Showing posts with label English. Show all posts
Showing posts with label English. Show all posts

Wednesday, July 2, 2014

my teaching philosophy

In an application I sent out to one of the universities I'm applying to, I was asked to write a "personal statement" that contains a detailed account of my teaching experience and my teaching philosophy. I thought this was a welcome challenge. I might have overdone it by sending the university a 5-page, single-spaced document, but the directions did say "detailed."

I don't think I said everything I had wanted to say, but what I've written below captures at least 90% of what I think and feel. I've cut and pasted only the last half of my personal statement below—the half dealing with my teaching philosophy. Agree or disagree as you will.



TEACHING PHILOSOPHY

Thanks in part to those linguistics and pedagogy courses I took in college back in the late 1980s and early 1990s, and thanks largely to my own experiences in the classroom, I have formed a clear teaching philosophy. I cannot claim to implement this philosophy perfectly, but it represents an ideal toward which I strive. In a nutshell: the ideal EFL classroom is student-centered and task-oriented. The teacher never lectures, and to the greatest degree possible, students are encouraged to take control of their own learning. In Korea, students are generally trained to be passive in the classroom; most of the classes they have with Korean professors will involve lectures. Classes on English grammar or literature will also be teacher-centered lectures, and the lecturers will speak primarily in Korean, which I find ironic. Students do little more than take notes during these sessions; they are not encouraged to question the professor or to “flex their English muscles”; instead, they sit in silence, just writing. How constructive is this? In my view, class is much more exciting and beneficial when the students take control and the professor stands back to let this happen. The professor, in my ideal classroom, is merely a guide or a facilitator; it is the students who are in the driver’s seat, even teaching each other lessons from the curriculum or completing tasks individually or in teams. People learn more when they are given responsibility: to learn to ride a bicycle, one must actually get on a bike, not merely hear a lecture about bike-riding.

In French pedagogical linguistics, a distinction is made between parler de la langue and parler dans la langue: speaking about the language versus speaking in the language. The former is a bad idea, but this is what happens when professors lecture on English grammar in Korean. The latter is a superior approach because it exposes the students to more actual English and forces them to think about what they are hearing. Linguist Stephen Krashen put forward the “I + 1 hypothesis” decades ago; the idea is that, if the students’ ability is at level I, the teacher must speak at level I + 1 to force the students to make an extra effort at comprehending the teacher’s utterances. Lazier students might resent this kind of challenge.

I also disagree with modern “oral proficiency” and “communicative” approaches that sacrifice the teaching of grammar for some vague, airy-fairy notion of “fluency.” These modern approaches do indeed get students producing English faster than the old-school methods ever did, but their major disadvantage is that the students, though speaking with confidence, often cannot speak well. Their speech tends to be garbled and incoherent, shot through with errors, and this is because the students have not learned the necessary grammatical structures on which to hang their ideas. When a Korean student says, “I go school” or “When you homework?”, I hear a grammar issue. Teaching EFL students how to structure “Wh-” and “yes/no” questions, how to reply intelligibly to such questions, and how to frame their thoughts in an organized manner is an essential part of a good language curriculum.

A personal example of the flaws of “oral proficiency”-oriented programs: my brother Sean went through a French curriculum that stressed communicative competence over grammar. Because I am fluent in the language, I would often try talking with my brother in French. I found that his pronunciation was not bad, and he was able to reply to my questions with short bursts of verbiage, but longer utterances were beyond him. When I took a look at Sean’s French writing, I saw it was atrocious: my brother had learned little to nothing about verb conjugation, grammatical gender, tense control, or any of the other myriad details that make one’s language clear and coherent. This was not Sean’s fault: the curriculum had failed to stress the structural, technical aspects of French, favoring instead a fuzzy, holistic approach that produced students who could gabble in French, but who had already begun to form a raft of bad speech habits that would be hard to undo later on in life.

This brings me back to EFL in Korea. Most of my Korean students have formed terrible speech habits because no one has bothered to correct their technical errors. I have taught writing classes in Korea in which my students were horrified to see how much red ink I had scrawled all over their short essays. This horror is the direct result of a lack of mindfulness caused by curricula that emphasize production and fluency, but neglect to consider correct grammar, mechanics, and so on.

There are, unfortunately, Western teachers in Korea who buy into the myth that “Korean students don’t need to learn more English grammar” or “Korean students have had enough grammar.” True: Korean students might be very good at recognizing grammar errors on a quiz, but that says nothing about those students’ ability to produce grammatically correct language. The problem with the “Koreans have had enough grammar” crowd is that these people do not realize that Koreans might have a good storehouse of passive grammar, but they have next to nothing when it comes to active grammar. The same goes for vocabulary: university students will have studied English for years, and will have a large mental lexicon of passive vocabulary (i.e., the vocabulary that is recognized through listening and reading), but they will have precious little active vocabulary (i.e., the vocabulary that one relies on when speaking and writing). Active vocabulary can only be developed through proactive use, which is again why lecture is a terrible way to teach English. Passive students will never develop active vocabulary.

In that sense, I do agree with the oral-proficiency school that the students need to be speaking, speaking, and speaking some more. But unstructured speech, “free talk,” and the avoidance of error correction are all harmful to students’ FL learning. Grammar drills and other focused exercises must be part of a language curriculum, however corny and old-school that might sound.

I have, lately, been encouraging my intermediate students to engage in a round-robin English activity in which the students take over, entirely, the responsibility of teaching, while the teacher stands back and monitors, providing occasional correction and leading the post-activity review segment. In my round-robin classroom, the students are divided into four teams. Each team is assigned a certain amount and type of content to teach. Team 1 will teach its material to Teams 2, 3, and 4; Team 2 will teach its material to Teams 1, 3, and 4, and so on. This is done in three rounds, with the combinations of teams rotating every round. Each team teaches its own material three times (and becomes expert at it by the third round); each team is taught different material by each of the other teams. By the end of three rounds, all four teams will have been exposed to all four teams’ material. The material itself is designed to be internally reinforcing, so there is a good bit of repetition and overlap, among the teams’ lessons, to aid students in remembering what they have learned. My intermediate kids love the round-robin approach; I told them that it provides them a small taste of American-style graduate-school seminars, in which it is incumbent on the students, not the professor, to provide the material for a given day’s lessons. My feeling is that you learn when you teach, and teaching something is an excellent way to take responsibility for it.

