Archive for the ‘Context’ Category

Rat and Pig in Santa Rosa

October 20, 2017

Yesterday’s Pearls Before Swine:

(#1) 10/19/17

My comment on Facebook: “A double doleful “Awww”. One for panel 3, one for panel 4.” Pig cries out for help in the third panel, Rat sympathetically stands with his friend in the fourth.

Then discussion took us to Lucy and Charlie Brown in Peanuts (and incidentally to Calvin and Hobbes in their eponymous strip), and so to Peanuts artist Charles Schulz, and so to Santa Rosa CA, where Schulz lived and worked from 1969 until his death in 2000, and so to the geographical and cultural regions of northern California (the North Coast / Redwood Empire, the Wine Country, and the North (San Francisco) Bay), in all of which Santa Rosa is by far the biggest town.

Santa Rosa is in the news because of the devastation there in the current spate of wildfires in northern California. The Charles Schulz Museum there was spared, but the family house (with all of its memorabilia) was completely incinerated. The cartoon in #1 is pretty clearly Pearls artist Stephan Pastis’s homage to Schulz in these terrible times.

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re-up syntax

December 28, 2016

From Jon Lighter on ADS-L early in the month:

CNN advises us … to “get re-upped on” our MMR [measles / mumps / rubella] vaccinations. I.e., join the crusade against vaccine avoidance: get the kids their booster shots, you nut-case parents!

And W Brewer recalls the connection to

re-up ‘to re-enlist’ (U.S. military slang), with possibility of getting a re-enlistment bonus

The military usage we’ve looked at on this blog. It goes back over a hundred years, with early cites having especially simple syntax: no object, either direct or oblique, but interpreted as having an oblique object referring to a branch of the service: to re-up understood as ‘to re-enlist in/with (branch of service)’, with the specific branch understood from context. Call this the objectless re-enlistment use.

My earlier posting was primarily focused on the issue of external vs. internal inflection for this verb (PST re-upped vs. re’d-up). Here I’m interested in the syntax and semantics of the verb, getting from the objectless re-enlistment use to the oblique-object renewal use in get re-upped on.

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“an infamous pincher of ladies’ bottoms”

December 28, 2016

(Eventually about a set of social practices and the vocabulary — mostly transparent — referring to them.)

A standout phrase from a moving, and also wryly funny, Gail Collins op-ed column in the NYT on the 22nd, “The Senate Bathroom Angle”. The infamous pincher in question is the monstrous Strom Thurmond, a stridently anti-black and anti-gay politician and notorious sexist pig, also the U.S. Senator from South Carolina for 48 years.

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Annals of cartoon understanding

November 28, 2016

Here’s a cartoon I once came across:

“If the recount doesn’t work, it’s up to us.”

How do we understand what the cartoon is about?

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deontic+, deontic-

July 28, 2016

(On the semantics and pragmatics of deontic should.)

I have a real-life example in mind here, from the NYT Magazine on the 17th, but I’m going to inch up to it, starting with these simpler examples:

(1) I should talk to my father.

(2) I should have talked to my father.

Both examples have the modal verb should, in its deontic sense, indicating obligation, duty, or correctness, incumbent upon some person, persons, or human institution; this is to be contrasted with its epistemic sense, indicating grounds for a judgment of truth — compare (1) and (2) with

(3) A sample this size should weigh about 10 kilograms.

(There are various ways to represent this difference, but that’s not my concern here.)

Then it turns out that deontic should can be used in (at least) two ways.

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Ambiguity and vagueness

May 25, 2016

… in the comics. Specifically in today’s revival of a Calvin and Hobbes strip:

Just what sort of description is called for? It depends on the context.

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Your money’s no good here

March 16, 2016

Today’s Bizarro, exploiting an ambiguity in pragmatics, use in discourse contexts:

(#1)

(If you’re puzzled by the odd symbols in the cartoon — Dan Piraro says there are 3 in this strip — see this Page.)

Your money’s no good here has a use as a pragmatic idiom, conventionally conveying that at this moment it’s of no use in the context because the services or goods it’s being offered for are being supplied for free, are complimentary, are “on the house”. But in the cartoon, the bartender is speaking literally, saying that the customer’s money is no good here because it’s not in fact legal tender.

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Signage

October 2, 2015

Yesterday’s Bizarro:

 (#1)

(If you’re puzzled by the odd symbols in the cartoon — Don Piraro says there are 2 in this strip — see this Page.)

But all bits of language have to be understood in context — the immediate physical context, the immediate social context (who’s speaking, to whom, for what purposes), the larger socioicultural context, and the context of background knowledge about the world. The task of taking all this stuff into account is substantial, but we manage the task pretty well (though by no means flawlessly) all the time. Still, the task is especially complex for highly compressed material, as on signs.

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Context context context; and variation

September 26, 2015

Back in March, Luc Vartan Baronian posted on Facebook this semantics argument between his two children:

Daughter (4): I love my piggy bank.
Son (7): You mean your froggy bank?
Daughter: No! My piggy bank.
Son: But it’s a froggy, so it should be a froggy bank.
Daughter: No. It’s STILL a piggy bank.

Yesterday, Luc (recalling my immersion in penguiniana) sent this on to me, asking me if I had a penguin bank. My answer was fairly complex, though basically I spoke in favor of Luc’s daughter’s position.

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Semantic specialization and extension

August 2, 2015

First case: An NPR announcer warns the audience,

(1) Spoiler alert!

Second case: a site for tourists in Ghent, Belgium (linked to in a comment on my recent posting on the city), that tells us,

(2) Ghent is divided into two quarters: the historic centre and the artistic quarter

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