What I’m reading: Frederick J. Newmeyer’s American Linguistics in Transition

One of the benefits of retirement–a permanent sabbatical–is more time to more time to read, and I’m hoping to post more reaction to what I’m reading here. Today, a snowy end to February, is American Linguistics in Transition.

When I first started teaching, one of the books that grounded me in the history of my field was Frederick J. Newmeyer’s Linguistic Theory in America: the first Quarter-Century of Generative Linguistics (Academic Press, 1980). In his new history, American Linguistics in Transition: From Post-Bloomfieldian Structuralism to Generative Grammar, (Oxford UP, 2022), he revisits some of the issues from his earlier work and extends his history of linguistic back to the period of the founding of the Linguistic Society of America in 1924 and forward through the 1980s.

The nine chapters of American Linguistics in Transition cover the founding of the Linguistic Society and the ascendancy of a distinct American tradition of methodological structuralism. These were practices and postulate largely associated with Leonard Bloomfield and Edward Sapir articulated in such works the volume Readings in Linguistic I, edited by Martin Joos (1957) and published by the American Council of Learned Society.  In addition, Newmeyer focuses on the European influence on the LSA founders, the evolving contents of the journal Language and the activities of early LSA Summer Institutes.

Newmeyer draws on material from the Linguistic Society at the University of Missouri, published reviews of key works and archives of Bernard Bloch, Charles Hockett, Franz Boas, and others.  In addition, he included personal interviews with structuralist and generativist scholars.

Central to Newmeyer’s exposition are bits of folklore that he explores and dispels, both about structuralist linguistics and about the spread of generative grammar, concluding that “the intellectual success of generative grammar in the 1970s and 1980s was not matched by the ability of its advocates to dominate the fields organs of power or secure a major share of grant funding.” (320).  Reader will find much enlightening commentary here, including Newmeyer’s observations on the extent that the structuralists went to disseminate their ideas, his commentary on the relation of military funding to linguistics research, and his documenting of some of Noam Chomsky’s conflicting comment on the publication history of his early various works.

Notable in this work is Newmeyer’s attention to the international reception of American structuralism (Ch. 2 “American structuralism and European structuralism: How they saw each other,”) and to the reception of generative linguistics (in Ch. 6 “The European reception of early transformational generative grammar,” which goes pretty much country by country.)

There are also vignettes of important historical moment in twentieth century linguistics and portraits of some of its colorful but sometimes forgotten figures. A chapter is devoted to the genesis of Readings in Linguistics I, and two chapters are devoted to the contested presidential election of 1970, and its aftermath.   Along the way are some descriptions of key players and supporting characters. H. L. Menken complains that “the Linguistic Society has given a great deal more attention to Hittite … than to the American spoken by 140,000,000-odd, free, idealistic, and more or less human Americans” (5). Charles Hockett is cited as calling generative grammar “a theory spawned by vipers” whose analyses are “worse than horoscopes.” (287). But my favorite bit of snark concerns structuralist George Trager, of whom it was said that he was “so difficult that he would even be fired from George Trager University.”  You can find out who the quote is attributed to on page 268 of American Linguistics in Transition.

 

 

 

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An Interview with Sharon L. Dean

Sharon L. Dean grew up immersed in the literature of New England. She taught writing and literature at Rivier University in New Hampshire, where she lived until moving to Oregon.

After giving up writing scholarly books that required footnotes, she became a writer of mysteries. Her first mystery series features retired professor Susan Warner and her second features librarian sleuth Deborah Strong. Between the two series, Dean published a stand-alone novel, Leaving Freedom. In it, thirty-year-old Connie Lewis sees only irony in the name of the town where she grew up, Freedom, Massachusetts. The novel follows Connie from Massachusetts to Florida and Oregon. A sequel, Finding Freedom, will be published by Encircle Publications in June, 2023. It will bring Connie, now eighty years old from Oregon back to Freedom.

Recently, Dean published a collection of short stories titled Six Old Women and Other Stories.

Ed Battistella: I enjoyed reading the stories in Six Old Women which all about about the secrets we keep with us as we age. What prompted you to write about secrets?

