 2007-4 Jan 2008]
The fraction tells us that this is episode 2 of 6 in the current (BrE) series/(AmE) season. Of the UK-made program(me)s on terrestrial channels in that week according to Radio Times (not a typical week, because of the New Year holiday, but it's the only copy of RT I have here), they were composed of:
4 x two episodes [2 x comedy; 1 x mystery; 1 x documentary]
3 x three episodes [1 x costume drama; 2 x documentary]
1 x four episodes [documentary]
1 x five episodes [documentary]
3 x six episodes [1 x drama?, 2 x comedy]
2 x seven episodes [(BrE) quiz/(AmE) game show; reality]
4 x eight episodes [1 x panel quiz (more on this later), 2 x comedy, 1 x how-to]
1 x nine episodes [reality/competition]
3 x twelve episodes [hospital drama, panel quiz, talk show 'best of' series]
1 x sixteen episodes [comedy]
(God, I do know how to make blog-writing unnecessarily time-consuming--which is why it's taken me most of a week to write this entry.) The short lengths of series means that new series begin throughout the year, hence, we can't talk about a particular year's television 'season'.

It's also the case that British sitcoms and the like are not necessarily meant to go on for years. Take the original UK version of The Office, for example. It ran for two series of six episodes, plus two Christmas specials. It was very successful in the UK (hence the Christmas specials), but that didn't mean that it was destined to go on for years and years, well past the time when it had (orig. AmE) jumped the shark. Now, compare the US version of The Office. While at first it was very closely based on the UK series (just Americani{s/z}ing the scripts where necessary, as I understand it), it's now gone on for 59 episodes--so they must've been adding lots of new plots since starting. (Has the shark been jumped yet? I don't watch it, so I don't know. I could only watch the UK version through my fingers, as such drastic social discomfort gives me nightmares.)

A couple of downsides to the UK system are:
  1. Because the series are so short, if you don't pay a lot of attention, you may not discover a good one until you've missed most or all of it. (But if it was good, it'll probably be repeated at some point.)
  2. You often don't know whether a favo(u)rite program(me) will ever be back. Fans of the wonderful Spaced still listen for rumo(u)rs that it might come back--even though the last episode was in 2001. (Our hope gets more far-fetched as Simon Pegg's (AmE-preferred) movie/(BrE-preferred) film career develops.)
And, of course, the television schedules are not as predictable in the UK as the US, where, for instance, Thursday nights meant Cheers for years and years and years. I'm not sure that's a bad thing. Far fewer sharks get jumped.

Another thing that differs between UK and US television is the survival of (BrE) light entertainment programming in the UK, when it has pretty much died out in US prime time network programming (in favo[u]r of a strict diet of sitcoms, dramas and reality shows). Light entertainment refers to comedy-music-variety programming, and while it may technically (in terms of what the light entertainment budget at the BBC covers--I'm not sure) include formats that are familiar in the US, like sketch shows and comedian-led talk shows (which don't tend to run in prime time in the US), it prototypically covers (prime time) variety shows like Ant and Dec's Saturday Night Takeaway (which involves a lot of audience competitions as well) or panel quizzes (called panel games on Wikipedia, but quiz is what I more typically hear) like Have I Got News for You, QI and Never Mind the Buzzcocks. These program(me)s are typically hosted by a comedian (though some, like Have I Got News..., have guest hosts who may be other kinds of celebrity--e.g. newspaper editor or politician), with teams of other entertainers/famous people answering questions on a particular topic and being awarded points by the host--usually in a fairly capricious way. The point of these quizzes is not so much to get the answers right as to be entertaining in discussing the questions. The closest thing I've seen on US television was Whose Line is it Anyway?, which was (BrE) nicked from the UK (which was more a game than a quiz--but had the capricious score-giving element). I believe that there are some panel quizzes on National Public Radio, but I can't remember if they're British imports or homegrown (answers, anyone?).
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diarrh(o)ea

Well, I was correct in my prediction that the Ant & Dec appearance would be a blink-and-you-miss-me affair. Although we spent more than an hour giving them spelling and Scrabble tips, my contribution was edited down to "Hi, I'm Lynne" and "Yes, that's a word" (or something like that). I don't have a good history with ITV.

But the show had a wealth of jokes that wouldn't work in AmE, so I amused myself with noticing them--for instance, Dec's double-entendre at the start about about having it off--where "it" could have been his leg, or (BrE) he could have been claiming to have had sex with the "nurses" who accompanied him on stage. Then there was the skit/game called Court in the Act, which works much better as a pun in BrE than it would in AmE.

But the richest bit (from my perspective) was Dec almost losing the spelling bee (forcing the competition into 'sudden death') because he used the AmE spelling of diarrhea. Susie Dent, the dictionary expert (of Countdown fame), merely told him that the 'correct' spelling was diarrhoea, without mentioning the AmE connection. A lost opportunity, I thought. But still, at least it's topical as far as this blog is concerned. Also did you (who watched it) notice that Ant and Dec are both haitch-sayers? Is this a Geordie (Newcastle-dialect) thing, do you think, or Catholic upbringing? (Only Dec went to Catholic school, though, according to this source.)
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cures for what ails you

Better Half has been unwell (which sounds fairly BrE--I'd usually say sick in AmE) for more than a week now. The doctor says he has a chest infection, but an American doctor might've preferred to say bronchitis. It's not that bronchitis is an AmE word--just that people talk about being diagnosed with bronchitis in the US, and people in the UK tend to talk about chest infections. And it's not that BrE speakers prefer to avoid Latin/Greek-derived medicalese, either. Whereas Americans talk about getting urinary tract infections (people who get them a lot tend to call them UTIs), the British are more apt to say cystitis--a term I hadn't come across until I moved here. I heard urine infection (from a sufferer) here the other day, which I thought was a bit odd, as it's not the urine that's infected...but that's another matter.

