A Norwegian smörgåsbord

norwegian_sign_cropped

Okay, “smörgåsbord” is a Swedish borrowing, but close enough. It’s appropriate for this post, which will be a buffet of miscellaneous facts about the Norwegian language.

I became interested in and started learning Norwegian because my brother has been living in Oslo for the past several years, where he is getting his Ph.D. in lichenology.[1] My family and I traveled to visit him last summer. To characterize the country in a few words, I’d say Norway is – more iconically – Vikings, fjords, trolls, nature, Norse mythology, and – more personally – lichens, stellar black coffee, gross sweet brown cheese, overly-restricted booze-purchasing hours, part of my paternal ancestry, and vampires.[2]

Heddal stavkirke (stave church), built in the early 13th century

So what’s cool about Norwegian?

Dialects

First (as I mentioned in one of the recent dialect posts), Norwegian forms a dialect continuum with Swedish and Danish, languages with which it is, to a greater or lesser extent, mutually intelligible. These are Scandinavian or North Germanic languages, along with Icelandic and Faroese. My brother, who now has a decent command of Norwegian, says he can understand Swedish relatively well too, although Danish is harder. Have a listen to differences between Danish and Norwegian in this video.

However, there are also a staggering number of Norwegian dialects spread across Norway. People claim it’s often harder to understand someone from a different part of the country (for example, Oslo inhabitants vs. speakers of trøndersk, a group of sub-dialects in north-central Trøndelag county) than it is to understand a Swede speaking Swedish. Wikipedia corroborates: “Variations in grammar, syntax, vocabulary, and pronunciation cut across geographical boundaries and can create a distinct dialect at the level of farm clusters. Dialects are in some cases so dissimilar as to be unintelligible to unfamiliar listeners.”

There are two official standard forms for the written language, even if there is no standard for spoken Norwegian (since local dialects rule in most situations). Bokmål (literally “book tongue”) is used in the majority of publications, and Nynorsk (“new Norwegian”) in under 10% of written communication.

Lexicon and Morphology

Onto smaller language-y bits: words and morphemes. Norwegian is super fun because it is prone to extensive compounding (like German), and these compounds often break down into etymologically amusing or charming pieces. By this I mean that the component words reveal interesting (but usually sensible) semantic relationships with the larger compound. Let me give you some examples:

Norwegian compound English word Individual morphemes
fruktkjøtt “pulp” frukt (“fruit”) + kjøtt (“meat”)  ⇒  “fruit meat”
matbit “snack” mat (“food”) + bit (“bite”)  ⇒  “food bite”
sommerfugl “butterfly” sommer (“summer”) + fugl (“bird”) ⇒  “summer bird”
morkake “placenta” mor (“mother”) + kake (“cake”)  ⇒  “mother cake”
verdensrommet “(outer) space” verden (“world”) + s (possessive) + romm (“room”) + et (“the”)  ⇒  “the room of the world”
skyehus “hospital” skye (“sick”) + hus (“house”)  ⇒  “sick house”
grønnsak “vegetable” grøn (“green”) + sak (“thing”)  ⇒  “green thing”
støvsuger “vacuum cleaner” støv (“dust”) + suger (“suck[er]”)  ⇒  “dust suck[er]”
flaggermus “bat” flagger (“flying”) + mus (“mouse”)  ⇒  “flying mouse”
piggsvin “hedgehog” pig (“spike”) + svin (“pig”)  ⇒  “spike pig”

Morphosyntax 

rommegraut_cropped


Rest stop on the road back to Oslo. Rømmegraut is the Nynorsk word for a traditional porridge – kind of like cream of wheat, but sweeter and topped with butter.

One facet of Norwegian morphosyntax that was novel to me is the structure of its determiners. In English, both definite (“the”) and indefinite (“a / an”) articles are independent words that always precede their noun or noun phrase. So we have:

“the house”          “the big blue house”
“a house”             “a big blue house”

The same is true for the Romance languages I know about (French, Spanish, Italian), the other Germanic language I’m familiar with (German)… and it is simply not relevant for the Asian languages I’ve dabbled in (Japanese, Cantonese) because they lack articles entirely.

In Norwegian (as well as in Swedish and Danish), indefinite articles are, familiarly, the independent words which precede the noun, while definite articles are actually suffixes, which attach to the end of the noun they modify. What’s more – if you place something in front of the noun, like an adjective or a number, there’s another set of determiners to use, called demonstratives (in English: this, that, these, those). These precede the noun phrase (adjective/number + noun), where the noun already contains its definite suffix. Again, a table might help illustrate:

Norwegian (Bokmål) determiners

Indefinite articles

Definite articles

Masc. singular

Fem. singular

Neuter singular

Masc. singular

Fem. singular

Neuter singular

en

ei

et

-en

-a

-et

en sykkel
“a bicycle”

ei jente
“a girl”

et hus
“a house”

bilen
“the car”

døra
“the door”

huset
“the house”

Demonstratives + noun phrase

den

den

det

den røde bilen
“the red car”

den røde døra
“the red door”

det røde huset
“the red house”

Because Norwegian and English are closely related in their linguistic genealogy, a native English speaker may have less trouble learning Norwegian than, say, Taa (also known as !Xóõ, a southern African language with possibly the largest phoneme inventory in the world, including dozens of clicks) – but as the determiner situation here demonstrates, it’s still no piece of bløtkake.