Sharon Dean: I remember that when I reached adulthood, my mother told me some of the secrets about people in the small town where I grew up. It’s said that in New England “people don’t air their dirty laundry in public.” That doesn’t mean there isn’t some lurking along with the skeleton in the closet.

EB: You mentioned that the title story, Six Old Women, came from an idea you and your college roommates once had about all living together in a lakeside commune when you were older. Are the characters based on your erstwhile roommates?

SD: Actually, we gathered on the seacoast in Maine. The houses are part of the setting of my Deborah Strong novel, Calderwood Cove. The island in Six Old Women is imagined, but I know the setting of New Hampshire’s Lake Winnipesaukee well. I like to visualize houses, so the one in Six Old Women is designed after a house where I vacationed on the Massachusetts seacoast. Characters based on my roommates? Not if I want to keep them as friends. Seriously, the characters are all imagined.

EB: You’ve written both novels and short stories. Do you have a preference for one form over the other? Or does it depend on the story?

SD: I like both. It depends on the story. Even when I was writing papers in college, my feeling was that when it’s done, it’s done. I actually have trouble writing a novel much longer than 65,000 words. I don’t like to pad my fiction.

EB: I’ve always enjoyed your mystery novels. The stories in Six Old Women aren’t mysteries but they are mysterious. Did your experience writing one type of story find its way into these, or is life just mysterious?

SD: I published an article on this in Mystery and Suspense Magazine called “The Classics are Mysteries, too” (March 28, 2022). I also recently posted a guest blog on the subject in Writers Who Kill (January 21, 2023). As different as it is from science, fiction seeks “the answer to the riddle of the universe.” Life is, indeed, mysterious.

EB: I thought of these stories as fast-paced psychological studies. How did you manage pacing as a writer?

SD: I’m glad you read them that way. I’ve always been more interested in the setting and the psychology of a character than in the plot. My wonderful critique group, Monday Mayhem, helps me move the plot along. They remind me not to over-analyze, to avoid “fact dumps,” to use dialogue. Kudos to Carole Beers, Clive Rosengren, Michael Niemann, and Jenn Ashton.

EB: Are the other stories—”Shuffleboard,” “Hardscrabble,” “Pavlov’s Puppies,” “The Man Who Loved Cribbage”–based on real incidents? New Hampshire is starting to seem like a scary place.

SD: No real incidents, but definitely real settings. They indulge my nostalgia for New England. I used to vacation with my cousin at a place where we always played shuffleboard, I skied the Hardscrabble trail on Cannon Mountain many times, and the recluses in “Pavlov Puppies” and “The Man Who Loved Cribbage” live in houses whose exteriors are much like ones in my town. Is New Hampshire scary? Not in my experience, but I confess that I was a child who imagined monsters under my bed.

EB: Thanks for talking with us.

SD: Thank you for having me. I’m glad that Literary Ashland lives on this blog even though it’s no longer live on the radio.

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An Interview with John Frohnmayer, author of Blood and Faith

John Frohnmayer is a lawyer, writer, and arts leader who served as the fifth chairman of the National Endowment for the Arts (from 1989-1992) and as the chair of both the Oregon Arts Commission and Oregon Humanities.

Born in Medford, where he now lives, Frohnmayer attended Stanford University, the Union Theological Seminary in New York and then the University of Chicago, where he studied Christian ethics. He also earned a law degree from the University of Oregon, serving as editor-in-chief of the Oregon Law Review.

His books include a memoir, Leaving Town Alive: Confessions of an Arts Warrior, a series of essays titled Out of Tune: Listening to the First Amendment, a musical comedy called SPIN! about his experiences at the NEA, and a trilogy of books on sport.

Blood and Faith, published in 2022, is his first novel.  

Ed Battistella:  How did you come up with the idea for Blood and Faith?