This was supposed to be a short post, but I'm already going on off on my tangents. The real purpose was to tell you a joke that Better Half told me when I brought him some analgesic tablets. (Actually, BrE uses the word tablet much more often where AmE would tend to use pill--but that's another tangent. Oh dear.) Here we go:
Why are there no headaches in the jungle?

Because the parrots ate 'em all!
Americans cannot be expected to get that joke. And no one can be expected to find it particularly funny--but it is particularly punny. It relies on knowledge of (a) the word paracetamol, (b) how it's pronounced, and (c) that ate in BrE is often pronounced to rhyme with bet. That is, the answer is a pun on Because the paracetamol.

And why is that a relevant answer? Because paracetamol is what Americans generically call acetaminophen --though it's more commonly known in AmE by the brand name Tylenol. Both names, paracetamol and acetaminophen, are based on the description of the chemical components in the drug--they both make mention of the acet part. (I'm not qualified to comment any further on the chemical structure, so I'll stop before I make a mockery of pharmaceutical chemistry.)

Some BrE speakers will have come across acetaminophen in the White Stripes' song, 'Girl, You Have No Faith in Medicine', which I particularly like for the rhyme:
Acetaminophen
You see the medicine
While I secretly enjoy them, I try to play it cool and roll my eyes when I hear puns like paracetamol = parrots ate 'em all. But I can't stop myself from expressing overt and enthusiastic admiration for tortured rhymes like that. Hurrah!
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humo(u)r

The Guardian, particularly its Weekend magazine, has been publishing a lot of things that relate to transatlanticism these days, and I keep ripping them out and putting them on the 'blog ideas' pile. But here's one that I don't feel the need to say much more about: Simon Pegg on why British and American humo(u)r aren't really that different. His conclusions about our approaches to irony will sound familiar to those who have read Kate Fox's Watching the English.
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malls

The first time someone in England suggested we meet at the mall, I thought they were joking around, since they pronounced it to rhyme with pal. I heard this pronunciation on and off again, but when I was invited to meet someone at the [mæl] tonight, I decided this issue needed more investigation.

My dining companions were mixed in whether they'd call it a [mæl] (rhyming with pal) or a [mɔl] (rhyming with tall), but they agreed that they only use the American-like pronunciation [mɔl] when referring to shopping malls--and especially in the phrase shopping mall. They also agreed that calling such things malls feels like a recent borrowing from AmE--that they feel the "real" name for such things is shopping centre. In fact, people usually refer to enclosed shopping areas by their proper names, such as the Putney Exchange or Churchill Square. Better Half and I don't know of any enclosed shopping cent{re/er}s in the UK named X Mall (but I'm sure one of you will point one out if there is one).

This is not to say that the word mall is a recent import to BrE--far from it. But in its native environment here these days it most usually rhymes with pal. For instance The Mall (a tree-bordered walk in St James's Park, London) is usually pronounced as [mæl]. Pall-mall, historically a game, but now (in the form Pall Mall) a street in London, is similarly pronounced with two [æ] sounds in modern BrE. In fact, mall originally meant an alley in which pall-mall is played.

In my childhood in the US, Pall Mall cigarettes were pronounced [pɔlmɔl], but I was taught that the place in England was [pɛlmɛl], rhyming with bell. Apparently, I was being taught out-of-date British English. While today it's pronounced with [æ], the 1904 New English Dictionary records it as [ɛ]. Of course, when you're young, you think your teachers are ancient, but I don't think they were really that ancient. This just goes to show that dictionaries, like any other reference book, go out of date.

And all of this is related to pell-mell (the similar form of which is thought to have affected the pronunciation of pall-mall). This has the bell vowel, but, according to the OED, BrE and AmE stress it differently, with Americans stressing the two syllables equally and Britons putting slightly more stress on the mell. For what it's worth, three English people pronounced this in conversation tonight, and I didn't notice any stronger stress on mell. But I'm not a phonetician, I just play one on the Internet.*

The fact that the shopping kind of mall and the outside kind of mall are often pronounced differently in BrE seems to suggest that people don't see the two types of things as very related. In AmE, both are pronounced the same (the mall being the local shopping cent{er/re} and The Mall being the green area around which the Smithsonian Institute is arranged)--but that doesn't mean that people necessarily see them as related. After all, people don't necessarily see the bird duck and the action duck as being related--although they historically are.

*Joke assistance for the young and/or non-American: In the US, it's illegal for licensed medical doctors to promote products in advertising. In the early 1980s, a (AmE) cough syrup/(BrE) cough medicine was therefore advertised by a soap-opera actor who said "I'm not a doctor, but I play one on TV" and then going on to plug the product. It was such a ridiculous premis{e/s} for an ad(vert) that "I'm not a X, but I play one on Y" became a popular joke. In fact, googling "but I play one on TV" results in over 87,000 hits. As a phrase, it's been discussed at the Language Log. (The link is to the third instal(l)ment of that discussion, but you can link to the earlier ones from there.)
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George Saunders: an American abroad

Hilarious article in the Guardian's Weekend magazine this week by an American writer on his first trip to Britain.

He says:
The traveller must, of course, always be cautious of the overly broad generalisation. But I am an American, and a paucity of data does not stop me from making sweeping, vague, conceptual statements and, if necessary, following these statements up with troops.

Spot the British spellings--undoubtedly the work of a Guardian sub-editor (BrE; AmE=copy editor). But the sentiment...well, that could be the motto of this blog.
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Abbr.

AmE = American English
BrE = British English
OED = Oxford English Dictionary (online)