Preserving the Languages of the Arctic.

Lorraine Boissoneault writes in Jstor Daily about the 2008 Arctic Indigenous Languages Symposium and the link between linguistic preservation and biological diversity in the Arctic; here’s the conclusion:

The Saami aren’t the only indigenous people collaborating with scientists to better document the effects of climate change. A number of hunters in Alaskan native communities along the northern Bering Sea and Chukchi Sea provided information about changing sea ice patterns and polar bear behavior. The scientists concluded: “The hunters also provided information about local abundance that is complementary to research on larger scales, but which could not have been gained in any other way.” Basically, because of their connection to the environment, the hunters saw and knew things that scientists did not.

“It’s not that things are untranslatable,” said Holton, the documentary linguist, on the topic of lost languages. He works with Alaskan native communities to record local place names and samples of their languages in hopes that they won’t die out or be forgotten. “You just lose a subtlety for how you view the world. You can’t recover that sense of intimacy, that ability to express things in a certain way that can’t be captured by other languages.”

And this might be exactly why the six permanent members of the Arctic Council chose to focus their efforts on language revitalization. In doing so, they might be able to protect their homes and ways of life–or, at the least, show resilience in the face of enormous change.

“Neither nature nor language can be permanently conserved; there would be only a record of that time. Living language and living environment will always change,” Retter said. “Our challenge now is how fast things are changing. When you don’t use things your vocabulary goes to sleep. When nature is changing, you might have vocabulary for it that goes to sleep.”

Thanks, Paul!

Canonizing the Party-State Voice.

I’ve just gotten to Chapter 6, “Canonization of the Party-State Voice,” of Michael S. Gorham’s 2003 Speaking in Soviet Tongues (see this post), in which, after describing the competing ideals of Russian language use that appeared after 1917 (the make-everything-new revolutionary, the peasant-oriented popular, and the imitate-the-classics national), Gorham focuses on the turn to the “party-state voice” that triumphed under Stalin in the mid-1930s, which began with Gorky’s review of Fyodor Panfyorov’s novel of collectivization Bruski, of which three volumes had so far appeared to near-universal acclaim:

His comments, appearing in The Literary Gazette (Literaturnaya gazeta) in January 1934, admonished Panferov for his verbiage and carelessness, citing in particular his overuse (and misuse) of dialect and his graphic distortion of words in an attempt to capture nonstandard pronunciations. Gorky questioned the author’s apparent belief that “Dal′’s dictionary still hangs over the Russian literary language” […]

Gorky’s critique set off a yearlong debate in the writing community that quickly assumed an even more politically and socially charged tone. One of Panferov’s more prominent allies, the writer Aleksandr Serafimovich, countered Gorky’s remarks by defending Bruski for its authentic depiction of everyday life in the countryside and its raw portrait of muzhik strength. Gorky responded in kind, criticizing the book again for littering the Russian language with words that did not exist and chiding the reviewer for glorifying the “strength of the muzhik.” “Permit me to remind you,” he wrote, that the strength of the muzhik is a socially unhealthy force and that the consistent cultural and political work of the party of Lenin and Stalin is aimed precisely at exterminating from the consciousness of the muzhik that ‘strength’ that you are praising.” As in earlier writings on the topic, Gorky’s critical frame directly linked style and politics — authority in language with the authority of the state. […] Invoking the antirural discourse of Marx and Lenin to complement his own vocabulary of “extermination,” Gorky went on to wonder how it could be possible “to express the heroism and romanticism of the reality created in the Union of Socialist Soviets” using an “idiotic language”? […]

With the exception of some of Panferov’s allies from the disbanded Association of Proletarian Writers, participants in the debate generally sided with Gorky, including writers such as Mikhail Sholokhov and Lidiia Seifullina, renowned for their own heavy use of dialect and vulgarisms in fiction. Seifullina justified her earlier narratives by arguing that the “primitive” state of the village at that time left no other option […].

Less out of Gorky’s culturist concerns for a basic level of literacy than in an effort to solidify the stature of the party-state, lower-level critics writing on cultural policy eagerly latched on to the patriarch’s arguments and used his rhetoric about national authority and identity. In the process, all three of the models discussed earlier — the revolutionary, the popular, and the national — underwent considerable refinement, if not total transformation.