John Frohnmayer:  I have always been interested in the interplay between politics and religion.  As the famous theologian Reinhold Niebuhr pointed out, it is an uncomfortable interaction because religion is about absolutes and politics is about compromise (at least it is supposed to be).  Article Six of the Constitution prohibits any religious test as a qualification for any office or position of public trust.  Yet, during my tenure as Chairman of the National Endowment for the Arts, I got a snootful of drivel from conservative religious leaders about art they perceived as being blasphemous, so I thought I would explore this issue in fiction and see what happened.

EB: I have to admit that I did not know about the Vladimir Mother of God icon.  I had to look it up and found that it was a real 12th century icon now in a Moscow museum.  It never occurred to me that such a work might be an object of fundamentalist protests.

JF:  Symbolism is the stock and trade of both art and religion.  Likewise, both religion and art go through periods of reductionism—stripping away the baggage and getting back to the fundamental essence. As examples that might prove either too much or too little, consider the Renaissance and the impressionist movements.

So in Blood and Faith, the main religious character is preaching religion as being of the word and the word alone.  As he and his followers perceive the Mother of God Icon, it is a graven image like the Biblical golden calf and, wrapping themselves in the First Amendment, they see its presence as a governmental endorsement of religion.

EB: I especially enjoyed the history of Eastern Orthodoxy and discussion of the role of icons. As a writer, how did you work through the exposition of history and the story-telling?  Other writers have told me that can be a challenge.

JF: Trying to explain or deconstruct the power of an artwork, let alone a religious artwork, is a fool’s errand (for example, one can’t say in words why a Bach chorale is inspirational).  But I have always loved both history and research.  What I found most interesting about Icons is that they play a role similar to sacraments in western religion whereby the icon is an intercessor—a window—to help the believer communicate with God. The Icon thus becomes extraordinarily powerful and I wanted to put that power in the political realm and see what happened. The results proved to be explosive.

EB: You’ve written memoir, nonfiction about the First Amendment, and books about the philosophy of rowing, ethics in golf, and the poetry of skiing, but this was your first novel.  What was the experience like for you?  Was it much different from your other literary efforts?

JF: The irony of all this is that I wrote this novel 30 years ago, just after I had written Leaving Town Alive. I showed a draft to a writer friend and he suggested that I put it in a drawer which I did for the next decade and a half.  Then I almost threw it away, but realized the conflict between Russia, Ukraine, and the United States made it more relevant today that when I was making it up.

But the short answer to your question is that I love making up the story and playing with history and life experiences such as doubt and faith.  I have already drafted a sequel to get my protagonist, Lara Cole, in some more trouble.

EB: You had a robust cast of characters: politicians, fundamentalists, lawyers, museum staff, art experts, FBI agents, assorted scoundrels, most with.  Did you base any of them on real people or simply imagineer their backstories?

JF:  All of the characters are composites of people I have known or known about, so all are thoroughly fictional, but the Judge in the trial scene is based on the Honorable Gus Solomon who sat on the Federal Bench in Oregon for 40 years and scared the pants off the lawyers who appeared before him.

EB: Blood and Faith has prompted me to want to read more about the history of Ukraine and its relation with Russian.  Any books you’d recommend?

JF:  The Art of the Icon by Paul Evdokimov is a thorough exposition of both iconography and the history of the Eastern Church.  While Rome fell in the early fifth century, not a crash bang fall, but a slow dissolution leading to the dark ages in western Europe, Constantinople soldiered on with orthodoxy until the fifteenth century and was a fascinating center of art and learning.

EB:  What are your plans for a further novel?

JF: Stay tuned.  Thanks for the interview.

 

 

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What’s your word of the year?

What words epitomized 2022?

Earlier this month, the attendees at the American Dialect Society selected –ussy as the Word of the Year for 2022. It’s a word part, a suffix, that according to linguist Ben Zimmer, who emcees the Word of the Year event, “snowballed as a playful way of extending a somewhat taboo concept in all sorts of unforeseen directions — especially among the LGBTQ+ community, where this kind of racy wordplay is often prized.” It seems to have begun with the blend “bussy,” a combination of “boy” and “pussy” to refer to an orifice. The usage got extended to things like pizzussy, bairstussy, winussy, and SCOTUSSY.

