Esperanto, Elvish, and Beyond: The World of Constructed Languages
Title: Esperanto, Elvish, and Beyond: The World of Constructed Languages
Original Exhibit Dates: May-August 2008, Cleveland Public Library
CASE 1: (large single case) Exhibit Title: Esperanto, Elvish, and Beyond: The World of Constructed Languages
1.A.1. Image: Shakespeare
1.A.2. Text: (QUOTE)
My language! heavens!
I am the best of them that speak this speech,
Were I but where 'tis spoken.
~ Shakespeare, The Tempest (Act I, Scene 2)
1.B.1. Image: Virginia Woolf
1.B.2 Text: (QUOTE)
But language is wine upon his lips.
~ Virginia Woolf, Jacob’s Room
1.C. Text: (QUOTE)
La plus part des occasions des troubles du monde sont grammairiennes.
The greater part of the world’s troubles are due to disputes about grammar.
~ Michel de Montaigne, Essays, Book 2
1.D. Text: (QUOTE) (NOTE to GRAPHICS: If no room in this case, place in Exhibit Case 3 with 3.C.2.)
Colorless green ideas sleep furiously.
~ Noam Chomsky, Syntactic Structures (Chomsky cites this sentence as one which makes no semantic sense but can make grammatical sense.)
1.E. Text (place in center of case): (MINI-POSTER)
Esperanto, Elvish, and Beyond: The World of Constructed Languages
What are Constructed Languages?
Many people are familiar with languages like English, French, Spanish, Chinese, Arabic, Japanese, Swahili, and German. Lesser-known languages include Basque, Georgian, Tibetan, Mohawk, Quechua, and Guguyimidjir. Some languages that are no longer spoken include Etruscan, Gothic, Gaulish, Tocharian, Hittite, Akkadian, and Ancient Egyptian. The one thing that all these languages share is that they all evolved naturally, arising organically within a group of people through various natural forces. No single person defined their vocabularies, designed their syntaxes, or deliberately decided to create them.
Of course, this is a continuum. Some languages (French, for example) are regulated by government bodies like l'Académie Française. Some (like Korean or Cherokee) have had writing systems created for them but otherwise have evolved naturally.
Constructed languages, or conlangs for short, stand at the other end of the spectrum: a single person (or a small group) defines the vocabulary, designs the syntax, and deliberately decides to create a language. Why would someone want to do this when there are so many "real" languages to learn? The reasons are legion: from the simple artistic desire to play with linguistic concepts to the obsession to provide the world with a universal language. Conlangers (those who construct languages) bring a myriad of skills, tastes, and goals to the art and craft of conlanging. Conlanging is a worldwide phenomenon practiced by people of all ages. It is hoped that this exhibit will provide a glimpse into the fascinating world of conlangs and those who take part in this art. As J.R.R. Tolkien may have said in Quenya: Á harya alassë! Enjoy!
1.F. Text: (QUOTE)
...und in irgend einer fernen Zukunft wird es eine neue Sprache, zuerst als Handelssprache, dann als Sprache des geistigen Verkehres überhaupt, für Alle geben, so gewiss, als es einmal Luft-Schifffahrt giebt.
...and in a future as far removed as one may wish, there will be a new language which will first serve as a means of business communication, later as a vehicle for intellectual relations, just as certainly as there will be some day travel by air.
~ Friedrich Nietzsche, “Anzeichen höherer und niederer Cultur,” Menschliches, Allzumenschliches (1876) (Nietzsche’s skeptical late-nineteenth-century prophecy of the possibility of both an international language and air travel.)
1.G.1. Image: Lawrence Ferlinghetti leaning on lamppost
1.G.2. Text: (QUOTE)
Invent a new language anyone can understand.
~ Lawrence Ferlinghetti, “Challenges to Young Poets” (excerpt)
1.H.1. Image: Kahlil Gibran
1.H.2. Text: (QUOTE)
We shall never understand one another until we reduce the language to seven words.
~ Kahlil Gibran, Sand and Foam
1.I.1. Image: Ralph Waldo Emerson
1.I.2. Text: (QUOTE)
Language is a city to the building of which every human being brought a stone.
~ Ralph Waldo Emerson, Letters and Social Aims: Quotation and Originality
1.J.1. Image: Tom Robbins
1.J.2. Text: (QUOTE)
…language is not the frosting, it’s the cake.