(This development was discussed a few years ago in this post.) Gorham goes on to describe the 1935 Interpretive Dictionary of the Russian Language as “the linguist Dmitrii Ushakov’s realization of Lenin’s wish to replace Dal′’s nineteenth-century lexicon with a ‘real’ dictionary of the Russian language”:

Echoing the discourse of party-state purism inspired by Gorky and his followers, Ushakov’s introduction dismissed Dal′’s work for its focus on “bourgeois vernacular and peasant language,” praised the new lexicon’s inclusion of postrevolutionary “innovations” to Russian, and finally invoked the authority of both Lenin and Gorky in staking its claim as “a weapon in the struggle ‘for the quality of the language spoken every day by literature, the press, and millions of laborers,’ ‘for the purification of a language that is good, clean, accessible to millions, [and] truly of the people [narodnyi].”

Such interpretations defused once and for all the hopes of those who advocated that the spoken language of the people be raised to the status of a language of power, advocating instead a return to the already established Russian literary language, newly refined with ideological grounding in Bolshevik authority.

Purification! When I hear talk of purity, I release the safety catch on my Browning.

The Great Fututiones Debate.

This is one of the best letter exchanges I’ve seen. Here’s the intro:

“It is not easy to write a Life of Catullus”, Helen Morales observes in the TLS of April 22. Nor, apparently, is it a straightforward matter to translate him. Professor Morales was reviewing two books, Daisy Dunn’s Catullus’ Bedspread: The life of Rome’s most erotic poet and Dunn’s accompanying edition of Catullus’ poems. The second book gave our reviewer cause for concern. Morales wrote:

The translations themselves show little sensitivity to the Latin language. For example, in Poem 32 the poet addresses his lover, the “sweet Ipsitilla”, and urges her to invite him round. Dunn translates:

Let no one bolt the door
And don’t be tempted to go out,
But stay home and make ready for us
And nine consecutive fucks.

The Latin word fututiones, which Dunn translates as “fucks”, is no ordinary one. It is a word invented by Catullus and only appears in Latin literature in Catullus and Martial. It conveys an exaggerated amount, and needs translating in way that captures the originality of the term, the excess implied, and the humour in the poet’s urgency. In their translations Jane Wilson Joyce has “Fornifuckations”, Guy Lee “fuctions”, and Peter Green “fuckfests”. Dunn’s commonplace “fucks” misses the point. She is also inconsistent in handling metre. The elegiac poems are rendered with an economy similar to the Latin, whereas the hexameters of Poem 64, the exquisite mythological poem whose description of a wedding coverlet gives Dunn’s book its title, are translated into free verse . . .

I’ll let you read the reader responses for yourselves; I particularly like Peter Green’s letter and wishes-he’d-thought-of-it-at-the-time solution. (Via Wordorigins.org.)

Pathos.

I’ve run across another example of the “echelon” problem, and this time I’m going to wag my finger at Michael Gorham a bit more vigorously (see this post). He uses “revolutionary pathos” to translate “революционный пафос,” but “pathos” cannot be used that way in English. The Russian пафос [pafos], like эшелон [eshelon] ‘special train,’ is a classic faux ami: while it can mean ‘pathos,’ it is much more commonly used in a wide range of senses that can, according to context, be translated “spirit” (пафос романа ‘the spirit of the novel’), “bombast,” or, as here, “zeal” or “enthusiasm.” Translators beware! Keep your sense of English free of the contamination of translationese!

A Distorted Etymology.

This is a very minor issue, but it amused me, so I’m passing it along: in chapter 4 of Gorham’s Speaking in Soviet Tongues (see this post), he is discussing the difficulty of writers (and beginning writers, in the shape of workers’ and village correspondents) in dealing with the confusing variety of forms of speech available in the early 1920s, specifically the juicy but restricted peasant speech, which had trouble with abstraction and logical sequence, and the high-flown language of Bolshevik officials and propagandists, which was full of abstraction and was basically unintelligible to the average Russian. After providing amusing examples from Zoshchenko, who derived half his material from this confusion, he says, “‘True’ authority remains outside the margins of the perverted text with the implied author,” and his footnote reads:

The Russian term iskazhenie, which I translate in this discussion as “distortion” or “perversion,” nicely reflects the degree to which the act is rooted in language or narration (as suggested by the root -SKAZ-). The term was commonly employed by contemporary critics who complained of the postrevolutionary mangling of the Russian language, Soviet ideology, or both. […]

Alas, there is no root -SKAZ- here (the root of skazat’ ‘say,’ skazka ‘tale, story,’ etc.); iskazhenie is a nominalized form of the verb iskazit’ ‘distort, pervert, twist,’ which is simply a prefixed equivalent of the semantically identical but obsolete kazit’, which as Vasmer says is either a causative of -чезать or a cognate of Lithuanian kežė́ti, kežù ‘acquire a sour taste.’ No relation to -SKAZ- whatever; that’s just a tale, or story, as it were. This should not be taken as a slap at Gorham, who is a fine scholar; anyone can make a mistake, and it’s in a footnote most people won’t even read. But it should serve as a reminder not to neglect the dusty facts of philology even when one is brewing the heady nectar of analysis.