-ussy seemed a bit too ironic and TIKTOKy for me. I was pulling for rizz meaning “effortless attractiveness or style.” It a clipping of “charisma.

The ADS has been selecting a Word of the Year since 1990, when it was a promotional idea developed y by the late Allan Metcalf. It was a fitting complement to the Society’s long-running Among the New Words featuring in American speech and the first WOTY was bushlips, for “insincere political rhetoric.” You can find a complete list here.

The ADS event is always a raucous one, with a slate of candidates in different categories—MOST LIKELY TO SUCCEED, POLITICAL WORD OF THE YEAR, DIGITAL WORD OF THE YEAR, INFORMAL WORD OF THE YEAR, EUPHEMISM OF THE YEAR, and more. People speak in support or against the contenders, and offer up linguistic, cultural, or personal reasons for this or that choice.

The American Dialect Society is not the only word of the year around.

All the major dictionaries select one. The Oxford English Dictionary’s was decided by a public vote this year, rather than by lexicographers. Over 340,000 people voted and goblin mode won in a landslide. That’s behavior that is “unapologetically self-indulgent.”

It’s an aging Twitterism that got news legs in 2022.

The Merriam-Webster dictionary makes its pick based on the word that shows the biggest rise in lookups in a year. The winner gaslighting, defined as “the act or practice of grossly misleading someone especially for one’s own advantage.”

It showed a 1,740% rise in searches for the term in 2022.

Dictionary.com also chooses their word of the year based on look ups. The winner: woman. It’s not a new word by any stretch of the imagination, but it showed a 1,400% spike in searches. Why, you ask? Discussions of transgender rights prompted people to see what the dictionary says a woman is.

You can look it up here.

The venerable British Collins Dictionary selected permacrisis (“an extended period of instability and insecurity”) as it choice. From Brexit to COVID to Ukraine to the monarchy, revolving prime ministers, climate extremes, and the cost-of-living, permacrisis captures the moment and more. Collins chooses its word of the year from a short list selected by monitoring its eight billion-word Collins Corpus database of words, along with other sources. The other nine were Carolean (“Of or relating to Charles III”), Kyiv, lawfare, partygate, quiet quitting, splooting, sportswashing, vibe shift, and warm bank.

Cambridge Dictionary selected homer as its word of the year. Not the Simpson patriarch but the Wordle solution on May 5th

According to Cambridge, homer was looked up 75,000 times on the Cambridge Dictionary website during the first week of May, mostly from outside of North America.

Lynne Murphy is an American who has been living in the English for a number of years and the author of The Prodigal Tongue. Her Separated by a Common Tongue blog picks words of the year that have travelled from the UK to the US and vice versa. The UK-to-US word was fit, a bit of UK slang meaning “sexy.” . Her US-to-UK words for 2022 was also homer. She called it “possibly the most talked-about Americanism in British social media this year.”

Mignon Fogarty, a.k.a. Grammar Girl, put her word-of-the-year to a series of elimination votes on LinkedIn, asking followers to vote on the word that captured the 2022 zeitgeist. The eventual winner, inflation, beating out quiet quitting, slava Ukraini, democracy, polarized, long COVID and 58 other contenders.

The list could go on and on. The National Council of Teachers of English makes a Doublespeak Award of words and phrases designed to mislead and deceive (in 2022 it was China Virus). Lake Superior State University puts out a hit list of words that should be banished and their snarkussy 2023 list is GOAT, inflection point, quiet quitting, gaslighting, moving forward, amazing, Does that make sense?, irregardless, absolutely and It is what it is.

And this just in: the American Name Society has made its picks. Their Names of the Year:  Ukraine.

The words we choose are more than just a curiousity, as Valerie Fridland reminds us. They tell us about who we are, what we know and don’t know, and what captures our attention, event for a moment.

It’s not too soon to be thinking about the word of the year for 2023.  Throughout the year, I’ll try to list some contenders, but I’ll probably get them wrong.  After all, I voted for rizz.

My January picks: extraordinary measures, from Janet Yellen and bunny boiler from Senator John Kennedy (referring to George Santos).

February: balloonacy

 

Check back for updates.

 

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