There are two other aspects to my pedagogical philosophy: I favor the use of behavioral objectives and the use of humor. Behavioral objectives stand in contrast to cognitive objectives. A cognitive objective might be something like, “By the end of the class, students will have developed an appreciation for Impressionist art.” The words develop and appreciation are frustratingly ill-defined in this context. Meanwhile, a behavioral objective will focus on things that are tangible and, where possible, quantifiable. For example: “By the end of the class, students will write a two-paragraph report summarizing the work of one Impressionist painter and expressing a well-defended opinion about that painter’s work.” As a pragmatist, I have a strong bias toward behavioral objectives because they can be used to measure students’ progress. As for the use of humor in the classroom, this should be so obvious as to go without saying. Humor softens the hard edges of social interaction in a classroom full of unfamiliar people. In Krashen’s terms, humor “reduces the affective filter,” lowering stress levels and allowing for better learning. It is an invaluable tool, not to mention one of the teacherly qualities for which an instructor will be long remembered.

To sum up, then: I am a strong advocate of student-centered, task-oriented FL learning. I am an enemy of lecture as a teaching method because it encourages student passivity and does nothing to improve students’ active vocabulary and active grammar. I believe in the old-school notion that grammar is absolutely crucial for good and proper production of language, but I speak here of grammar as it applies to the productive macroskills—speaking and writing. I also think that the teacher, far from being the center of attention in class, ought to be as far away from the center as possible, to allow the students to take charge of their own learning. While I am not against using Korean on occasion as a time-saving device, I believe that FL students should be exposed as much as possible to the target language, not to lectures in the students’ native tongue. Finally, I am a pragmatist who advocates the use of measurable, tangible behavioral objectives in lesson planning, and I also advocate the use of humor as a way to reduce stress and facilitate better learning.

These are some of the modest insights that I have gained from years of teaching. They have stood me in good stead, but because life is always evolving and people are always learning, I know that this philosophy will, inevitably, evolve as well.


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Sunday, December 23, 2012

language pop quiz

I pulled the following sentence, which contains an error, from an article at The Atlantic titled "Is the Ivy League Fair to Asian Americans?" Here's the sentence:

Again, the implication here seems to be that while Asian-American applicants as a group excel at tests, an important factor in admissions, their talents, skills, and other interests tend to be significantly inferior to students of other races, and having them around isn't as enriching for other students.

The nature of the error is:

(A) poor tense control
(B) faulty/illogical comparison
(C) ambiguous pronoun reference
(D) dangling or misplaced modifier

From the same article, another sentence with an error:

As I see it, we know that even well-intentioned people regularly rationalize discriminatory behavior, that society as a whole is often horrified at its own bygone race-based policies, and that race is so fluid in our multi-ethnic society that no one can adequately conceive of all the ways it is changing; knowing these things, prudence dictates acceptance of the fact that humans aren't equipped to fairly take race into consideration. [italics in original]

The nature of the error is:

(A) poor tense control
(B) faulty/illogical comparison
(C) ambiguous pronoun reference
(D) dangling or misplaced modifier




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Saturday, August 11, 2012

etiological fairy tale: Why the Monkey's Rear End is Red

An adult Korean ESL student of mine wrote a cute etiological fairy tale as a writing exercise. The term "etiological" means "having to do with causes." An example of such a fairy tale might be something like Rudyard Kipling's "How the Rhinoceros Got His Skin" from his Just So Stories. Kipling's tale provides a humorous explanation for the rhino's thick, wrinkled skin. The story answers the cause-related question, "How did the rhino's skin get that way?"

Without further ado, then:

WHY THE MONKEY'S REAR END IS RED

Once upon a time, there was a monkey. When the monkey was eating a banana on a tree, a crab came to the monkey. The crab said, "Monkey, can you give a banana to me?" The monkey ignored him and continued eating his banana.

The crab really wanted that banana, so he said, "If you rest the banana on the tree and eat it, the taste would be much better." So the monkey put the banana on the tree. Suddenly, wind blew and the banana fell to the ground. The crab picked it up quickly, and he went into his small house, laughing all the way.

The monkey, furious, came down and said, "If you don't give me my banana, I will poop on your house!" Then the crab pinched the monkey's butt with his powerful claws. The monkey's rear end turned red as the crab pulled out all of his butt hair.

And that is why a monkey's rear end is red and hairless, and a crab's claws are hairy.

I will never look at crabs and monkeys the same way again.


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Wednesday, June 13, 2012

so you think you speak Amurrican

A quick test for people who think they know American English! Select the answer that is most American and/or most grammatically correct.

1. Which is correct?

a. Thanks Fred.
b. Thanks, Fred.


2. Let's just leave this _____ .

a. between you and I
b. between you and me


3. She's a real _____ .

a. trouper
b. trooper


4. If I _____ I wouldn't have farted in the tub.

a. could have known about her phobia,
b. had known about her phobia,


5. Give this prize to _____ ate the most hot dogs.

a. whoever
b. whomever


6. Which is correct?

a. She said, "Sit down."
b. She said, "Sit down".


7. If you want to succeed in this company, _____ and don't make waves.

a. tow the line
b. toe the line


8. That was a strange proposition to Fred and _____ .

a. I
b. me


9. I try to brush my teeth _____ .

a. everyday
b. every day


10. This restaurant has a great _____ .

a. ambience
b. ambiance
c. either A or B
d. neither


11. I saw her in the woods-- _____ .

a. butt naked
b. buck naked


12. When I finally found her ring and ran up, gasping, to give it to her, she sighed and said, "_____ ."

a. Never mind
b. Nevermind


13. I'll _____ be there.

a. definately
b. definitely


14. The sky boomed with thunder and sizzled with _____ .

a. lightning
b. lightening


15. Visiting the White House is quite a _____ !

a. priviledge
b. privilege


16. I'm not _____ to being set up on a blind date.

a. adverse
b. averse


17. _____ elementary, Watson.

a. It's
b. Its


18. I felt so _____ about how disastrous her birthday party was.

a. bad
b. badly


19. Despite the chaos around him, Phineas was _____ .

a. unfazed
b. unphased


20. Which is correct?

a. I wonder where my car went.
b. I wonder where my car went?


21. She stared in frank amazement at his _____ salmon.

a. enormous, twenty inch
b. enormous twenty-inch


22. As the Titanic tilted crazily, she held _____ the railing for dear life.

a. onto
b. on to


23. Watch out for the thundering _____ !

a. hoard
b. horde


24. All that has happened has been in accordance with the _____ .

a. prophesy
b. prophecy


25. Einstein, not merely a genius, was a kind _____ he once rescued a treed cat.

a. soul;
b. soul,



How'd you do?

Answers follow; highlight the space between the brackets to see them.