IMG_20180708_100933

View (!) from our rental house deck on Hardangerfjord

Phonology and Prosody

Norwegian is what’s called a pitch-accent language. There are roughly three categories of languages when it comes to stress and pitch. Here’s a super abridged breakdown [3]:

  1. Stress-accented languages

Stress (emphasis) is placed on a syllable in a word, or on a word in a phrase/sentence. This can create a difference in word meaning, but it doesn’t have to. Stress is a combination of loudness, length, and higher pitch.

  • Example languages: English, Czech, Finnish, Classical Arabic, Quechua, Italian
  • Example words/phrases [English]:
    • On a word in a sentence (no difference in meaning) – “I REALLY like your jacket”
    • On a syllable in a word (meaning difference) –

NOUNS vs. VERBS
REcord vs. reCORD
INcrease vs. inCREASE
PERmit vs. perMIT

  1. Pitch-accented languages

A syllable on a word/morpheme is accentuated by a particular pitch contour (instead of by stress). So only pitch is involved, not loudness or length. Distinct tonal patterns occur in words that otherwise look and sound the same, giving them different meanings.

  • Example languages: Norwegian, Swedish, Japanese, Turkish, Filipino, Yaqui (a Native American language)
  • Example words/phrases [Norwegian]:
    • Norwegian has two kinds of tonal accents or pitch patterns:

ACCENT 1 (ACUTE) and ACCENT 2 (GRAVE)

(Audio extracted from video by “Norwegian Teacher – Karin”)

hender – “hands” vs. hender – “happens”
ånden – “the spirit” vs. ånden – “the breath”
bønder – “farmer” vs. bønner – “beans”
været – “the weather” vs. være – “to be”

  1. Tonal languages

Each syllable of the language has an independent tone or pitch contour. Tones are used to distinguish between words (they create a difference in meaning between words that otherwise look and sound the same).

  • Example languages: Mandarin, Cantonese, Thai, Zulu, Navajo, Yucatec (a Mayan language)
  • Examples words/phrases [Mandarin]:
    • Tones combine with the syllable ma, resulting in different words:
  1. “mother” [high level tone]
  2. “hemp” [mid pitch rising to high pitch]
  3. “horse” [low with slight fall]
  4. “scold” [short, sharply falling tone]
  5. ma (an interrogative particle) [neutral, used on weak syllables]

 

The pitch-accent feature of Norwegian contributes to the language’s sing-song quality. Just listen to the melodiousness of Norway’s King Harald V as he gives a speech:

(Audio extracted from full NRK video)

Orthography

Norwegian writing uses the same Latin alphabet as English, except that it has three additional letters at the end – æ, ø, and å. I highly recommend insist that you watch this ridiculous video to hear how the vowels are pronounced, as well as be entertained in musically nerdy fashion. (Final note: Contrary to the video’s main argument, several letters – c, q, w, x, and z – are not actually used to spell Norwegian-native words, although they’re sometimes used in loan words. One could therefore quibble that they shouldn’t count towards the alphabet size…)

vowels_cropped

 

 

[1] If you want to ogle some gorgeous macrophotography of lichens, scope out his Instagram, https://www.instagram.com/lichens_of_norway/.

[2] The ancient stave churches for some reason reminded me of True Blood (plus three of the show’s main characters, Eric, Pam, and Godric, were Swedish and Norwegian); also I was coincidentally reading The Vampire Lestat while we were there… but NO I’m not generally obsessed with vampires.

[3] This subject gets really complex. There are a lot more subtleties and distinctions than I make above.

Career interviews: Linguistics Project Manager at a branding firm

working wugs_cropped

Wugs go to work

Something I’ve been planning to post occasionally are interviews with career linguists and related language folk – especially those working outside of academia. Yes, they (we) exist! Until recently these were rare birds, but lately the numbers are growing. I credit several factors: the growth of the discipline generally; the growth of technology industries trying to wrangle natural language; globalization; and (sadly), the increasing impracticality of landing a faculty position that pays a living wage, at least in the U.S.

Another (more popular!) language and linguistics blog has been running a job interview series over the last several years as well. I encourage you to also take a look over there: Superlinguo Linguist Job Interviews.

