Pragmatics in language change and lexical creativity

Allan, Keith (2016) Pragmatics in language change and lexical creativity. SpringerPlus, 5 1: 342. doi:10.1186/s40064-016-1836-y


Author Allan, Keith
Title Pragmatics in language change and lexical creativity
Journal name SpringerPlus   Check publisher's open access policy
ISSN 2193-1801
Publication date 2016-03-17
Year available 2016
Sub-type Article (original research)
DOI 10.1186/s40064-016-1836-y
Open Access Status DOI
Volume 5
Issue 1
Start page 342
Total pages 23
Place of publication Heidelberg, Germany
Publisher SpringerOpen
Language eng
Subject 1000 General
Abstract This essay examines language change and linguistic creativity as revealed by remodelling, especially as a source for euphemisms and euphemistic dysphemisms and as a function of verbal play. Within the scope of this essay, there are predominantly two ways in which novel terms and expressions are created leading to language change: formally through remodelling and semantically through figurative language. Consider some of the words for nakedness. There is the orthophemistic term nude, from Latin nudus, often used of photographic or painted representations of naked women and, much more rarely, of a naked man—hence the marked term male nude. Whether a nude is artistic or pornographic depends on the viewer belief. A colloquial Australian euphemism for being in the nude is in the nuddie. Other euphemisms include as nature intended, in one’s birthday suit, in the altogether, and in the buff (⇐buff[alo] leather, buff skin transferred to humans). Being naked is captured by the dysphemism bare-arsed and the more euphemistic butt / buck naked in which buck ⇐ butt. The orthophemistic term stark naked and the connected colloquial euphemism starkers also arose by replacing a final /t/ with a /k/: stark ⇐ start “tail, arse”. Nudists like to go about in the open air without clothes on and, being as nature intended when in natural surroundings, are euphemistically called naturists. Such expressions display folk-culture in a remarkable inventiveness of metaphor and figurative language sourced in the perceived characteristics of whatever is being talked about. For instance, terms for tabooed objects and events provide ready-made material for the dysphemistic language of curses, insults, epithets, and expletives. The essay shows that X-phemisms (orthophemisms and/or euphemisms and/or dysphemisms) are motivated by a speaker/writer’s want to be seen to take a certain stance by upgrading, downgrading, obfuscating, and deceiving; and they extensively manifest indulgence in verbal play. Although the discussion focuses on English, the categories illustrated occur across the world’s languages, and many of them are significant for the study of language change.
Formatted abstract
This essay examines language change and linguistic creativity as revealed by remodelling, especially as a source for euphemisms and euphemistic dysphemisms and as a function of verbal play. Within the scope of this essay, there are predominantly two ways in which novel terms and expressions are created leading to language change: formally through remodelling and semantically through figurative language. Consider some of the words for nakedness. There is the orthophemistic term nude, from Latin nudus, often used of photographic or painted representations of naked women and, much more rarely, of a naked man—hence the marked term male nude. Whether a nude is artistic or pornographic depends on the viewer belief. A colloquial Australian euphemism for being in the nude is in the nuddie. Other euphemisms include as nature intended, in one’s birthday suit, in the altogether, and in the buff (⇐buff[alo] leather, buff skin transferred to humans). Being naked is captured by the dysphemism bare-arsed and the more euphemistic butt / buck naked in which buckbutt. The orthophemistic term stark naked and the connected colloquial euphemism starkers also arose by replacing a final /t/ with a /k/: starkstart “tail, arse”. Nudists like to go about in the open air without clothes on and, being as nature intended when in natural surroundings, are euphemistically called naturists. Such expressions display folk-culture in a remarkable inventiveness of metaphor and figurative language sourced in the perceived characteristics of whatever is being talked about. For instance, terms for tabooed objects and events provide ready-made material for the dysphemistic language of curses, insults, epithets, and expletives. The essay shows that X-phemisms (orthophemisms and/or euphemisms and/or dysphemisms) are motivated by a speaker/writer’s want to be seen to take a certain stance by upgrading, downgrading, obfuscating, and deceiving; and they extensively manifest indulgence in verbal play. Although the discussion focuses on English, the categories illustrated occur across the world’s languages, and many of them are significant for the study of language change.
Keyword Dysphemism
Euphemism
Figurative language
Metaphor
Metonymy
Orthophemism
Q-Index Code C1
Q-Index Status Provisional Code
Institutional Status UQ

Document type: Journal Article
Sub-type: Article (original research)
Collections: HERDC Pre-Audit
School of Languages and Cultures Publications
 
Versions
Version Filter Type
Citation counts: TR Web of Science Citation Count  Cited 0 times in Thomson Reuters Web of Science Article
Scopus Citation Count Cited 0 times in Scopus Article
Google Scholar Search Google Scholar
Created: Tue, 29 Mar 2016, 10:12:00 EST by System User on behalf of Learning and Research Services (UQ Library)