[1. B; 2. B; 3. A; 4. B; 5. A; 6. A; 7. B; 8. B; 9. B; 10. C; 11. B; 12. A; 13. B; 14. A; 15. B; 16. B; 17. A; 18. A; 19. A; 20. A; 21. B; 22. B; 23. B; 24. B; 25. A]

Scale of Achievement:

25: "I am a Jedi, like my father before me."
24: "Impressive. Most impressive."
20-23: "You are not a Jedi yet."
15-19: "You will pay the price for your lack of vision."
10-14: "Scruffy-looking nerfherder!"
5-9: "Your feeble skills are no match for the power of the dark side!"
1-4: "I have a bad feeling about this."
0: "Noooooooooooo!"

What language rant topics do the above questions cover? Highlight the [bracketed area below] to see.

[1. vocative comma: always use when addressing someone!
2. pronoun case: object of preposition
3. diction (trouper = member of troupe = stalwart team player, not a soldier)
4. verb tense in conditional sentences: if (pluperfect) ➞ main (conditional past)
5. pronoun case: "whoever" is correct as subject of clause
6. US vs. UK punctuation (too many Americans forget what country they live in)
7. idioms: people put their toes up against the painted line
8. pronoun case: don't be an idiot and use a subject pronoun when an object pronoun is called for
9. adverb of frequency = every day; "everyday" = adjective meaning "ordinary"
10. spelling trivia: some words have more than one acceptable spelling
11. idioms: village idiots mishear this as "butt nekkid"
12. compounds: or, more precisely, when not to use compounds
13. spelling: there is no "a" in "definitely"!!!!!
14. spelling/diction: "lightening" comes from the verb "to lighten (a load, the sky, etc.)"
15. spelling: no "d" in "privilege"
16. diction: adverse [conditions], averse [attitude]
17. spelling/diction: it's = it is; its = possessive adjective
18. diction: with a linking verb like "feel," you need a predicate adjective, not an adverb
19. spelling/diction: only someone who had never actually read the word "to faze" would get this wrong
20. mood: "I wonder" is always declarative-- NEVER interrogative!
21. punctuation: hyphenate phrasal adjectives before a noun; no comma for non-coordinate adjectives
22. diction: the phrasal verb's infinitive form is "to hold on" not "to hold onto," which makes the "to" separate
23. spelling/diction: you'd have to be a moron not to get this one
24. spelling/diction: as above. "Prophesy" (-"sigh") is a verb; prophecy (-"see") is a noun
25. punctuation: a semicolon separates two related or contrastive clauses
]

Wednesday, June 6, 2012

the ghost and the tinker: a study in contrasts

It's difficult to imagine a more disparate pair of movies than "Mission: Impossible-- Ghost Protocol" (MIGP) and "Tinker, Tailor, Soldier, Spy" (TTSS). While both films are members of the spy genre, their approaches to that genre differ in almost every respect. And yet, despite their diametrically opposed sensibilities, they're both thoroughly entertaining. Holding them up together for comparison will give us a chance to explore the depth of their differences, and also to ponder what it means to be entertained by a film.

Two quick, one-paragraph summaries, then, to orient the newbie.

MIGP (2011) is the fourth of the Mission: Impossible films. Tom Cruise and Simon Pegg are back as super-agent Ethan Hunt and super-techie Benji Dunn, respectively. Benji's passed his field exam, so he can now run around with Ethan while wearing disguises, speaking Russian, and even holding a gun. Benji's paired up with Jane Carter (Paula Patton), and the team soon acquires a fourth: William Brandt (Jeremy Renner, who's on a cinematic roll). The movie begins with several converging plot lines: (1) Ethan's in a Russian prison, gathering intelligence; (2) Benji and Carter, unaware of Ethan's real mission, have come to Russia to break him out; (3) Carter is fresh off a failed mission in Budapest, in which Russian nuclear launch codes have been stolen by a French assassin (who also killed Carter's boyfriend); (4) a terrorist rogue codenamed Cobalt (Kurt Hendricks, played by Michael Nyqvist) is planning to use those codes to provoke a nuclear war between Russia and the US as part of his belief that humanity is strengthened by the occasional apocalypse. That's the basic setup. What follows is essentially a chase movie: Hendricks blows up part of the Kremlin, pinning the blame on Ethan's team ("Ghost Protocol" refers to the US president's disavowal of Ethan et al.); in Dubai, Hendricks also gets the launch codes from Sabine Moreau (a disconcertingly baggy-eyed Léa Seydoux), the French assassin. The chase leads to India, where Hendricks and his sidekick Wistrom (Samuli Edelmann) break into an Indian TV station and manage to relay a missile launch command to a Russian submarine. The action-packed remainder of the film is all about stopping the missile. Does the team succeed? Well, what do you think?

TTSS (2011) is based on the John Le Carré novel of the same name (Le Carré, pulling a Stan Lee, appears at least twice in quick cameos). The story, which takes place in the 1970s, begins with a passing of the torch at the highest levels of British intelligence-- MI6, nicknamed the Circus: hoary old Control (John Hurt, looking miserable as usual) is stepping down along with his trusted lieutenant, George Smiley (Gary Oldman). Taking Control's place is puny, pugnacious Scotsman Percy Alleline (Toby Jones), whose brainchild is a network codenamed Witchcraft. Control's departure comes on the heels of a failed mission in Budapest (cf. MIGP, above), in which Control's man Jim Prideaux (Mark Strong) is shot and apparently killed. Soviet agents spread the word that Prideaux had attempted the kidnapping of a Hungarian general, but in reality the mission was predicated on Control's suspicion that the Russians have had a mole inside the Circus for years. Control dies soon after his "retirement," and government intelligence liaison Oliver Lacon (the always-smarmy Simon McBurney) asks Smiley to pursue Control's theory. Smiley enlists the aid of young Peter Guillam (Benedict Cumberbatch-- he of the infamous cheekbones) to suss out the Circus members, all of whom had been given codenames by Control: Percy Alleline (Tinker), Bill Haydon (Colin Firth as Tailor), Roy Bland (Ciáran Hinds as Soldier), and Toby Esterhase (David Dencik as Poorman). One of these men is the mole, and each one could fit the profile. The movie proceeds as a sort of whodunit, with the selling of British secrets replacing the traditional murder victim. As Smiley meticulously and inexorably deduces his way to the truth, he comes to realize that, in the larger scheme of the Cold War, the Brits are the dupes: Russia's intention, all along, has been to use Alleline's Witchcraft network to spy on the Americans, with whom Alleline has been keen to make friends. Behind these machinations is the specter of Karla, a Russian operative who has risen in the Soviet ranks and is now the puppet master making the Brits dance. Does Smiley figure out who the mole is? You get only one guess.