* * * * *

I met Noah on our team of linguists at Samsung Research America. For this interview, I asked him to talk about the job he had previous to Samsung – which was at Lexicon, a branding agency based in Northern California. Lexicon has come up with brand names for some of today’s most popular products, including Blackberry, Febreze, (Subaru) Outback, Dasani, Swiffer, Pentium, and ThermaCare.

noah

  1. What kind of work did you do at Lexicon?

I was a linguistics project manager, which basically meant that I coordinated with Lexicon’s network of linguists worldwide (85 countries with something like 50 or 60 languages represented). I basically sent them lists of names for real-time evaluation and also helped coordinate with another linguist in Quebec to prepare reports for deeper dives into particular names in order to ascertain particular issues a name might face in a target language or culture. Basically, you learn a lot of multilingual profanity doing this, and realize you shouldn’t name a company Zinda.

  1. Describe a typical day at that job.

It was a small company, so I wore whatever hats necessary. I prepared real-time and comprehensive reports, editing and working with the linguists to determine whether or not a given name that either a client had brought to us or one that we had brought would work well in a particular language, and also trying to read between the lines to figure out whether we should take a linguist’s comments at face value or do a little more digging and cross-checking, including interviews with native speakers. This was mostly done by our network, not in-house. But aside from the linguisty side, I also created names. Lots of names for lots of projects. Most of which didn’t actually make it through, but still it was a creative pursuit that stretched creativity. I also helped write a program to categorize and classify and try to ascertain good brand names using NLP [Natural Language Processing] techniques. Things like consonance, assonance, alliteration, etc. It was pretty helpful for going through our backlog of names and finding viable names to use going forward.

  1. How did your linguistics background inform that work?

Well, my fascination with language itself inherently got me the job and kept me entertained, though it would have easily, I think, been doable with some other kind of background. But creating a good name, actually looking into the science of sound symbolism, helping with a few linguistic studies. Pretty cool stuff.

  1. What did you enjoy most and/or least about the job?

I most enjoyed getting to see what kinds of things big clients were trying to market and create next. Some pretty cool things there, with an insider’s perspective as to what the market was going to look like in the future. Issues were managerial in nature, in combination with the claustrophobia that a small company can engender, but overall it was a very good way to get some experience in the field.

  1. What did you study in college and/or grad school?

Major: Linguistics. Minor: English. Minor: Business Administration (useless). Interest: everything else.

  1. What is your favorite linguistic phenomenon?

Splicing. Or whatever that thing was that we came up with as an inside joke that you should write a fake blogpost on.[1]

  1. (If you had the time) what language would you learn, and why?

ASL [American Sign Language]. As a monolingual, sign language has always fascinated me the most, oddly enough. Alas, those CSD [Communication Sciences and Disorders] students and their required classes.

  1. Do you have any advice for young people looking to pursue a career in linguistics?

Be overzealous, and marry linguistics to another discipline. In industry, you’ve got for the most part three choices: linguistics + [design, management, or computational]. Or astrobiology and linguistics if you happen to work with NASA. Might be cool. But yeah, linguistics is interdisciplinary by nature, so I assume everyone who studies it must enjoy the interplay of different subjects like I do. Oh, maybe start a computational linguistics club in undergrad when you don’t know anything about computational linguistics. It’ll make you learn, if nothing else.

 

 

[1] Noah sent me his responses long enough ago now that I cannot for the life of me remember what this was. Not that I would explain it even if I could remember, to preserve the opportunity of writing said fake blogpost. 😛

Semantics 101 for Caterpillar Inc.

catvscatvscat

It seems that the world’s largest manufacturer of construction equipment, Caterpillar Inc., is in serious need of a basic semantics lesson. I came across this article a couple days ago:

“Santa Cruz coffee shop with ‘cat’ in its name hit with cease and desist from Caterpillar Inc.”

Beyond the ridiculousness of a giant corporation going after a tiny local café, what struck me as even more absurd was the following:

  1. Even if the trademarked ‘CAT’ of Caterpillar Inc. was an oft-used clipping (shortening) of the full word ‘caterpillar’ (and so indicated that wriggling, butterfly-metamorphosing insect), it would not be the same word as the ‘cat’ of the café’s name – “Cat and Cloud Coffee” – which refers to the common feline house pet. These would be homonyms – words which are spelled alike, but have different meanings.[1]
  2. As it is, no one ever calls the aforementioned insect a ‘cat’ (not that I’ve heard, anyway). So the trademarked term is something else entirely. It has its own unique sense, which can in fact refer to at least two related things: (a) a particular machine produced by the company, or (b) the company itself. Obviously, neither of these are that purring, internet-beloved animal either. They are yet another set of homonyms.

