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May, 2008

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The Lesser of Two Languages

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Sign language is often seen to be inferior to the spoken language because it does not follow the convention of most languages in that it employs visual representation as its chief mode of expression as opposed to spoken sounds; Creole languages are oft thought inferior due to the fact that it is usually considered the degenerate conjoining of a native language and a lingua franca. Despite the existence of such reservations and prejudice regarding these two unconventional languages the fact remains—as it always has been—that they are in no way politically or linguistically inferior to any existing language in the modern world; They have, rather than to contribute to political and linguistic degeneration as critics of such languages claim, opened doors to new realms and audiences of linguistics and politics.
 
Sign language and Creole essentially share a similar background in that they are both creations borne from linguistic voids of different sorts. Speakers of sign language and the Deaf community eventually overcome the linguistic void of sound and speech before attaining proficiency in sign language whereas speakers of pidgin and Creole languages eventually overcome the linguistic void of a unique vocabulary and codified syntax structure before moving on to become fluent speakers of such languages.
 
In both cases however, the linguistic voids which at face value seems more to obstruct than to help the case of both language types actually serve to become unique assets to each language. Whereas users of Sign language are devoid of communication involving speech and sound, they have access to a more expressive and iconic form of communication in physical gestures and signals. Granted this form of communication has its disadvantage in the fact that the range of communication is basically limited to the range of the user’s sight range, the fact that it employs vision—which for many is the primary sense of perception—as opposed to sound implies that there is less room for miscommunication between fluent speakers.

Linguistic concepts in spoken languages such as minimal pairs or sonority mean that fluent speakers of any language can easily miscomprehend each other simply owing to the fact that the medium being employed in such modes of communications is not perfect, and speakers of such languages are limited to the sounds they can create. For example, let’s take a hypothetical situation in English where two native speakers are engaged in discussion about distributing property. One would expect that being native speakers of the language would mean that neither speaker should have any problem understanding a simple suggestive sentence such as “you can take this”, but the fact that speech is governed by sonority could distort the sound and create a completely different meaning such as “you can fake this” or “you can cake this”, which is especially true for obstruents given that they are the least sonorous of any given sound group in linguistics. With Sign language however, such miscommunication between two native speakers is less likely to happen as each word or part of speech is clearly signaled and interpreted visually, and unlike spoken and speech-based languages, there is virtually no restriction to the arsenal of different vocabulary and “languages” that a Sign language user can use as sight not sound is the restricting factor in the case; it is therefore in theory it would be easier for a speaker or user already acquainted with one language to learn what is considered a “hard” Sign language as opposed to a spoken language that involves constant use of an area of articulation not commonly employed by most conventional spoken languages, such as the click-based languages of Africa.

Although pidgin and Creole users are not devoid of sound and speech, they are devoid of a codified method of acquisition, characteristic of languages borne from a mesh of native and colonial cultures. In Bickerson’s “Creole Languages” the process of language acquisition within Creole-speaking communities is contrasted to the story of Pharaoh Psamtik’s linguistic—albeit unethical—experiment where two children were to be reared by a mute shepherd; whereas their process does not extend to the extremity of having no access to spoken language whatsoever, it does follow within the footsteps of the experiment in that formation of Creole was done so within two mutually unintelligible languages trying to establish an intelligible medium.

Given that the two languages being ameliorated in most Creole are in most cases from two very separate language families—usually the Indo-European language of the colonizers and the native language of the colonized—it is safe to assume that it is almost as if the acquisitors of such languages are devoid of any existing linguistic notions or preconceptions they may have had and are forced to rely on more innate aspects of language acquisition.

Bickerson notes that the acquisition of Creole is similar to that of a newborn baby acquiring language from those spoken by its parents: although the baby is exposed to native speakers whose aptitude in the language is presumably at the highest level of the accepted social standard, the baby will—assuming that the basic token of language acquisition is the act of imitating sounds produced by native speakers—constantly make mistakes in repeating and reformulating sentences uttered by the native speakers. The example provided by Bickerson is that of a four-year-old who tries to explain to his parents that “nobody like[s him]”; in observation the boy repeatedly iterates the words “nobody don’t like me”, and even after his mother corrected his use of double-negation and verb agreement in the case of singular/plural subjects, the boy still resorted to the use of double negatives, claiming this time “nobody don’t likes me”.