On almost every level, with almost every aspect of filmmaking you can think of, these two movies are diametrically opposed. It matters little which aspect I begin with, so I'll plunge in with a discussion of how each film handles its main villain, then go from there.

Visibility of the main villain. The big bad guy in MIGP is Kurt Hendricks, an insane genius who, thanks to his espionage training and his time with the Swedish Special Forces, does his own infiltration work despite his advanced age.* The movie is at pains to build Hendricks up as physically imposing, and he enjoys quite a bit of screen time. Hendricks is, you might say, a very hands-on baddie, as physical as he is intellectual, always one step ahead of the IMF** team. By contrast, in TTSS, the main villain-- Karla-- is never seen directly: we receive only glimpses. His presence is nonetheless felt thanks to a marvelous script that makes him into a pervasive, Sauron-like phantom. When the normally taciturn Smiley has a drink and opens up to young Peter Guillam about his long-ago encounter with Karla, we learn that Karla never said a word during the encounter. The irony, here, is that this is normally Smiley's tactic: our protagonist quietly gathers data and makes his careful deductions before acting. I was very impressed with how the script made Karla a real presence, a real threat, throughout the movie. The search for the mole inside the Circus, which occupies most of the film, is actually a sideshow: the main event is the battle of wills and wits between Smiley and Karla.

Pace and visuals. Here as well, MIGP and TTSS stand in contrast with each other. MIGP is a young person's movie: its scenes are, for the most part, brightly and unsubtly lit, and the script propels us forward at breakneck speed. The Russian prison has its stark fluorescent lights; the dramatic Kremlin explosion (I wonder what Russian audiences thought of that) occurs in the daytime; the Burj Khalifa scenes-- even the sandstorm!-- were all the opposite of murky; even the interior and exterior scenes in India made use of strong color contrasts. TTSS, meanwhile, is drab and subdued: London is stereotypically gray (so gray that it was grey); the scenes in Budapest are either interior shots or cloudy exteriors; most of the London interiors are wan and shadowy. TTSS's pace is different, too; this isn't an action movie so much as a thinker's movie, and there were moments when I felt that the film had been directed by Clint Eastwood. The camera work is stately and unpretentious; there are no violent smash cuts to get our blood pumping, no complicated chase scenes. TTSS's antiquated costume design does a marvelous job of evoking the Cold War era,*** and most of its intrigue comes from ambient hints, subtle facial expressions, and layered dialogue. Which leads me to...

Expository dialogue. MIGP's script is written like a condensed version of the TV series "24." Most of its dialogue is expository-- not so much about revealing character as about keeping the viewer abreast of the rapidly changing circumstances. TTSS, on the other hand, uses dialogue both to develop character and to provide the watchful viewer with hints as to what is to come. While some of TTSS's dialogue is occasionally expository, the story requires the viewer to do his own thinking. When a character like field agent Ricky Tarr (Tom Hardy) delivers a long spiel, it's not so much the content of Tarr's discourse that matters as what Smiley makes of it.

Music. MIGP's soundtrack comes courtesy of the talented Michael Giacchino (juh-KEE-noh), who also scored "The Incredibles" and 2009's "Star Trek." I thoroughly enjoyed Giacchino's versatility in his scoring of "The Incredibles," a movie that mixed the superhero and spy genres. The music for that film had a cool retro feel at times, but easily transitioned into the more grandiose strains that we expect when titans are dueling-- all without losing that lighthearted tone that is a Giacchino trademark. I think this style worked less well with "Star Trek": I have a hard time forgiving Giacchino for creating such a catchy theme, then beating that theme to death in almost every scene. And the lightheartedness that worked so well for a Pixar animation didn't work nearly as well for a science-fiction blockbuster. I didn't hate the soundtrack for "Star Trek," but I did feel that it revealed Giacchino's limits. His score for MIGP confirmed those limits: I've begun to realize that Giacchino is a director's go-to guy if the movie in question isn't particularly deep. That said, the best musical moment, for me, was the soundtrack's soaring tribute to the majestic Burj Khalifa. The worst moments were the intros to Russia and India: both were painfully stereotypical. I cringed.

By contrast, the soundtrack for TTSS was marked by its thoughtful, slow-jazz leitmotifs. Original music was provided by Alberto Iglesias, who is not, as far as I can tell, related to singer Julio Iglesias, whose version of Charles Trenet's "La Mer" is what we hear during the movie's conclusion. TTSS's music is subtle, the opposite of bombast; it never dominates a scene. I don't know much about Iglesias's career in the movie business, but I can see him being in demand among noir directors.

Our protagonists, and how the good guys win. Because MIGP and TTSS occupy such different cinematic universes, it's nearly impossible to imagine a crossover film in which the respective protagonists have a chance to match wits. Ethan Hunt's kinetic modus operandi involves a lot of running, jumping, climbing, and hand-to-hand combat (I'm trying to remember whether he fired a single shot in the entire film); George Smiley, meanwhile, is like the spider that sits at the center of its web, immovable, patiently testing the vibrations and allowing all enemies and information to flow toward him. Smiley's style isn't merely the result of his age; it's a function of his personality. While Hunt and Smiley both recognize the need for teamwork, their management styles differ. Hunt's unspoken motto seems to be the Marines' "Improvise, adapt, overcome"; his team spends much of its time coping with faulty technology, and with an enemy who seems able to anticipate their every move. At the end of the film, Hunt even notes that "the only thing that functioned properly on that mission was this team." The socially awkward Smiley, meanwhile, isn't nearly so chummy with his underlings. At one point he tells his right-hand man, Peter Guillam, that he's sending the younger man "into the lion's den" and that Guillam will, if caught, have to disavow any knowledge of Smiley's activities, just as Smiley will do of Guillam's. It's a far cry from the ethic of "no man left behind," but Smiley's stance makes sense given the circumstances.

The IMF team's struggles involve playing catch-up against a clever enemy; Smiley and his men, meanwhile, gather their data and pounce only when they're absolutely sure. The closest Smiley gets to seeing any real action is when he removes his shoes while in the London-based Russian safe house and pads softly across the floor, gun in hand. In the end, when Smiley gets his man, there's no need even to fire it.