Edmond Edmont.

Cara Giaimo writes in Atlas Obscura about a man I knew nothing about, as well as others in his line of work:

Long before we had viral quizzes to gather our peculiarities, there was only [Edmond] Edmont—a linguistic assistant who spent the end of the 19th century bicycling around France, speaking to locals, and cataloguing their unique words and phrases. Over four years, Edmont journeyed to over 600 towns, gathering material for what would become the Atlas Linguistique de la France: the world’s first great linguistic atlas.

A century later—after technological revolutions and scholarly schisms wholly reshaped the field—Edmont remains, in the words of one linguist, “a mythical figure in the history of dialect surveys.” Whether you’re the kind of surveyor who spends hours speaking to farmers in Georgia, or the kind who dreams up the Buzzfeed Accent Challenge, his work remains both vital and informative.

There follows a riveting history of dialect studies, including a PhD student named Georg Wenker who “drew up 42 sentences that, in his estimation, covered the most changeable aspects of the German language” (“In the wintertime dried leaves fly about in the air”; “I will slap your ears with the cooking spoon, you monkey!”) and Jules Gilliéron, with “his own set of 2,000 common words and phrases, similarly designed to cover a broad swath of French.” Edmont worked for Gilliéron, and their Atlas Linguistique inspired “dialectologists from Switzerland to Japan.” There’s much more at the link, which I urge you to click on.

Five Lost Languages Rediscovered in Massachusetts.

Jackson Landers of the Smithsonian reports on an exciting discovery:

American history has just been slightly rewritten. Previously, experts had believed that the Native Americans of central Massachusetts spoke a single language, Loup (pronounced “Lou,” literally meaning “wolf”). But new research shows that they spoke at least five different languages.

“It’s like some European families where you can have three different languages at the dinner table,” says Ives Goddard, curator emeritus and senior linguist in the department of anthropology at the Smithsonian’s National Museum of Natural History. “There was probably a lot of bilingualism. A question that is raised by there being so many languages is ‘how did that work?’ How did they manage to maintain five different languages in such a small area?”

The lost languages were re-discovered by taking another look at several manuscripts written by French missionaries who were also working as linguists in the mid 1700s. While working on her master’s thesis at the University of Manitoba, Holly Gustafson compiled lists of verb forms found in one of the manuscripts. Goddard noticed some contradictions in the compilation. […]

“This gives us a picture of the aboriginal situation in New England being fragmented into different groups,” says Goddard. “This tells us something about the social and political situation.”

Goddard believes that the situation may have been similar to that of the Sui people of the Guizhou Province of China. Women from a particular band of villages would always marry into a different band of villages in which a different language was spoken. The woman would continue to speak her original dialect, her husband would speak another, while their children would grow up understanding both but primarily speaking the father’s dialect outside of the home. Family and cultural ties are maintained between the different groups of villages while maintaining an independent sense of identity.

Goddard’s research begs the question of how many other native American languages may have been missed. The cultural diversity of pre-colonial America may have been underestimated. Rediscovering those languages can help to explain where the lines were drawn between different cultures.

Fascinating stuff — thanks, Trevor!

In Praise of the Long Sentence.

From Gerald Murnane’s “In Praise of the Long Sentence” (Meanjin, Autumn 2016), a crotchety but interesting essay:

In 1986 I was invited, along with several other writers, to give a short talk at the Melbourne Writers Festival on the subject ‘Why I write what I write’. I was not surprised when the other writers talked about childhood experiences, subjects that inspired them, or concerns that drove them to write. I chose to talk about none of these, and my short speech must have impressed at least one member of the audience, the then editor of Meanjin, Judith Brett, who published the speech a few months later. My speech began ‘I write sentences. I write first one sentence, then another sentence. I write sentence after sentence…’ I made no mention of grammar in my speech. I spoke more about such matters as the shape of meaning, the sound of sense, the contour of thought. These were all expressions I had learned from other writers’ efforts to explain why some writing, to put it simply, is better than other writing. I quoted a remarkable passage by Virginia Woolf in which she claimed: ‘A sight, an emotion, creates this wave in the mind, long before it makes words to fit it … and then, as it breaks and tumbles in the mind, it makes words to fit it.’ I wrote my speech 30 years ago, and I’m as pleased with it today as I was then, but I acknowledge that my essay, so to call it, is no sort of compelling argument for grammatically sound sentences. Rather, it seems to suggest that I trusted for most of my life in a sort of instinct. I trusted in a sort of instinct and looked only for apt or suggestive forms of words, and yet I never needed to violate the principles of traditional grammar. […]