~ Tom Robbins, “What is the Function of Metaphor?” Wild Ducks Flying Backward
1.K. Text: (QUOTE)
“In the places I go there are things that I see
“That I never could spell if I stopped with the Z.
“I’m telling you this ‘cause you’re one of my friends.
“My alphabet starts where your alphabet ends!
~Dr. Seuss, On Beyond Zebra!
1.L. Text (small rectangular disclaimer; place in one bottom corner of case please):
NOTE: Translations from The Bible (Genesis 11:1-9 (Tower of Babel text) and Genesis 6:6-7) should not be taken as an endorsement of any specific religion. The use of verses from The Bible for illustrative purposes is due to the prevalence of translations of this work across both time and languages.
CASE 2 (flat/2-panel) Introduction & Conlang Jargon Definitions
2.A. Right Panel Text: (POSTER)
The Conlang Manifesto
David J. Peterson
To me, it seems odd to have to defend language creation, and yet it's been repeatedly attacked, mainly by linguists (which is the most baffling part about the whole business), and decried as a form of frivolity which should not and cannot be taken seriously by anyone, or even wickedness (I've heard it). To such claims, I say the following things:
I would hope that many would agree that doing something that neither harms the doer nor anyone else is not wrong. That said, creating languages, to my knowledge, has never resulted in the harming of another human being or of the language creator...Like any other hobby or activity, the only requirement is a requirement of time, and time management has nothing to do with the activity itself, but only with the one performing it. Thus, it can't be argued that language creation is "a waste of time," it can only be argued that certain people are wasters of time—how they do it is irrelevant.
The other argument—whether language creation can be taken seriously—is a bit stickier. The main problem I see that people have with language creation is that it's "weird"—that is, “not usual.” As such, anything that is “not usual” will be regarded with apprehension initially; it's as old as Copernicus—even older than that. If you point this out to the arguer, s/he will usually counter with the argument that language creation is useless, and therefore, frivolous. And, looking only at the utilitarian end of it, if the creator isn't going to use his/her language for communication, and since language can be viewed only as a means of communication, language creation is pretty useless.
But is this all language is: A method of communication? If so, what is poetry? What is literature? What possible use could James Joyce's Ulysses have? I suppose if you were on a desert island and needed to smash crabs, it would do the trick—it's pretty thick, after all. But beyond that? According to them, it would have no use. And why stop there? What good do paintings do anyone? They just sit there, after all, doing nothing for nobody. And along with this goes any other form of visual art: Pottery, jewelry, tapestry, mosaic, sculpture, animation… And what about architecture? You just need a roof over your head; no reason it needs to look fancy. So out the window it goes, too. And music?! My word! There's not even any functional value in music! So let's burn all our musical instruments and albums: Goodbye Tchaikovsky, bye-bye Beatles, see ya' Enya, aloha Israel Kamakawiwo'ole (that's the "aloha" that means "goodbye", not "hello"). Pretty soon what you're left with is a world without art.
At this point, the argument should come to an end...Millions of people every year study useless, frivolous art. So why not language creation? Nearly every serious subject has an art associated with it that's also studied: Literature has poetry and prose; computer science has computer graphics and video games (another underappreciated form of art); functional architecture has artistic architecture; art history has art; music theory has music. If you take this to its natural conclusion, is not language creation the art most closely associated with linguistics?
This is particularly why I find the condemnation of language creation by linguists so befuddling. Aside from art, though, language creation has other uses. First, creating a language allows one to better understand language itself. One who creates an ergative language is far more likely to understand ergativity in natural languages than one who does not, I say. What's more, this same understanding can ease foreign language learning considerably—not to mention linguistics itself. More importantly, it gets one thinking about the multifariousness and beauty of language, and one who can appreciate this is less likely to misunderstand, deprecate and stereotype those speaking other languages, which is one of the main causes of racism and ethnocentrism. In short, language creation is one of the keys to social harmony and world peace. If one is going to take anything seriously, certainly world peace is it, and if so, shouldn't language creation be given some credit too?
