Wednesday, 8 October 2014

Txting

Over the past decade, rapid technological and communicative advancements have resulted in massive ramifications pertaining to the English Language. These changes have influenced both the composition and directives that have long defined the language.  No other aspect, of this once esoteric craze has played a more prominent role than texting.

 Both linguists, John McWhoter and David Crystal raise cogent arguments, appertaining to the subject of texting as both a positive product and authority of language.

While both men arrive at the same illation in regards to the matter, Crystal dwells far deeper into the workings and practical aspects of this modern dialect, McWhoter instead opts for a more macroscopic approach to the subject.
At outset both Crystal and McWhoter establish texting as a separate entity, possessing ‘its own language…etiquette and…humor.’ Crystal goes on to state, that texting, was never originally purposed to act as a ‘means of communication.’ However as our current reality would suggest, this is not the case. The once mere act of bashing buttons having evolved into a new medium where one may covey their thoughts, in a precise, coherent manner.
It is important to understand that texting shares far more in common with speech, than writing, despite the brute mechanics they might share. McWhoter goes as far to describe it as ‘fingered speech.’ In that sense, texting acts as the means of expression one might adopt to directly notate their speech, devoid of the formalities and red tape attributed to formal penmanship and writing.    

Furthermore, McWhoter expounds on the fact that texting pays little heed to capital letters and punctuation, on the basis that people do not pay attention to such things when they talk and therefore why should they when they text.
Both linguists eventually make their way to discuss the conventions regarding texting and the actuality that it is not bereft of a defined structure rather characterized by it’s own loose rendition.

In regards to the conventions the language has spawned, both authors recognize two in particular, ‘LOL and ‘slash,’ both of which have developed into pragmatic particles over time. ‘LOL was originally intended to express a sense of amusement or draw attention to a joke or amusing statement, however it has steadily changed to represent a far subtler expression acting as a marker of empathy and accommodation. Like wise slash, once represented a separation between elements of a text or alternatives. Though it’s modern interpretation hasn’t strayed far from its roots, it has now grown to be a new information market, denoting a change in scene.

Silver, progresses to elaborate on the various language notes and contraptions evident in text speak, as well as the distinct graphology and prominent usage of rebus abbreviation, which McWhoter only touches upon.
Finally both men confront the criticism and bad press that shroud texting and its subsequent text speak. McWhoter raises the argument, that people have forever been condemning and stressing about the language of their time, evidence of such dating as far back as 63 A.D. Despite the planets remain to spin and the world continues to remain.

In closing Silver states that the future of text speak remains uncertain, it’s existence and continued longevity reliant on continuation of a particular technology where space is at premium and abbreviation serves a purpose. McWhoter concludes that texting acts a new form of writing young people have devolved alongside their ordinary writing skills and concurs with Silver in the regard that it acts as the ‘latest manifestation of the human ability,’ in particular of today’s youth and their ability to be ‘linguistically creative,’ morphing language and adapting it to suit the various demands of increasingly diverse world. In this manner texting exhibits in it’s one little manner the continual evolution of language. 



Sunday, 5 October 2014

Spot on...

The following is a fictitious letter to the editor and response to an article posted on the Huffington Post titled "Why a Bindi Is NOT an Example of Cultural Appropriation"and i would highly recommend you to check it out for yourself...

Dear Editor

Let me be the first to recognize and commend you, on your enlightening, ultimately candid take, on the subject of cultural appropriation.

An Indian by nativity and ethnicity, I wholly concur with the viewpoint and stance of the article, with regard to the evolution and modern-day application of the bindi.

I believe, it is extremely important to recognize the dissimilarity between cultural appropriation, the  ‘the adoption of a specific part of one culture by another cultural group,’ and acculturation or assimilation in that "appropriation" or "misappropriation" as stated before refers to the’ inclusion and absorption of cultural elements from minorities or immigrants into the predominant culture.’

As stated in your article, when the process of adoption and mainstream conversion is bereft of all cultural, religious and historical significance, the act is then merit of offense. No individual or group possess’ the right to strip an aspect of one’s culture of it’s true context and significance in order to attain conventional status and peddle it on wholesale.