This phenomenon implies the existence of what is generally known as cognitive bias in Psychology, or the situation where pre-existing (or in our case, innate) knowledge or standing on a certain subject blocks or hinders new sets information or ideas settling in the brain. In the Bickerson example, it can be said that an innate syntax system, which Noam Chomsky has hypothesized to be a Universal Grammar of sorts, was hindering the process of the new and perceived “correct” English syntax from settling in to his linguistic arsenal; the acquisition of Creole works in the same way that a child grows up in an environment of either pidgin-speaking parents or an environment where the existence of two mutually unintelligible languages are in full collision and is therefore forced to rely on a perceivably innate system of language as a method of communication.

The fact that Creole languages from different ends of the world, formed from completely different sets of language groups follow the same basic syntactic structure concatenates the idea that Creole languages are indeed a legitimate language class; whereas formalized lingua franca such as Mandarin Chinese and English base their linguistic roots on historical and societal trends and changes, Creole languages base their roots on one’s innate ability to gather and materialize linguistic knowledge . The fact that a language is based on self-evident innate factors as opposed to dynamic and changing factors such as historical and social trends means that it is less susceptible to change and deterioration: whereas the syntactic structure of English and Mandarin are constantly becoming altered due to social fads, convenience, etc., the syntactic structure of Creole will quite possibly never change so long as the hypothetical Universal Grammar remains intact (or unless by some magical chance, the genetic make-up of everyone on earth was simultaneously altered to change the Universal Grammar)

One final point I wanted to make in illustrating the legitimacy of Sign languages and Creoles as opposed to their conventional counterparts, is that unlike a lot of the languages in the world which are by each passing day becoming more and more moribund in nature, the population of these languages seem to be increasingly on the rise. According to the CIA World Book, the population of the American Sign Language in 1985 was 350,000 people, which has increased to an estimated two million in the year 2004; the population of Hawaiian Creole speakers in 1985 was approximated to be 400,000 people which has in 2004 risen to 600,000. The fact that these languages are gaining more and more speakers indicates that they are no more and no less legitimate than any other spoken language in the world, and like their conventional counterparts, will continue to stay so until its speakers one day die out.

我識你老鼠

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so the more i look these up, the more i realize that cantonese slang is really cryptic…
here are some literal translations of some frequently used phrases in cantonese

(thanks to Mei, Anita, and HikariChan for the translations.)

I know your mouse.
我識你老鼠 !
translation: who the fuck are you?

You call me how to come out and walk in the future?
你叫我以後點出o黎行?
translation: how am i supposed to walk out of the door now that you ruined my reputation?

I give you some colour to see.
我俾D顏色你睇!
translation: i’m going to show you what i’m worth!

If you have enough ginger,put your horse to me.
如果你夠薑的話就放馬過o黎!
translation: bring it on, bitch!

Monster of blowing water.
吹水怪。
translation: you’re full of shit

Blow chicken
吹雞
translation: call for help!

I blow chicken to beat your group of the guys.
我吹雞打你班友 。
translation: ima call mah homebois and bust a cap up yo ass!

Face green green
臉青青 。
translation: white face

You see road carefully
你小心睇路 。
translation: watch before you leap

Are you road?
你係唔係路呀?
translation: are you for real?

How senior are you?
你算老幾?
translation: what gives you any right to one-up me?

What the water are you?
你係乜水?
translation: who the living fuck are you?

Do you big me?
你大我呀?
translation: are you blackmailing me?

Zebra chops people
班馬劈友 。
translation: help a brotha bust a cap on a trick.

Do the world
做世界 。
translation: daylight robbery

Big tea rice
大茶飯 。
translation: a beneficial problem

What the ghost are you talk?
你講乜鬼?
translation: what the fuck are you talking about?