~ Excerpted from “The Conlang Manifesto” available online at dedalvs.free.fr/notes/manifesto.php
2.B.1. Image: Cover of A Clockwork Orange
2.B.2. Text: (CAPTION)
Anthony Burgess's A Clockwork Orange is a masterpiece of conlang fiction. Burgess constructed the teen “slanguage” of Nadsat using a brilliant combination of Russian, Cockney English, and other languages. The reader learns Nadsat as the story progresses, allowing the violent world of Alex and his droogs to unfold, literally, in their own words.
2.C.1. Image: Cover of The Color of Distance
2.C.2. Text: (CAPTION)
The Color of Distance provides a unique perspective on the problem of alien languages. When she becomes stranded on their planet, a human is saved by the frog-like Tendu at a terrible price. Not only must she adapt to a new body, but she must also learn the Tendu's language which involves changing patterns and colors on her new skin. A fascinating first-contact novel!
2.D. Right Panel Text: (POSTER) (NOTE to GRAPHICS: Several cases have “Practice Your Pronunciation” posters in them. Please format these to look similar to each other.)
Practice Your Pronunciation:
Conlanging, like any specialization, has acquired its own set of distinctive terms...
artlang: Short for “artistic language.” A language created for artistic or aesthetic reasons, whether to stand on its own merits or to be used in fiction. Examples include Ayeri, Verdurian, Teonaht, Tolkien’s Elvish languages, Klingon, Lapine (Watership Down), Drac (Enemy Mine), etc.
auxlang: Short for “auxiliary language.” These conlangs are designed for the express purpose of serving as a means of international communication, with lesser or greater degrees of success. The best known auxlang is Esperanto, which was devised as a neutral means of communication. Other auxlangs include Ido, Volapük, Interlingua, Solresol, and Ro.
Babel text: Genesis 11:1-9. This text, the story of the Tower of Babel, is frequently used by conlangers as a translation exercise. By utilizing a common text, conlangs can be compared both with each other and with natlangs. The concept of using these verses as the standard translation “test drive” was devised by Jeffrey Henning, creator of Langmaker.com.
canon: The “official” source of information on a particular conlang.
conlang: Short for “constructed language.” Types of conlangs include artlangs, auxlangs, and engelangs. Other names for conlangs include model languages, artificial languages, imaginary languages, invented languages, or planned languages.
conlanger: One who invents languages.
engelang: Short for “engineered language.” These conlangs include loglangs as well as unique languages (like Ithkuil) designed to meet specific objective criteria.
loglang: Short for “logical language.” These conlangs are designed using philosophical and/or logical parameters, often allowing only unambiguous statements. Examples include Loglan and Lojban.
natlang: Short for “natural language.” These include English, French, Spanish, Gaelic, Finnish, Tibetan, Quechua, Basque, etc., etc., etc.
glossopoeia: (gloss-o-pea-ah). From the Greek words “tongue/language” and “to make.” Another term for the artistic construction of languages. An alternative form is glossopoesis. Glossopoeic is the adjective and a glossopoeist is a conlanger. The word was coined by Steve Deyo (former editor of Glossopoeic Quarterly) in the early 1990s. Compare to the English word mythopoeia “myth-making.”
naming language: A minimalist conlang used for the purpose of creating names for people, places, and things either in fiction or in a gaming environment. A naming language usually concentrates on sounds and words only, without any major focus on grammar.
neography: Literally, “new-writing.” A writing system designed for a conlang. A neography can also be designed to stand on its own (without a conlang) as an artistic exercise.
2.E.1. Image: Cover of West of Eden
2.E.2. Text: (CAPTION)
In Harry Harrison's West of Eden, dinosaurs have evolved into intelligent beings known as Yilané. But their old cities are dying, and they must colonize a new land across the ocean to survive. On an expedition, they find the land already occupied by humans and capture a child. The boy Kerrick must learn to live among the reptiles and learn their language, where one misunderstanding can mean the difference between life and death. The story continues in Winter in Eden and Return to Eden.
2.F.1. Image: Cover of Watership Down
2.F.2. Text: (CAPTION)
This classic work of speculative fiction contains what Jeffrey Henning of Langmaker.com has called "arguably the best naming language ever created" and "a minimalist virtuoso performance, a haiku of a language compared to the sonnet of [J.R.R. Tolkien's] Sindarin." Richard Adams gives us a glimpse of the rabbits' distinctive language (Lapine) and culture in Watership Down with sentences like: "But a Mark that's on ni-Frith and fu-Inlé silflay can generally spare Owsla for a Wide Patrol."