Totally different words. Totally different senses. The news piece doesn’t say this explicitly, but most people possess an intuitive understanding, as evidenced by quotes from café customers:

“’I don’t think anyone correlates the Caterpillar company with their big yellow massive trucks with a small café,’ said Rick Tawfik, of San Jose. ‘I mean, I never thought about Cat and Cloud and Caterpillar in the same sentence until we heard about this lawsuit.’

‘I don’t think they have a legitimate case,’ added Emma Davis, of San Jose. ‘I don’t think I would ever confuse the two of them. It doesn’t make sense to me.’”

Caterpillar’s trademark lawyers apparently lack such common sense, or are (more likely) willfully ignoring it.

 

[1] Etymologically, hundreds of years ago, the terms could have been related, in that (according to the Oxford English Dictionary) the Middle English word for ‘caterpillar’ catyrpel may have derived from the Old French chatepelose (literally “hairy or downy cat”)…but enough time has elapsed between now and the 11th century that it’s not reasonable to claim a modern meaning connection. Does anyone you know think of caterpillars as “hairy cats”?

*Photo attributions: CAT excavator; Caterpillar; Pet cat

Accents and dialects (part III): Black English

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This last post on accents and dialects summarizes an editorial by linguist, academic, and popular writer John McWhorter. McWhorter’s linguistics research focuses on sociohistorical language change and creoles, but he has published multiple articles and books about race relations as well. Here, he tackles a combination of those subjects with Black English (taking a particular and somewhat controversial stance towards a recent event involving the dialect).

Article: “There’s Nothing Wrong with Black English” (The Atlantic)

A short poem published not long ago in The Nation sparked outrage due to the fact that its homeless narrator speaks Black English, while the poet, Anders Carlson-Wee, is white. In response, The Nation editors added a warning to the poem calling it “disparaging,” and the poet apologized profusely.

“The primary source of offense, in a poem only 14 lines long, is passages such as this, in a work designed to highlight and sympathize with the plight of homeless people: ‘It’s about who they believe they is. You hardly even there.’ The protagonist is referring to the condescending attitudes of white passersby who give her change.”

America certainly has a long history of parodying black language (minstrel shows being a prominent example), and our past inevitably influences the unease people feel when artists use Black English today. But the dialect that Carlson-Wee employs is not caricatured; it’s “true and ordinary black speech”.

One reason for the anger provoked by the poem could lie in the too-common perception that Black English is a degraded form of the language – so if a white person uses it to portray a black person, it’s obviously condescending and offensive. But Black English is simply a dialectal variety (just like “standard” English is another dialectal variety).

“If a sentence like People be lookin’ at him funny seems unsophisticated because the be isn’t conjugated, try wrapping your head around the fact that the be also expresses, overtly, a nuance that the standard sentence would not—that this looking in question happens on a habitual basis. You wouldn’t say People be lookin’ at him funny if it were happening at the moment. Black English jangles with things that we are trained to hear as ‘slang,’ but which foreign learners would struggle to master, in the same way as they would with pluperfects and subjunctives.”

Around the world, people use one language variety in their private lives, and a different one in public – and don’t consider their private variety to be “broken.” This is the case with Arabic speakers – national/more local dialects like Moroccan and Algerian Arabic are quite different from the Modern Standard Arabic on the news (and from each other), but speakers understand it’s just context-dependent.

Another problem is that white people may operate under the prejudicial misconception that black people can only speak Black English, and that Standard English is beyond them. Educated whites today, though, often seem aware of the bidialectalism of black Americans – that individuals can speak one way or the other depending on context. Attesting to this, Carlson-Wee’s narrator dips into and out of Black English in the poem.

Ultimately, we should evaluate each work on a case-by-case basis, and shouldn’t necessarily shun all nonblack artists from depicting the valid bidialectalism of black speakers, when those artists do it accurately and gracefully.

 

[Note: The article touches on several other aspects which I left out of the summary, such as cultural appropriation – if interested in more, definitely give it a read.]

* * * * * * * * * * * * * * *

I’ll wrap up with a few points that I hope these “accents and dialects” posts (and the full articles, if you’ve read them) have conveyed:

  • Just like everyone has a language, everyone has an accent; everyone has a dialect.
  • The diversity of dialects is a fascinating aspect of our humanity – something to be celebrated!
  • Judgements we have around accents and dialects are socially-motivated, and not linguistically-based (see also a somewhat related Linguamonium piece, “Literally cray: A linguist’s attitude towards speech errors and slang”).
  • Every dialect, including Black English (also called African American (Vernacular) English – AA(V)E) has regular linguistic patterns, i.e. a systematic grammar. A dialect being non-standard doesn’t mean that it’s “slang” or that it’s not as rule-governed as the more standard dialects. You’re probably just not familiar with the rules.