Several times during the writing of this piece, I may have seemed to be trying to justify my use of long sentences. Certainly, I left off writing this piece now and then and pondered on my liking for such sentences and my interest in punctuation and traditional grammar. These preferences of mine may have a simpler explanation than I sometimes try to find. During the first ten years of my life, I was closer in time to the nineteenth century than to the present century. For most of my childhood I read books written long before my birth, books by R.L. Stevenson, Charles Kingsley, Charles Reade, William Henry Hudson. Even our English textbooks at secondary school recommended the prose of Charles Lamb, Thomas Hardy, George Borrow. I long ago gave up reading contemporary writers, but I still look often into Hardy’s novels or Lavengro or The Romany Rye. Perhaps I learned the subtle rhythms of left-branching nineteenth-century prose in the same way that the authors of that prose learned the rhythms of their Cicero or their Livy. I would be far from disappointed to learn that this is so.

Anyone who refuses to like or understand contemporary art is self-doomed to irrelevance (which is not the same as inferiority), and anyone who claims “to know more about sentences than Thomas Pynchon or Frank Kermode” is in some sense a blithering idiot, but I like his statement “that meaning for me was connection; that a thing had meaning for me if it was connected with another thing.” Via wood s lot.

Translate These Books!

Will Firth, a translator from Russian, Serbo-Croatian, and Macedonian, has posted “10 Books by Women We’d Like to See Translated: Balkan Edition.” I love this sort of thing, and the books sound interesting; two that particularly struck my fancy:

CROATIA
Hodler en Mostar (Hodler in Mostar), Spomenka Štimec (Edistudio, 2006)

This historical novel is partly about the Swiss painter Ferdinand Hodler but rather more about his model of many years’ standing, Jeanne Charles Cerani. After the two part ways, Jeanne marries a Bosnian soldier wounded in WWI, who later joins the Yugoslav diplomatic service. A collection of Hodler’s paintings follows Jeanne and her husband on their many postings and finally ends up in Mostar. A union of two quite different worlds.

MONTENEGRO
Gospođa Black (Mrs Black), Olja Knežević (Vijesti, 2015)

Written as a first-person report, the author’s second “London novel” is about a woman from Montenegro who marries a somewhat older Englishman and grafts herself into British society. Just when she feels she has comfortably adapted, ghosts of the past catch up with her. An interesting look at the problems of women in society amplified by the jarring contrast of a wealthy, stable country and a country from the underbelly of Europe.

Here‘s a post from last year on a similar topic, and I will renew “my decade-old lament at the absence of a translation of Abdelrahman Munif’s historical novel Ard Al-Sawad.”

Corpus Corporum.

From the About page:

The site mlat.uzh.ch is a Latin text (meta-)repository and tool under way of development. Users should take into account that some functions do not yet work satisfactorily. This Corpus Córporum is being developed at the University of Zurich under the direction of Ph. Roelli, Institute for Greek and Latin Philology. The project uses exclusively free and open software and is non-commercial. Our main goals are:

– To provide a platform into which standardised (TEI) xml-files of Latin texts can be loaded (if you would like to share your texts, please contact us) and downloaded (unless copyrights or the texts’ providers restrict this).

– To make these texts searchable in complex manners (including proximity search and lemmatised search). Search results, wordlists and concordances can be generated for the current text level at the bottom left of the page (we use the open-source software Sphinx).

– To be able to use the platform to publish Latin texts online (cf. the Richard Rufus Project’s corpus).

– Texts may be downloaded as TEI xml or txt-files for non-commercial use (in snippets also as pdf) and can thus be reused by other researchers.

The texts are divided into corpora on a specific topic that can be searched and studied separately: the first such corpus consists of ten translations of Aristotle’s Physica into Latin. They were used to study how technical Greek language could be translated into Latin. Word frequency lists are also on the server.

The internet gets better and better. Thanks, Bruce!