2.G. Text: (QUOTE)
Speak the speech, I pray you, as I pronounc'd it to you, trippingly on the tongue.
~ Shakespeare, Hamlet (Act III, Scene 2)
2.H. Text: (QUOTE)
Suppose someone to assert: The gostak distims the doshes. You do not know what this means; nor do I. But if we assume that it is English, we know that the doshes are distimmed by the gostak.
~ C. K. Ogden and I. A. Richards, The Meaning of Meaning (This sentence illustrates the ability to discern relative meanings of words from a sentence’s construction.)
2.I. Text: (QUOTE)
I personally think we developed language because of our deep inner need to complain.
~ Jane Wagner, The Search for Signs of Intelligent Life in the Universe (as performed by Lily Tomlin)
2.J. Text: (QUOTE)
Wer fremde Sprachen nicht kennt, weiß nichts von seiner eigenen.
Those who do not know foreign languages know nothing of their own.
~ Johann Wolfgang von Goethe, Kunst und Alterthum
CASE 3 CASE TITLE: Conlangers’ Inspiration: Languages & Linguistics
3.A. Text (Introductory Text at top of case under case header):
Conlangers, by the very nature of their craft, are intensely interested in languages and how they work. A few conlangers have chosen linguistics as a profession, but most are simply amateurs fascinated by the intricacies of syntax, grammar, phonology, and vocabulary of languages as diverse as English, French, Basque, Georgian, Tibetan, Zulu, and Murrinh-Patha. They assuage their curiosity by learning the differences between phonemes and morphemes, in investigating different case systems, and in collecting as much information as they can about how people across the world communicate. Conlangers then apply this knowledge to creating a language to see how these different facets of communication interact in a new context. Eventually, when they are confronted by a novel challenge or need a new way to construct a phrase, conlangers will once again plunge into the deep well of languages and surface with yet another interesting specimen with which to work.
3.B.1. Image: cover of Describing Morphosyntax
3.B.2. Text (Caption):
Describing Morphosyntax: A Guide for Field Linguists
by Thomas Payne
“The Conlanger’s ‘Bible’”
“Even though this book is intended for linguists doing fieldwork, it is an absolute must for those who create languages for fun. Why? Well, the purpose of the book is to teach a fieldworker how to write a descriptive grammar for the language s/he's working on. It points out everything that should be recorded, and gives examples of different phenomena from different languages. Well, guess what? A language creator is essentially a fieldworker working on an undiscovered language: his/her own. This book will guide a language creator in creating a grammar of his/her own language, and, when you get stuck, it's always helpful to see how natural languages do things. As a language creator, I highly recommend this book to anyone who creates languages.” ~ Amazon.com review by David J. Peterson
3.C.1. IMAGE: Photo of Noam Chomsky
3.C.2. Text (Caption):
The MOST INFLUENTIAL and MOST CONTROVERSIAL figure in modern linguistics
“Chomsky has been called Copernican, Newtonian, Einsteinian, Planck-like. For both its significance and its revolutionary character, his work has been compared to that of Spinoza, Pierce, Wittgenstein, Darwin, and Freud. He is an angel, a God, an enfant terrible. Supporters criticize him with the inevitable caveat ‘Noam Chomsky is one of the half-dozen great geniuses of the twentieth century.’...Alternately, Chomsky has been described as satanic, the Enemy, a crank, an embarrassment. Generative linguistics [Chomsky’s theory of language] has been called a cult; generative linguists have been described as ‘born again.’... Today, people writing in Internet mailing lists work themselves into apoplectic rages about statements he allegedly made twenty years ago.” ~ Christine Kenneally, The First Word: The Search for the Origins of Language (Viking, 2007) (Photo by Duncan Rawlinson.)
3.D.1. Image: Cover of Complete Idiot's Guide to Latin
3.D.2. Image: Cover of Teach Yourself Finnish
3.D.3. Text: (MINI-POSTER)
Making a Single Word Do Extra Duty
A case system is where each word in a language receives a number of affixes to signify its function in a sentence. Putting a word through its paces in a case system is known as declining it or its declension. The one most familiar to many is Latin:
Declension of agricola “farmer”
Name of Case
of the farmer/s
for the farmer/s
“by, with, from, in”
(by) the farmer/s