Cut my head and let you sit on it as a chair.
批我個頭俾你當凳坐!
translation: quit frontin’ and back yo’ ass up! 

I give you only a hair.
我俾條毛你!
translation: i’ll remember you when i make it big

Do you think me didn’t arrive?
你當我無到?
translation: i’m not invisible, you know.

Wear grass
著草
translation: get the fuck out!

I am wearing grass.
我著緊草。
translation: (i’m) get(ting) the fuck out!

I fear that you have teeth.
我驚你有牙!
translation: i have no reason to be scared of you

You have not enough class to talk mathematics with me!
你未夠班同我講數!
translation: you betta check yo’self before you wreck yo’self!

What the spring do you do?
你做乜春?
translation: what the fuck are you doing?

Measure water/Pound water.
磅水
translation: enough with the excuses

A dragon service.
一條龍服務
translation: to give head

Hold hold water.
楂楂水
translation: nature calls

Mind your egg sandwich!
關你蛋治呀!
translation: mind your own business!

You collect spit!
你收嗲啦!
translaton: shut up!

yay

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my playlist as of april, 2008

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the following ten songs have been on repeat for the past month or so

1. OZROSAURUS – AREA AREA
2. くるり – 東京
3. Jay-Z feat. Biggie Smalls – Brooklyn’s Finest
4. OZROSAURUS – Rollin’ 045
5. Jay-Z – Regrets
6. Dynamic Duo feat. Tiger JK – Superstar (behind the scene)
7. くるり – ハローグッバイ
8. DJ KRUSH – MiLight
9. BUMP OF CHICKEN – 天体観測
10. ZEEBRA feat. DJ MASTERKEY – GOLDEN MIC

oh yeah, and rei has a new blog:
http://hmm.ethereal-wind.net/

go check it out if you understand code!

a rising hollywood fad

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so one thing i’ve been noticing to be on a steady rise over the last few years, and especially over the past few weeks, is that there seems to be a curious rising fad in hollywood where white actors have it bad in terms of acting, but asians usually tend to get the short end of the stick: whereas white actors usually end up playing white people, asian people usually end up playing asian people… of another ethnicity.

by this point you’re probably pointing out the flaw in my argument by saying, “well yeah, but you have white people playing white people of other sub-cultures and ethnicities, like irish-americans playing german-americans and whatnot.” and you’re 100% right: more often times than not “american” actors will usually end up playing a role that is of a ”different” sort of american, and in that sense chinese americans playing japanese americans or vice versa doesn’t seem all that bad – except caucasian americans will never run into this kind of problem since they almost 98% only use english in their prescribed roles (with exceptions of simple foreign words mixed into their dialogue, such as “salud”, “gracias”) whereas asian americans, for some odd, odd, reason are always FORCED to use their “native” language or made to seem like they don’t speak anything beside it.

my first example is related to masi oka, the japanese-american actor who plays “hiro nakamura” in the hit drama series “heroes.” i don’t really mind the fact that they got a japanese-american actor, perfectly bilingual in english and japanese with an iq of 183 to play an otaku-like salaryman, who frequently utters the phrase “yatta!” which means “yay!” or “i did it!” in japanese (oka recently revealed in an interview that the original line for his catchphrase was actually “bonsai”–yes, “bonsai”, the little tree, not “banzai!” the warcry–which he petitioned for change into a more generation-friendly “yatta!”) but yeah, i just felt like breagging about him, but here’s the thing that really matters. ando masahashi, the guy hiro nakamura is frequently seen with, i.e. the businessman who is always nagging him to stop dreaming about being a hero and having super powers and what not, is actually korean, and that fact would be perfectly acceptable if he spoke japanese fluently and if he didnt sound like an ass trying to pronunce the syllables that don’t exist in his phonological alphabet.

now my beef with hollywood isnt actually against using non-japanese people to play japanese roles, or non-korean people to play korean roles and etc. because i’m a firm believer in multilingualism, but the fact that they employ less-than-adequate speakers of each language to play those parts and the fact that they are getting away with butchering our languages on national television has been an irking annoyance for me recently.

