Week 27
Date: Jun 29th, 2020
Motion: THS journalists being made responsible for the evolution of respective national languages
Role: MP (opp.)
I am sometimes put off by the way the Finnish language, my native one, is mangled and mauled by its native speakers. I have some pet peeves that do not seem to go away. This is nothing new; even Hyacinth Bucket MUST have had some reservations about the way her younger sisters or some other personality used the sacrosanct language of Albion. In the following, I’m going into some detail about this matter.
At some point, Finnish art critics, be it critics of pictorial art, theatre, literature, pop music, classical music, movies or adult films, began to write in this way: if some piece of art had been experienced/seen by so-and-so-many people, the piece had COLLECTED, GATHERED OR GLEANED so-and-so-many (paying) art aficionados, consumers or visitors. I was aghast. First of all, works of art are inanimate, so they cannot possibly actively do any of that, as it’s the will of their creators that have that pulling power. My first reaction was to blame the interfererence of the English language. I was sure that English was to blame, as pernicious developments in language sometimes stem from the global dominance of English on them.
Finnish is a language in which a syntactically dominant feature is that when something or someone has something (we are talking about the genitive), it is formed in inflecting the owner, adding the verb BE and ending with what is being owned. It is, technically, rendered as the owner+LLA or +LLÄ + be-verb in the singular irrespective of what follows + the owned, meaning “X has Y”. This is a very basic feature of the language and it is used in many related but looser contexts than direct proprietary ownership, i.e. “Carol has fever”, for instance. But, because it is orthographically hard to add the agglutinative ‘LLA’/’LLÄ’ to works of art of a foreign origin, such as A Clockwork Orange, art critics began to use a made-up form to circumvent the problem: ‘art X HAS COLLECTED Y people’. Critics did this because they did not want to follow the correct grammar, as they felt it was too onerous to follow, even though good ways may be learnt from grammar books. It turned out that English was not the culprit. Domestic indifference was.
I believe that the first ones to practise this kind of bad diction were rock critics in the few publications that are still left, as they always feel like (and are) the underdogs. That would have been fair enough. But, then the bad ways began to spread to other critics of art, who had nothing to do with rock music. Etc. etc. These days, even the National Broadcasting Corporation, YLE, has journalist critics who write in this “pidgin” way, because they do not know any better. If I needed to come up with an analogy, I would say that this would exemplify “how NME English becomes, by a sleight of hand, BBC English”.
Usually, when we’re talking about borrowed language, we are talking about mere words, but like I demonstrated, there may be also “structure loans” or developments that look like them, even if they are entirely of domestic making. Another example is when we say that “someone answers for or is responsible for the directing of this and that opera/photos/production/work of art”, when we mean that someone has created it or made that art, or, in other cases, when someone directs or leads some activity. Somehow a juridical responsibility (i.e. as in “they’ll answer for this!”) is substituted for the sheer joy of acting like the wild child that an artist or entrepreneur often is deep down. It makes no sense. Maybe it’s a sign of a solicitor society gone far too far. Being constructive does not lead to litigation. Being destructive leads. This phenomenon is ubiquitous in Finnish, all kinds of people are always answering for this and that, beyond the juridical aspect, but I have seen the same thing expressed in English, too. It is quite upsetting, when people bend their language in this way.
The rest of this speech goes to borrowed words. One example of a random, working loan is the word for the remote control. It is officially “kaukosäädin”, but it is often shortened to “kake”, “kaukkari” or “kauko”, whose English equivalents could be “remo”, “remoter” or “the remote”. The thing is that… any word of popular significance should be domesticated straight away into a receiving language. As soon as a novel word, secular or specialised, was detected on the radar, it should be taken under the loupe and slapped with an adequate ersatz word. The lazy way is to add an +i to it, which is the stopgap way of domesticating ANY noun, proper or common, into Finnish. The vowel is added as Finnish words need to end in one, and i is a middle one, a neutral one.
If there was, say, a Ministry of Localisation (Min-Loc) that would take care of this, it would not be overreaching. What people could do, on the other hand, is to come up with all the nicknames and pet names, abbreviations for novel words. That way coming up with new words would be patronising and independent at the same time. What is not needed is structural loans and tampering with grammar & usage. We don’t need that from other languages, as we have our own sense of purity. What we need is domesticated foreign words, usually nouns, in our language, but for all that keeping other influence at an arm’s length.
Perustelu(t)/puolustelu(t): Tämä on ehkä kokonaisuutena vähän tylsä, mutta tarkoituksenmukaisena puolena on, että edustajanpuheelle luonteenmukaisesti fokus on yksityiskohdissa. On aiempien tehtävä puhua laveammin ja leväperäisemmin, jotta oikeus tapahtuisi. Aiemmat voivat ottaa puheeksi esimerkiksi toimittajien taipumuksen olla sopuleita (kopioida toistensa virheitä) tai lehdissä olevien kirjoitus- ja muiden virheiden määrä nykyisin. Tämä ei silti tarkoita, etteikö hallituksellekin jäisi hyviä pointteja ajettavaksi.