As I mentioned at the beginning, I found both of these movies, MIGP and TTSS, quite entertaining. MIGP isn't particularly cerebral; it's all about the chase-- the action, the adrenaline, the humor, the suspense. Kurt Hendricks, MIGP's villain, has a simple agenda: he wants to instigate a nuclear war as a way to pare down and purify the human race, for strength is born through struggle. TTSS, though, is all about the cerebral. It's not obvious what Karla wants, and Karla's presence is more inferred than revealed. Far from leading us viewers by the nose and keeping us abreast of the plot twists through clear-cut camera work and detailed expository dialogue, TTSS obliges us to deduce, interpret, surmise, and conjecture-- right along with the characters themselves. We're given hints, phrases, and shadowy implications. Much of the important information is non-verbal. The movie doesn't treat the audience as stupid, and it definitely rewards multiple viewings. The plot of TTSS is beautifully put together, and it's certainly the more profound of the two movies.

But both films are ably directed (Brad Bird for MIGP; Tomas Alfredson for TTSS), and both understand economy of expression: not a single moment is wasted in either film. How is it possible to be almost equally entertained by two such different stories? I imagine it's because the eyes and the brain need different sorts of food. Sometimes the eyes-- and the adrenal glands-- demand good, heart-pounding action; sometimes the brain harrumphs and demands a good puzzle. Entertainment comes in all shapes and sizes; surely there's room in this world for two very different approaches to the spy genre!



*This required a rather significant suspension of disbelief, but the story asks us to take on faith that the old, plump Hendricks is the physical match of Tom Cruise.

**IMF stands for Impossible Mission Force. Hard to say with a straight face.

***One of TTSS's main costume designers, Jacqueline Durran, said that she had deliberately chosen 1960s-style clothing as an exaggerated way to evoke the 1970s. I'd say her trick worked.


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Wednesday, May 30, 2012

don't overcorrect!

I find myself increasingly annoyed by the smug idiots who say, "Decimate does not mean destroy: it means remove or kill a tenth of."

Folks, decimate may have had that latter meaning as its only meaning when the word first came into existence, but nowadays, it's perfectly fine to say The bomb decimated the city. This might not imply total destruction, but the word in modern English can mean anything up to near-total destruction. It's a perfectly fine descriptor of what a bomb can do.

People who make such foolish "corrections" are mistaking original meanings for proper meanings. Notions of proper change with the times. The next time someone tries to tell you you're misusing decimate, ask him whether he thinks his best friend is a nice person. When he says "yes," look shocked and ask him whether he really believes his friend is foolish and stupid. This is, after all, the older-- and therefore proper!-- use of the word nice.

Right?

I once heard a man of Scottish extraction claim that no self-respecting Scotsman would ever use the term "Scotch-Irish." "Scotch is a drink!" he said, to much polite laughter from a crowd that knew no better. "The proper term is "Scots-Irish." But he was wrong: "Scotch" is a perfectly serviceable term in the perfectly legitimate expression "Scotch-Irish." Wikipedia has an interesting write-up on this expression, and notes that "Scotch-Irish" is current only in North America, while "Scots-Irish" is a term of more recent invention, and is also confined to North American usage.

This makes our man wrong twice over: if "Scotch-Irish" isn't heard outside of North America (the demographic in question is apparently referred to as "Ulster Scots" in the UK), then how does calling oneself "Scots-Irish" prove that one is a self-respecting Scotsman? This terminological quibble seems to have little, if anything, to do with the monikers used in the Old Country, and that reinforces the point I'm making in this post: in trying to sound smart, don't sound stupid.

(Click this link to see the etymology of nice.)


ADDENDUM: Here's an interesting article on the "singular they."


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Wednesday, May 23, 2012

sentence equivalence!

Here's a GRE Sentence Completion problem from Manhattan Prep's blog.

The exhibit is not so much a retrospective as a __________ ; the artist’s weaker early work is glossed over and any evidence of his ultimate dissolution is absent entirely.

Select two correct answers.

(A) paean
(B) philippic
(C) tirade
(D) panacea
(E) eulogy
(F) crescendo

In the revised GRE's Sentence Completion section, the object of the game is to select TWO words that are each capable of (1) completing the sentence correctly and (2) giving the sentence a similar meaning. In other words, the words you select need to be either synonyms or almost-synonyms. Two antonyms might conceivably complete the sentence, but this would violate criterion (2). To get around this problem, the GRE Sentence Completion questions are designed so that a pair of antonyms can't be selected without one or the other word in the selected pair sounding ridiculous in context.

Have at it, then click the above link for the answer and explanation. I was able to answer correctly despite not knowing the meaning of "philippic," which is not a word I'd normally expect to see on the GRE.


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Wednesday, May 16, 2012

the poetry of Stephen R. Donaldson

Two of my favorite poems are by fantasy/SF writer Stephen R. Donaldson, whom I will always associate with his Chronicles of Thomas Covenant the Unbeliever series: two trilogies and a tetralogy-in-progress. The first poem I'll place here is about death and bereavement:

Death reaps the beauty of the world--
bundles old crops to hasten new.
Be still, heart:
hold peace.
Growing is better than decay:
I hear the blade which severs life from life.
Be still, peace:
hold heart.
Death is passing on--
the making way of life and time for life.
Hate dying and killing, not death.
Be still, heart:
make no expostulation.
Hold peace and grief
and be still.


--Stephen R. Donaldson, 1977
Lord Foul's Bane, Chapter 17, "End in Fire"


The second poem, about the last defense of nature, requires a bit of explanation. The being reciting this poem is a Forestal, a powerful spirit of the woods whose function is the guardianship of forest life: trees, plants, and forest creatures. This particular Forestal, Caer-Caveral, is also trying his best to hold the beautiful region of Andelain together. Andelain is the heart of the Land, but like the rest of the Land, it is under attack by an invention of the Despiser (a satanic/Sauron-like figure): the Sunbane, a curse that drives the Land's natural cycles into unnatural frenzy, forcing earth and sky into a cruel series of rapid changes: desert, rain, pestilence, fertility, etc.-- each phase lasting only a few days, then quickly changing, in random sequence, to a new phase in under a day. The Sunbane, a violation of the natural Law, is ripping the earth apart, and Caer-Caveral knows that even he cannot win against its onslaught. This song, then, is his lament.

Andelain I hold and mold within my fragile spell,
While world's ruin ruins wood and wold.
Sap and bough are grief and grim to me, engrievement fell,
And petals fall without relief.
Astricken by my power's dearth,
I hold the glaive of Law against the Earth.

Andelain I cherish dear within my mortal breast;
And faithful I withhold Despiser's wish.
But faithless is my ache for dreams and slumbering and rest,
And burdens make my courage break.
The Sunbane mocks my best reply,
And all about and in me beauties die.