the phenomenon is not only seen in television, but is actually much more dominant in movies. a few puny examples would include: the “korean” man who speaks horrible korean in starsky and hutch (the one owen wilson supposedly speaks korean to), the “japanese” girl from hostel who commits suicide after her face is defaced (i think her name is kana in the movie, but she’s actually played by some korean girl) and also that asian doctor who was on csi miami for like three episiodes–dr. peng, i think his name was–who is supposedly cantonese but is played by a korean actor.

so here we have a confusing spiral of misrepresentation, where japanese are being played by koreans, koreans are being played by chinese, and the chinese are being also in one hand played by korean and also recently by kudoh yuki in rush hour three. this would be a good place to stop and say WHAT THE FUCK?? by this time it’s very evident that asian-americans are asian-americans, and there really is no need to make a distinction–whatever native language we speak, the primarily english speaking nation will not understand, so why try to make them play what they’re not? why can’t the korean-americans just play koreans, the japanese-americans play japanese, and the chinese-americans play chinese?

a recent example that left me flabbergasted was “war” — that awesome movie with jet li and jason stathan where jet li is supposedly a rogue assassin and supposedly not a rogue assassin at the same time. i will leave the contents of the movie cryptic to those of you who haven’t seen, but whatever. one thing that really pissed me off, is that while the movie engages on a fantasy asian mob match made in heaven with the japanese yakuza facing off against the chinese triads in san francisco (even though the movie is clearly said to be filmed in vancouver, bc in the credits) except none of the mobsters actually speak the language that they’re supposed to other than the few actors that matter (i.e. the respective capo of each clan). for example, jet li in this movie speaks english underlyingly, but there are a few scenes throughout the movie where they make him try to engage in some asian language to make him seem like “one of us”; for example, there is a scene right after he has made his way into the chinese triad’s circle of trust where he is approached by the capo’s right hand man who brings his little brother along for whatever mission they’re doing. jet li asks the guy a question in mandarin, but the guy answers back in cantonese. ok that’s an improvement, at least both of them are fluent in their own languages right? and given the fact that jet li7s first movies were actually cantonese and he spoke cantonese in those roles make it seem all right overall. but that’s where you’re wrong. cantonese and mandarin are not mutually intelligible and speakers of both parties will generally not understand each other without some kind of formal training in each respective language. but the white people will never know…

my second outrage is with hollywood casting devon aoki as a japanese role. i really don’t understand why they keep doing this to me. they ruined my teenage fantasies by casting her as kasumi in the dead or alive live action movie, and now they’re making her try to speak japanese. and by the way she sounds in the movie, she’s not even trying: i’m sure the phonetic guidelines that came with her dialogue prompts somewhere does mention that [u] in japanese is more uvular than english and is much more clearl cut — but she totally ignores this fact and butchers every syllable of japanese dialog in that movie. even jackie chan spoke better japanese than her in rush hour 3, and his only japanese line in that movie was 銃下ろせ!! (drop the gun!!)

so my question to hollywood is, given that hollywood has tapped into a new market of a young, fresh acting generation in asian-americans–after hit movies such as harold and kumar and i really can’t think of another one but i’m pretty sure there are more–and given the fact that there are over 10 million asian-americans/asian immigrants living in the united states, why are they so lazy to find one that can speak their “native language” properly? i’m guessing people like devon aoki are being cast by hollywood either because white people think she’s hot or maybe she’s been sleeping around with the directors, god knows, and its good to see that some of the young talent are getting recognized but they’re being done so for all the wrong reasons.

white people make fun of us asians for not being able to speak english properly, and that is understandable–but why must they add insult to injury by making it seem like we can’t even speak our own? 

honorable mention (01/30/10):
Johnny Vang in the “surgery” scene of Crank 2 speaks Cantonese to the surgeons, but speaks Mandarin to the cholos a few scenes later.

