From Science Daily: Linguist explains secret language of Gulliver’s Travels.
Irving N. Rothman, a professor of English literature and Jewish studies at UH, says the mystery words are, in fact, variations of Hebrew. His conclusions are published in the summer 2015 edition of Swift Studies, an annual review of scholarship on the work of novelist Jonathan Swift from the Ehrenpreis Center.
In the article, “The ‘Hnea Yahoo’ of Gulliver’s Travels and Jonathan Swift’s Hebrew Neologisms,” Rothman points out a number of clues he used to reach this conclusion. Swift, he notes, was an Anglican minister who studied Hebrew at Trinity College.
“Gulliver’s Travels,” published in 1726, is Swift’s best-known work, a satire on human nature, politics and the traveler’s tales popular at the time. [continue]
From The Guardian: In more innocent days, you could write about cocks and not be misunderstood.
The brave and resourceful small girl in Arthur Ransome’s 1930 classic, Swallows and Amazons, is called Titty. But not, we learn, in the new film version being made by the BBC. There she will be renamed Tatty, to avoid “too many sniggers”.
It’s not the first time this indignity has befallen Titty, who was named after the traditional English fairytale, Titty Mouse and Tatty Mouse, in a more innocent age. (According to the Online Etymological Dictionary, the word “tits” only started being associated with breasts in about 1928.) She was rechristened Kitty when the story was televised by the BBC in 1963, though she re-emerged with her original name in the 1974 film adaptation, and in a later radio broadcast in 2012. [continue]
One wonders how many words have undergone a similar transformation. A few years ago The Beaver, a magazine about Canadian history, had to change its name. Remember? The NYT wrote about it: Web Filters Cause Name Change for a Magazine.
From The Public Domain Review: The Nightwalker and the Nocturnal Picaresque.
At the end of the seventeenth century a new literary genre or subgenre emerged in England, one that might be characterized as the nocturnal picaresque. Its authors, who were moralists or satirists or social tourists, or all of these at the same time, and who were almost invariably male, purported to recount their episodic adventures as pedestrians patrolling the streets of the metropolis at night.
These narratives, which often provided detailed portraits of particular places, especially ones with corrupt reputations, also paid close attention to the precise times when more or less nefarious activities unfolded in the streets. As distinct from diaries, they were noctuaries (in his Dictionary of the English Language , Samuel Johnson defined a “noctuary” simply as “an account of what passes at night”).1 These apparently unmediated, more or less diaristic accounts of what happened during the course of the night on the street embodied either a tragic or a comic parable of the city, depending on whether their authors intended to celebrate its nightlife or condemn it as satanic.
The nocturnal picaresque, composed more often in prose than verse, was a distinctively modern, metropolitan form that, like several other literary genres that emerged in the late seventeenth and eighteenth centuries, comprised [continue]