Andelain! I strive with need and loss, and ascertain
That the Despiser's might can rend and rive.
Each falter of my ancient heart is all the evil's gain;
And it appalls without relent.
I cannot spread my power more,
Though teary visions come of wail and gore.

Oh, Andelain! forgive! For I am doomed to fail this war.
I cannot bear to see you die-- and live,
Foredoomed to bitterness and all the gray Despiser's lore.
But while I can I heed the call
Of green and tree; and for their worth,
I hold the glaive of Law against the Earth.


--Stephen R. Donaldson, 1977
The Wounded Land, Chapter 12, "The Andelainian Hills"




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Wednesday, April 25, 2012

seven non-errors

This Cracked.com article says nothing I haven't heard already, but you might enjoy it:

7 Commonly Corrected Grammar Errors (That Aren't Mistakes)

(Credit for this find goes to people on my Twitter feed.)


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Wednesday, April 18, 2012

"like" vs. "as (if)"

Like I said...

Have you ever said the above? It's common (and perfectly tolerable) in informally spoken and written English; I'd expect to see the above construction in blog posts and emails, and to hear it in conversation. But in terms of proper grammar, as would be required in a formal research paper, the above is incorrect. The correct construction should be:

As I said...

The same problem occurs here:

You look like you've seen a ghost.

That should actually be:

You look as if you've seen a ghost.

[NB: Purists may see the above and argue that "as though" is more appropriate, claiming that "as if" is counterfactual. A question for another blog post, perhaps?]

"But, WHY?" I hear you screech. The general rule is this:

Use as (if) before a clause (or verbal construction); otherwise, use like.

CORRECT: You look like my sister. ("my sister" is a noun phrase, not a clause)

CORRECT: You look as if you're hungry. ("you're hungry" is a clause)

CORRECT: As I mentioned earlier... ("I mentioned" is a clause)

CORRECT: But in terms of proper grammar, as would be required in a formal research paper, the above is incorrect. (though not a clause, the phrase "would be required" is a verbal construction)

Simple? Clear? Try your hand at the following. Answers will be between the brackets following the quiz; highlight that space to see them.

LIKE/AS QUIZ

1. Do _____ I do, not _____ I say.

2. Why can't you be more _____ your brother?

3. You've failed, Your Highness, for I am a Jedi, _____ my father before me.

4. _____ I was saying before I was rudely interrupted...

5. _____ sands through the hourglass, so are the days of our lives.

6. This case isn't _____ that case at all!

7. _____ you wish.

8. Please make corrections _____ necessary. (Watch out! This one's tricky.)

9. I am, _____ you now clearly see, a vampire.

10. All the same, I am not _____ other vampires, for I am a vegetarian.


ANSWERS (highlight the space between the brackets to see)

[

1. as, as ("I do" and "I say" are both clauses)
2. like ("your brother" is not a clause)
3. like (from "Return of the Jedi"; "my father" is not a clause)
4. As ("I was saying" is a clause)
5. Like (from an old daytime soap opera)
6. like ("that case" is not a clause)
7. As ("you wish" is a clause)
8. as (the sentence can be written out more fully as "Please make corrections AS THEY ARE necessary," or "...AS YOU DEEM necessary.")
9. as
10. like ("other vampires" is not a clause)

]



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Wednesday, April 11, 2012

Americans and the media

You might enjoy this long piece from a 1996 issue of The Atlantic titled "Why Americans Hate the Media." Excerpt:

As with medieval doctors who applied leeches and trepanned skulls, the practitioners cannot be blamed for the limits of their profession. But we can ask why reporters spend so much time directing our attention toward what is not much more than guesswork on their part. It builds the impression that journalism is about what's entertaining—guessing what might or might not happen next month—rather than what's useful, such as extracting lessons of success and failure from events that have already occurred. Competing predictions add almost nothing to our ability to solve public problems or to make sensible choices among complex alternatives. Yet such useless distractions have become a specialty of the political press. They are easy to produce, they allow reporters to act as if they possessed special inside knowledge, and there are no consequences for being wrong.


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Wednesday, April 4, 2012

a very interesting story

Thanks to a friend of mine, I've been made aware of a 1961 short story by a gent named Hal Draper. The title of the story is "MS Fnd n a Lbry"-- a title whose meaning the story makes clear. Read it here. An excerpt from the beginning of the story:

From: Report of the Commander, Seventh Expeditionary Force,
Andromedan Paleoanthropological Mission

What puzzled our research teams was the suddenness of collapse and the speed of reversion to barbarism, in this multigalactic
civilization of the biped race. Obvious causes like war, destruction, plague, or invasion were speedily eliminated. Now the outlines of the picture emerge, and the answer makes me apprehensive.

Part of the story is quite similar to ours, according to those who know our own prehistory well.

On the mother planet there are early traces of *books*. This word denotes paleoliterary records of knowledge in representational and
macroscopic form. Of course, these disappeared very early, perhaps 175,000 of our yukals ago, when their increase threatened to leave no place on the planet's surface for anything else.

First they were reduced to *micros*, and then to *supermicros*, which were read with the primeval electronic microscopes then extant.
But in another yukal the old problem was back, aggravated by colonization on most of the other planets of the local Solar System, all of which were producing *books* in torrents. At about this time, too, their cumbersome alphabet was reduced to mainly consonantal elements (thus: thr cmbrsm alfbt w rdsd t mnl cnsntl elmnts) but this was done to facilitate quick reading, and only incidentally did it cut down the mass of Bx (the new spelling) by a full third. A drop out of the bucket.


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Wednesday, March 28, 2012

David Gelernter on "cyber-English"

From here:

Social networking, texting, email and digital messages have borrowed the keys to the English language and are joy-riding all over the landscape, smashing body panels and junking up the fancy interior. Many thoughtful people are worried. But it's good for English to get shaken up occasionally—by people who are using it in new ways, not by academics ordaining from on high.

In the 1980s and '90s, email saved the personal letter from extinction by moving it online. Email-writers have leaned heavily for decades on abbreviations, which suit this quick-and-casual medium. Thus the celebrated "lol," "laughing out loud," and many others.

When the young members of Generation-i use their phones to send text messages, the small keyboards make typing awkward and abbreviations even more important: "b4n" (bye for now), "cu" (see you). Texters, social-network posters and emailers are all prone to write (as their messages go zipping and hurtling back and forth) in sharp-edged shards and slivers of language.

Abbreviations and fragments are a language's normal response to stress. Medieval language is dense with abbreviations, because writing material was expensive and books could be published only by copying. Today the stresses are different but the response is familiar.