英俊天野のわけのわからない話!②

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試験勉強が更に飽きるころ…
いつものあの夜会が ネット上で密に開かれた

英俊天野のわけのわからない話!
(今会話は消して「人誌松本のすべらない話」シリーズのスピンオフではありません。)

今夜わけのわからない話をつづる精鋭たちは:
宮坂玲 (れー)
天野英俊 (すこっと in SC)

すこっと in SC の発言:
wanna hear a funny story
れー の発言:
?
すこっと in SC の発言:
so when i was little
すこっと in SC の発言:
i think it was like saturday afternoon
すこっと in SC の発言:
and i came back from school
すこっと in SC の発言:
and my dad was eating like a strawberry shortcake or something
すこっと in SC の発言:
and i was like “ooh where did you get that?”
すこっと in SC の発言:
and then he said “it fell out of the sky”
すこっと in SC の発言:
and then i was like “really??”
すこっと in SC の発言:
and he was like “yeah, i just laid here minding my own business and it fell”
すこっと in SC の発言:
so after than i laid on the sofa
すこっと in SC の発言:
with my mouth open
すこっと in SC の発言:
and my eyes closed
すこっと in SC の発言:
for thirty minutes
すこっと in SC の発言:
and then my jaws locked
すこっと in SC の発言:
and i had to go to the hospital
れー の発言:
HAHA
すこっと in SC の発言:
the end,
れー の発言:
HAHAHA
すこっと in SC の発言:
my housemate asked me where i got my pork bun from
すこっと in SC の発言:
and i told her it fell out of the sky
すこっと in SC の発言:
and then i remembered a 不吉な思い出 that went with that phrase
れー の発言:
haha
れー の発言:
that’s awesome
すこっと in SC の発言:
now that i think about it
すこっと in SC の発言:
alot of stupid shit happened
すこっと in SC の発言:
when i was a kid
すこっと in SC の発言:
i think i told you about the time
すこっと in SC の発言:
when i jumped off a suberidai right
すこっと in SC の発言:
from the top of the suberidai
すこっと in SC の発言:
yelling superman!
すこっと in SC の発言:
and then i broke my arm
すこっと in SC の発言:
because i landed on my arm
すこっと in SC の発言:
and the suberidai was like three stories high
れー の発言:
AHAHA
れー の発言:
why are you alive HAHA

「天から降りてきたショートケーキ」

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深夜、試験勉強していたところで小腹が空いたので先日スーパーで偶然見つけた冷凍肉まんを温めて食べることにした。夢中になって肉まんを食べていた光景をルームメートに目撃されて、
「それどこで手に入れたの?」と訊かれた。冗談で「天から降りてきたんだ」と返事したら、
突然昔の不吉な思い出が頭ん中に浮かんでしまった…More...

あごが痛い、その一
「天から降りてきたショートケーキ」
小1の頃、ある土曜の午後。下校して家に帰って来てみると、珍しくソファーの上で寝ているオヤジがいた。その時のオヤジはソウルの某大学で解剖学の教授を務めていて、週に何回かしか会わない息子に印象を残したかったんだろう。

オヤジは、ソファの上で寝そべって何食わぬ顔で美味しそうなショートケーキを一人で食べていた。もはやオヤジの「美味しいものは絶対に分けてくれない」性に気づいた僕は、見なかったふりをして自分の部屋に入ろうとした。が、オヤジの意外な一言に足を止めた。

「このショートケーキ、めっちゃ美味いわ」
「そう? どこで手に入れたの?」
「ここで寝ていて口をあけたまま待ってたら降ってきたんだ」
「ほんとー??降りて来なかったらどうする?」
「そりゃ石の上で3年じゃない?」

と言いきって寝室に身を移したオヤジの後姿を確認して、さっそく行動開始モードに突入した。
最初はヨダレが口のそばから流れ出てたこととか、ソファの寝心地の悪さとかを気にしていたが、オヤジの言葉通りに石の上で3年間待つ覚悟で我慢した。でも子供は子供であるもの。ちょうど30分が過ぎたところで目がどんどん重くなり、いつの間にか俺は甘いショートケーキの夢をみていた。起きた時にはやっぱりショートケーキは降りてこなかった。
騙されたことに悔しいまま俺はオヤジに文句言おうと寝室に向かえようとした瞬間、口辺に異変を感じ始めた。

「あれ、口が閉まらないな」

顎のぬけた俺はオヤジが働いてる病院にそのままかつぎこまれた。

スターフィッシュ?不可殺伊?