Notwithstanding, I do agree that the bindi is a unique case in within itself. For the longest time I myself have not known the true history and significance of this cultural symbol, other than it’s current modern day status as a fashion accessory. This raises an interesting sentiment and the realization that a majority of Indians themselves, don’t know the significance of the bindi, as mentioned in the article. Furthermore the statistics concerning the Hindu women who were unable to accurately elucidate the history, religious or spiritual significance of the bindi coupled the author’s personal confession brought further emphasis and elicit to the claim.

However, I do recognize and appreciate the inclusion of the counter argument brought forth in the article that other, such as Indian statesman Rajan Zed might posses. In that the bindi acts an auspicious religious and spiritual symbol and should not to be thrown around loosely for seductive effects or as a fashion accessory, to state your article. However the validity of this statement solely relies on the basis that us Indians ourselves have maintained this level of consecration and holiness in regards to the bindi. Nevertheless this is not the case and it is therefore on those grounds that we cannot expect others to do so.
  
Furthermore I agree with the standpoint that culture does in fact evolve. Indians have forever appreciated the beauty of a bindi, indoctrinating it into the world of fashion decades ago. As a people we now share the privilege of spreading and passing on this rich legacy as the bindi makes it's way to the countless foreheads across the globe. I delight in the continued evolution of this cultural symbol and the actuality that it been able to surpass the confines of religion and class.

To echo the author’s closing statement, I am glad others find this aspect of my culture beautiful and would adopt it as their own, for I do too.

Warmest regards,

Rohan Toor

Sunday, 28 September 2014

Moves Like Jagger


During the late sixties, a phenomenon engulfed the United States. Millions, spangled in the stars and the stripes, succumbed to the to the sound of guitar wielding, redcoats, playing a rock & roll bought forth from beyond the sea. Novel, exotically foreign and daring in it is approach. This euphony emanated new vitality and represented the dawning of a new age. This was the British Invasion and Britannia ruled the airwaves.
At the forefront of this takeover were the Stones and at their helm stood none other than Mick Jagger.

Undoubtedly one of the most metaphysically inclined and intelligential performers of our era, Mick Jagger is also one of the most taciturn. The following interview is based of the October 12th, 1968 issue of Rolling Stone and should by no means be considered an authentic depiction or representation of Mick Jagger, rather an exegesis of the artist’s influence and impact. Formalities aside, let us commence…

Is it true that with songs such as "Come On" and "King Bee" you really re-discovered Slim Harpo and Chuck Berry for a majority of the American populous Who had never been exposed to that kind of music beforehand?

Yeah. Most people had no idea about it that's why we stopped doing blues. We didn't want to continue doing blues forever, just long enough to turn people on to others who were very good at it and not have to carry on the mantle ourselves. So you could say that we did blues to turn people on, but it’s beyond me why anyone would be turned on by us, frankly its unbelievably stupid. I mean what's the point in listening to cover "I'm A King Bee" when you can listen to Slim Harpo, the very man doing it himself?

So your change in style came about once you believed, a majority of people had been turned on to blues?

Honestly, I think our change came about the same time a lot of the beat groups started popping up. Back when there were no hit groups and the Beatles were playing The Cavern. We were blues purists; into all those commercial things but never had the guts to do them on stage because we were so horrible and so aware of being blues purists, you get what I mean? You see back in those days nobody knew each other. We didn't know the Beatles or the Animals from Adam, yet we were all doing the same material. We used to be so surprised to hear other people do the same things we were doing. The thing is that the public didn't know about any of this music because the record companies were issuing hundreds of singles a week so naturally most people missed a huge lot of them.

It was also at this time that you first ran into censorship problems with the words "half-assed games." Many of the disc jockeys in the United States cut that part out.

Really? Frankly I don't know what's considered rude in America cause it's all so different, isn't it! Anyway, coming down to all controversy that shrouded us in the day, we weren’t purposefully singing about subjects thought to be taboo: drugs, sex and violence. We just wanted to honestly explore a subject not otherwise discussed. Anyhow, censorship is weird.

When you first came to San Francisco in 1965, the Diggers put out a broadcast describing the Stones as the embodiment of what they called, the ‘breaking up of old values.’