When you are forced to compress your message into fewer words, each word works harder, carries more meaning on its shoulders and, accordingly, becomes more important and interesting. Digital English is no good for poetry or novels, but on balance it's refreshing.

What are your thoughts on the evolution of English? Linguists take it as axiomatic that English-- as with any language-- is constantly evolving. Language purists, however, bemoan the various ways in which the language changes. The difference between these detached observers (the linguists), on one hand, and the so-called "language Nazis" (the purists), on the other, is the difference between descriptivism and prescriptivism. A linguistic descriptivist simply describes what's happening to language; a prescriptivist, by contrast, considers him- or herself to be an authority on the proper forms of that language: s/he prescribes the correct forms and usage.

Every English teacher is at least a partial prescriptivist in that sense, concerning him- or herself with proper and coherent forms of self-expression. Every dictionary, meanwhile, is both descriptivistic and prescriptivistic: dictionaries describe language as it's spoken and written in that dictionary's era (invoking histories and etymologies along the way), but they also act as authorities on proper usage, spelling, pronunciation, etc. We don't merely read dictionaries; we consult them.

I've written quite a few posts on this blog that are prescriptivistic in tone. It might surprise students to learn that I'm also a bit of a descriptivist: I believe that language has a structure, and that there are proper and improper forms of expression, but I also think it's only natural for language to evolve. That is the way of things-- the way of the Force, as Yoda might say. Shakespeare sounds old because language constantly changes; the 1950s expression "Daddy-o" sounds old to young ears (it sounds old to my ears, since I was born in the late 1960s!); even expressions from the 70s, like "Right on!" and "Keep on truckin'!" sound antiquated. How many students nowadays would be able to use 1980s high-school slang with a straight face? "You dweeb!" "You spaz!" Who talks like that anymore? Even 1990s slang like "Whoop-- my bad" sounds a bit hackneyed. In 2012, portmanteaux rule: slammed-together word combos that express complex concepts in a single compound. In 2012, we've got frenemies and we're chillaxin'; ambivalent people can be forgainst something. By 2020, those same portmanteaux might seem embarrassingly cliché.

Take a step back from the lexical swirl, though, and notice that most of the linguistic evolution is occurring only at the superficial level of slang. Basic structures-- e.g., syntax-- take much longer to change. Shakespeare is still comprehensible after 500 years because we moderns still use the same basic grammar and most of the same basic vocabulary.

So I don't think Mr. Gelernter is wrong to note that English needs to be shaken up every now and then. But we also need to remember that speaking and writing a language don't mean speaking or writing whatever we want, however we want. If I point at a bird and yell "Police car! Police car!", who can blame any observers for thinking I'm crazy? Language evolves, but this doesn't remove the notion of right and wrong from language learning.


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Wednesday, March 21, 2012

the varying dignity of letters

I respect the letter "i"
Which I find more dignified
Than "y" or "ee"

When I spell Korean words
On the page they're seen, not heard:
I write "kimchi"

Same is true when I write "u"
It's superior to "oo"
Ask Noh Moo Hyeon

Would you rather be a "Wu"?
Or instead a lowly "Woo"?
That can't be fun

Letters know their place and rank
Like the fishes in a tank
They dominate

Change a spelling, add some verve
Set your words upon the curve
From good to great

"Chattahoochee," lacking wit
Fails with dignity to sit
Upon the page

"Chatahuchi," by contrast--
There's a name that's meant to last
Through every age!

It's an orthographic game
But some spellings are too lame
To greet the eye

Know your letters! Treat them well!
Don't consign your words to hell
With glyphs awry!


I admit I like "y" when it's pronounced "ih" as in "dysfunction" or "nymph"-- or the aforementioned "glyph." "Y" acquires an aura of power and mystery(!) in such contexts.

But spelling a foreign word with unsavory letter choices leaves me cold: I don't like "kimchee," which looks infantile, but I do like "kimchi." While I'm used to seeing surnames romanized as "Lee" and "Woo," I prefer "Li" and "Wu." True: the "Lee" versus "Li" distinction is often useful in distinguishing Korean versus Chinese surnames, even though the respective surnames are derived from the same Chinese character. If, back in the beginning, the Koreans and Chinese had some sort of contest to decide who got to use which spelling, I think the Koreans got the short end of the stick. But I've also seen Koreans deliberately choose the lamer orthography, as in "Jee-young" instead of the far more dignified "Ji-yeong." That unsavory "ee" combination should be reserved for childish utterances: "Oh, gee!" or "Hee hee hee!" (which can't be rendered in English as "Hi! Hi! Hi!" for obvious reasons).

My orthographic sensibility kicks into overdrive whenever I see names like "Sarkozy" and "Grozny." Wouldn't Sarko's name be cooler as "Sarkozi?" The change from "y" to "i" would give it a sort of mafioso cachet. And "Grozny" is just plain sad, whereas "Grozni" is, at least, not totally prostrate.

For Koreans, the inconsistent romanization of Korean names has led to some intractable problems. What's the valence of "u," for example? In the official ROK romanization scheme, it's clearly an "ooh" sound, but so many Koreans use it to mean "uh" that it's hard to tell who means what (e.g., "Sun-hee," where "Sun" sounds like the English "sun," not "soon"). That's why a dude with the surname "Yoon" is probably trapped into writing it that way: were he to write "Yun," it'd be hard for a non-Korean to know whether the name should rhyme with "tune" or with "fun." (Officially speaking, "Yun" should be pronounced "yoon," and if the name rhymed with "fun," it would/should be romanized "Yeon.") "Yoon" looks too close to "cartoon" for my taste. The most infamous example of the Korean surname problem? "Moon."

Does anyone else share this aesthetic, or am I all alone on this one? If you do feel similarly about letters, do you deplore, as I do, the change of that cable channel's name from "Sci-Fi" to "SyFy"? I just can't take the new spelling seriously.


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Wednesday, March 14, 2012

"everyday" vs. "every day"

Remember that "every day" functions as an adverb of frequency, whereas "everyday" is an adjective meaning "ordinary."

I brush my teeth every day.

Brushing my teeth is an everyday occurrence.


We good?


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Wednesday, March 7, 2012

¡Ay, caramba!

From my Twitter feed, I was led to an article by Katy Meyers on the GradHacker blog about Stoicism in Grad School. Unfortunately, the article is horribly written, and I've highlighted, in red font, every instance of a mistake. Feel free to type a list of corrections in the comments. NB: one or two mistakes are minor in nature, but most are obvious, objective errors that should have been excised in a single wave of proofreading.