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so it has recently come to my attention, how different languages’ semantic perceptions about not-so-commonly found things could be so strikingly diverse in some ways. and yes this is a makeshift intro cuz i can’t think prooperly at the moment.

but for this thing:

the english speaking population call this a starfish
the french speaking population call this etoile de mer (star of the ocean)
the chinese speaking population call this 海星 (sea star)
the japanese speaking population call this 人手 (human hand)
while the korean speaking population call this 不可殺伊 (that which cannot be killed)

東京

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東京の街に出て来ました
あい変わらずわけの解らない事言ってます
恥ずかしい事ないように見えますか
駅でたまに昔の君が懐かしくなります

雨に降られて彼等が風邪をひきました
あい変わらず僕はなんとか大丈夫です
よく休んだらきっと良くなるでしょう
今夜ちょっと君に電話しようと思った

君がいない事
君と上手く話せない事
君が素敵だった事
忘れてしまった事

話は変わって今年の夏は暑くなさそう
あい変わらず季節に敏感にいたい
早く急がなきゃ飲み物買いにゆく
ついでにちょっと君にまた電話したくなった

君がいるかな
君と上手く話せるかな
まぁいいか
でもすごくつらくなるんだろうな
君が素敵だった事
ちょっと思い出してみようかな

i’m cruising around the streets of tokyo
mumbling incomprehensible things as usual
it may not seem all that embarassing
but sometimes i end up thinking about you when i’m at the station

the busy people are catching colds after being rained on
but you don’t have to worry about me, i’m doing fine as usual
there’s nothing a good night’s rest can’t fix
but tonight for some reason i got the urge to call you

you’re not here anymore
i can’t get through to you as well as i used to
and i’m starting to slowly forget
how wonderful you were to me

the beat goes on, and it seems now this summer won’t be too hot
i want to keep being sensitive to the changing seasons
i gotta hurry, and go buy myself something to drink
but then i got the sudden urge to call you again

i wonder if you’re there
i wonder if i’ll be able to get through to you this time
i’m not going to be too bummed if i can’t
but i have to admit, it might make me a little bit antsy
so i think i’ll just sit and reminisce
about how wonderful you were to me…

Humpty Dumpty through the Looking Glass

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A somewhat celebrated character in Lewis Carroll’s much celebrated “Through the Looking Glass” pondered the existence of a hypothetical linguistic society where a word, when used, “means whatever [one] chooses to mean—neither more nor less”; in this hypothetical society, people would master language and manipulate it in whatever necessary or possible to utilize its purpose of (pragmatic) existence in being a tool used for communication. If this idea can be seen as a legitimate theory or idea on how language ought to be used, Orwell’s observations on how politics, and the historical events which led to politicking, is affecting the way the 20th/21st century English-speakers commandeer their proficiency in English would be an accurate antithesis of such an idea.

Orwell contends that the decline of the English language is similar to that of a drunk who is caught in a downward looping spiral in the sense that “a man drinks because he feels himself to be a failure and then fail all the more completely because he drinks,” where the toxin of the English language’s choice is politics instead of alcohol, and English is on the decline because of political insertion into the language itself, while further “failing” because it is inclusively exercising politics within its daily use.

Political speech, according to Orwell, is language “designed to make lies sound truthful and murder respectable,” or a case of “defending the indefensible.” He claims that the landmark political events of the 20th century— the British occupation of India, the Soviet Republic, and bombs being dropped on Japan to name a few—have provided for a need to be generally concealing and ambiguous in political speech to justify the arguments “which are too brutal for most people to face, and which do not square with the professed aims of political parties.”