Yes, this came about after a series of songs like "19th Nervous Breakdown," "Mother's Little Helpers," "Have You Seen Your Mother" . . .
 Ha-ha; "Have You Seen Your Mother" was the final straw. We came to a full stop after that. I just couldn't make it with that anymore, what more could we say. I find it all quite amusing, where you had the Beatles singing, “Let It Be,” you had us singing “Let It Bleed.” But obviously these songs bothered people because for the first time rock songs were saying things that couldn't be said before. It's spending all the time in America. All these songs were written in America. It is a great place to write because all the time you are being bombarded with all of it and you can't help but try and put it in some kind of form. As far as I'm concerned those songs just reflect what's going on. Drawing attention if you will, to society’s confusion between evil imagined and real, between arbitrary social conventions and real ethical principles. We just used the energy of these subjects to inspire our music. And at the end of the day, they simply lived up…or down to people’s expectations of them.

What would you say to people who see your songs as political or sociological statements?

Well it's interesting, but it's just the Rolling Stones sort of rambling on about what they feel. At our best, we were just testing the boundaries of the liberation so freely promised by rock. Were drugs OK? We didn’t just sing about this stuff, we experienced I firsthand, we lost Brian, and the nearly Keith…Was flirting with violence OK? Pete sake, we sang about it until someone got killed right in front of stage where we were preforming, back at the Altamont Speedway in California.


Works Cited

Cott, Johnathan. Mick Jagger: The Rolling Stone Interview . 12 October 1968. 26 September 2014 <www.rollingstone.com/music/news/the-rolling-stone-interview-mick-jagger-19681012>.
Puterbaugh, Parke. The British Invasion: From the Beatles to the Stones, The Sixties Belonged to Britain . 14 July 1988. 26 September 2014 <www.rollingstone.com/music/news/the-british-invasion- from-the-beatles-to-the-stones-the-sixties-belonged-to-britain-19880714>.



Monday, 15 September 2014

A Social Experiment...

As an individual who has spent a majority of his life beyond the confines and security of their home country, I have had the fortune of experiencing little lingual prejudice and ignorance.

However not all are share the favor of my charmed life, and this is a major concern of mine.

With all that man has accomplished over the last century, the human rights movement, fall of the Berlin wall and the dawn of the information age, one might expect stereotypes and preconceptions to be all but non-existent, remnants of a bygone era.

Sadly this is not the case and the subject of stereotypes faced by non-native English speakers acts as a prevalent theme in Amy Tan’s essay ‘Mother Tongue.’

And the hackneyed idea I would like to touch upon in particular would be accents…

For the sake of perspicuity, ‘accent’ is defined as the “distinctive mode of pronunciation of a language, esp. one associated with a particular nation, locality, or social class.”

In 2010, two students from the University of Chicago conducted a social experiment centered on the influence of accent on credibility.

Below, is an extract from their report that I found of particular interest:

“Most people do not know how many hours a night an ant typically sleeps, but if someone tells them that ants don't sleep, they may believe it, even if that person is not a zoologist. But people also doubt and routinely evaluate new information (Ferguson & Zayas, 2009). Such judgments of credibility could depend on how reasonable the information sounds, how credible the source appears how the person says it (e.g., Miller & Hewgill, 1964)…”

Their assessment continued to reveal the reasoning behind their postulation.
Firstly, they explained, an accent, acts as a signal, and secondly, for lack of a better term it can ‘distort’ speech, making it harder to understand. The report went on to state the reasoning behind the first statement, however the second reason, the far more critical of the two, was purely objective possessing no hard evidence.

The report went on to expound that native speakers of any language, not limited English alone, are typically very responsive to accented speech of foreign descents, and are in turn quick to draw conclusions based of those signals, casting the speaker as an outsider and foreigner. The report proceeded to expound that if left unchecked these signals produce preconceptions about the outsider that might not be necessarily true, but act as an advocate of prejudice, ultimately impacting the credibility of the speaker. Hence when a foreigner speaks, not only does their accent play a part in impacting their credibility but also the prejudice tied to it.   

I believe this evaluation provides an interesting perspective regarding the ideology and credo behind the stereotypes targeted non-native English speakers, especially those pertaining to accent.  Though these findings are among a myriad of others that agree with this conclusion, nothing is ever set in stone. Recognizing the problem and educating others about its existence is the first step towards change.


Works Cited
Garrett, Peter. "Attitudes to Language ." Garrett, Peter. Attitudes to Language .
Cambridge: Cambridge University Press, 2002. 124-125.
Lev-Ari, Shiri and Boaz Keysar. "Why don't we believe non-native speakers? 
The influence of accent on credibility ." 10 June 2010. 13 September 2014       <psychology.unchicago.edu/people/faculty/LevAriKeysar.pdf>.