The piece has other problems as well (omitted colons, poor spelling and diction, etc.); feel free to fix those. I've reprinted the article below:

I used to be kind of a control freak, I think many grad students can attest to a similar personality trait. Sadly this tends to go along with the perfectionism that Julie talked about last week. Control is important, we need to be able to balance a number of lives as grad students, maintain multiple fellowships and jobs, work on our research as well as ace our classes, and make a good impression in the department as well as the broader discipline. Our success comes from the close control over every aspect of our professional and academic lives: mapping out every minute of our week into our Google calendars, tracking assignments through various iPhone apps, using Zotero to organize every bibliographic reference, and keeping up with the professionals through every social media site we can think of. This is good, it keeps us grounded.

So here’s the problem, you can’t control everything. This may come as a shock to some, I honestly thought in my first year of grad school that I could control every aspect of my life. I extended the necessity to control my academic world to my personal world. This personal control led to anxiety over family and friend relationships for not conforming exactly to the plans I had made up in my head, and massive fears about my department’s view of myself. I wasted precious energy and time worrying about things that I had no control over. I would lose sleep over things that were external to me. It got so bad that it led to physical damage when I starting unconsciously clenching my teeth at night, I now have a wonderful click sound in my jaw (TMJ for those who want the medical term).

That’s when my little brother suggested stoicism. Joel Mendez wrote “Contrary to common perception, being stoic doesn’t mean being emotionless. The real quality of Stoicism is far more masculine than not caring about anything – it’s about knowing when to care, when to be upset, and how to accept the inescapable with your head held higher than you thought possible.”

According to Mendez, if nature gives you a metaphorical slap in the face you can either get all worked up about wondering why this occurred to you or you can accept what occurred and realize there’s no use in crying over it, because you can’t control nature. There’s no point in freaking out because a freak snowstorm prevented you from getting to a presentation, its nature and you obviously couldn’t have done anything to prevent it from occurring. The second part of this is that you accept what things are occurring, you don’t let it affect your emotion, and you don’t retalitate or react. Using nature as an example is good because you can’t retaliate... I guess you could punch the snow, but it’s not going to change anything.

This is all well and good for interactions with nature, but how do we apply this to our lives in grad school? Stocism is about knowing and accepting your limitations. We can control our lives, our emotions, and our reactions to these metaphorical slaps in the face. We can’t control other people’s lives, emotions, or when they chose to slap us in the face. By giving up trying to control things in our life that we have no control over we end up gaining control over ourselves.

We have to accept that sometimes not everyone in your department will like us, we have to accept that some of our students are going to review us badly regardless of how well we teach, we have to accept that we can’t get funding for every thing we do, and we have to accept that our friends and family are not part of our sphere of control. This doesn’t mean giving in and going with the flow completely. Sometimes you do need to fight against funding agencies, and you can work harder to make some people in your department like you. But you need to know your limits, where you can affect change and where you cannot.

Stocism is about finding inner strength, and letting go of the necessity to control the views and actions of others. I leave you with this quote by Seneca the Younger: “Let Nature deal with matter, which is her own, as she pleases; let us be cheerful and brave in the face of everything, reflecting that it is nothing of our own that perishes.”

For a great summary of stocism check out Mendez’s article: The Modern Wimp’s Introduction to Stoicism.

What's most disturbing is that the article is written by someone who wants to talk about perfectionism as a stressor, but I see little evidence of perfectionism in her prose. The repeated misspelling of "stoicism" is a prime example of this sloppiness.


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Wednesday, February 29, 2012

what's wrong with this locution?

Something's the matter in the following sentence:

North Korea has known only millennia of monarchy and then a century of dictatorship — Japanese from 1910-1945 (in the late stages of colonial rule Koreans had to worship the Japanese emperor), and then for the past 66 years the hegemony of the Kim family.

It's just a little error, but it's the sort of gaffe that occurs frequently, and can be very hard to detect. Check the comments for my explanation of the problem.


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Wednesday, February 22, 2012

"between you and I"

Harvard psychologist Steven Pinker, whom I normally admire, has taken the bizarre position of defending the incorrect construction "between you and I." Here's the link to the article that quotes him, and here's the relevant quote:

The mavens’ case about case rests on one assumption: if an entire conjunction phrase has a grammatical feature like subject case, every word inside that phrase has to have that grammatical feature, too. But that is just false.

Jennifer is singular; you say Jennifer is, not Jennifer are. The pronoun She is singular; you say She is, not She are. But the conjunction She and Jennifer is not singular, it’s plural; you say She and Jennifer are, not She and Jennifer is. So a conjunction can have a different grammatical number from the pronouns inside it. Why, then, must it have the same grammatical case as the pronouns inside it? The answer is that it need not. A conjunction is just not grammatically equivalent to any of its parts. If John and Marsha met, it does not mean that John met and that Marsha met. If voters give Clinton and Gore a chance, they are not giving Gore his own chance, added on to the chance they are giving Clinton; they are giving the entire ticket a chance. So just because Al Gore and I is an object that requires object case, it does not mean that I is an object that requires object case.

I find Pinker's reasoning utterly wrongheaded in this. It flies in the face of a commonsense notion that, in the case of a compound object, each element of the compound carries the same (objective) case. I wonder whether Pinker himself actually takes the above reasoning seriously. Does he write "between you and I" in his research papers? Does he bow to whatever style manual (probably APA) governs the writing of those papers? If he does bow to convention, then why does he do so? That, too, would be an interesting subject to explore.


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Wednesday, February 15, 2012

sonnet 109

In honor of yesterday, which was Valentine's Day, I give you Shakespeare's Sonnet 109:

O! never say that I was false of heart,
Though absence seemed my flame to qualify,
As easy might I from my self depart
As from my soul which in thy breast doth lie:
That is my home of love: if I have ranged,
Like him that travels, I return again;
Just to the time, not with the time exchanged,
So that myself bring water for my stain.
Never believe though in my nature reigned,
All frailties that besiege all kinds of blood,
That it could so preposterously be stained,
To leave for nothing all thy sum of good;
     For nothing this wide universe I call,
     Save thou, my rose, in it thou art my all.

Found here, with commentary.


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Wednesday, February 8, 2012

what's wrong with this sentence?

Found this sentence here:

Remove the stems from the dried peppers and place them in a food processor, spice grinder or coffee grinder.

Imagine you're trying to make red pepper flakes, like the kind you sprinkle on pizza. See any problems with the above instructions?

Avoid ambiguity. The above sentence is exactly the sort that might appear in the "find the error" portion of the SAT Writing section.


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