Thus the English language, in order to adopt ambiguity and provide a general air of concealing nature, has taken into its wings the usage of “euphemisms, question-begging, and sheer cloudy vagueness” as tools for keeping the people conforming to the influence of the reigning political parties. This linguistic practice in politics—given that language often mirrors the status quo of society—has assimilated into everyday life, resulting in the grocery list of grievances that Orwell brings forth against the post-modern English language: extensive usage of value loaded words and phrases, prevalence of the passive voice, and general hellenification or latinization of diction where simple purely “English” words would suffice in a process he calls “dress[ing] up simple statement[s] and giv[ing] them an air of scientific impartiality” have all been identified as crimes politics have been found guilty of in its role as the corruptor.

Although Orwell specifically does not explicit this idea, it seems that what he is describing is the basis of PC speech, or politically correct speech. Deborah Cameron, in her essay ‘Civility and its Discontents,’ implies that due to such happenings in modern political history people are increasingly becoming aware of the existence of a “Verbal Hygiene,” or simply put, a need to conform to established political norms when speaking in public. Much like personal hygiene when it comes to general cleanliness and agreeableness, it is possible to be completely oblivious of verbal hygiene and at times to forget its existence and implications or just refrain from exercising it altogether. One example provided by Cameron is the ridiculous Fresno Bee article where the publication was criticized for mistakenly avoiding the use of the “politically correct” term “African-American” and instead using the more overtly descriptive term “black”.

Setting the social implications and the history bound to the word “black [man]” aside, this is a prime example of what Orwell pointed out as being one of the corrupting effects of politics in English. When one refers to a person as “African-American” as opposed to “black”, one is politically motivated not to conjure up the images of the less than memorable political stance that the United States had once taken towards people of color; it is in effect, euphemizing their existence or “blurring the[ir] outlines, and covering up all the details” in the hopes that the targeted listener would acknowledge that the speaker is practice of the establish political idea that :”American embraces all people of color” and thereby in practice of good verbal hygiene.

The second subject matter that Cameron professes much of politically-correct speech to center around is the case of gender equality in what used to be a dominantly male society. This has led to the introduction of gender-neutral terms for everyday occupations such as “chairperson” as opposed to “chairman”; “police officer” as opposed to “policeman”; “firefighters” as opposed to “fireman” and etc.; and gender neutralization of traditionally single-sex occupations and titles such as “nurse”, “author”, or “chancellor”.

Cameron notes that both the African-American and the gender equality issue, rather than being “political correct” are merely “accurate” depictions of what society has become and therefore should not play a restricting or euphemizing role that PC speech implies: A man of African-American descent should simply be called so to distinguish him from other types of African descent; a police officer should be referred to as such to acknowledge the recent growth of female officers in the contingency, and not to show underlying apologetic sentiment about the gender discrimination that had taken place for the past nineteen centuries or so. 

Therefore, both Orwell and Cameron argue that although it is indeed courteous and now a socially-agreeable trend to paint murky images through euphemism in speech, but doing so sacrifices our ability to communicate clearly and effectively and is in a way taking away our right to render unto words the ability for them to become “whatever [we] want them to be, neither more or less.” A parallel can be drawn from this to the idea of giving up civil liberties, a political theme that has been circulating far and wide for the latter half of the past decade: in the same way it is believed by some that increased national security comes at the cost of sacrificing certain civil liberties, it is also believed by some that the wages of political correctness—if political correctness can be defined as conforming to what contemporary society views to be non-threatening and generally acceptable—is the sacrifice of free speech, or freely-flowing speech to be accurate.

It is important to note, however, that just as how the idea of “civil liberties” and “national security” is abstract and vague, the idea of “political correctness” is also somewhat ambiguous: although Orwell did not address this problem since the term “political correctness” was probably not as fashionable as it is now when he wrote his essay, Cameron points out that there is no solid definition as to what political correctness is and what its underlying agenda actually is, and it is at best reified from its abstract form to be “vague” and “insincere”.

Amidst all ambiguity and vagueness, however, one thing is for certain: If Humpty Dumpty were alive (and somehow magically crossed over from the realm of fiction into reality) to witness the debacles of the English language where words no longer curtail meanings but meanings curtail words, he would surely have another great fall but with not even the King’s horses and the King’s men to hear him fall this time.