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Forbidden Words: Taboo and the Censoring of Language

Forbidden Words: Taboo and the Censoring of Language

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Bad language? Jargon, slang, swearing <strong>and</strong> insult 75<br />

Figure 3.2. Styles in English.<br />

<strong>the</strong> boundary between each pair <strong>of</strong> styles is shown as fuzzy, <strong>and</strong> <strong>the</strong> casual<br />

<strong>and</strong> intimate styles are bundled under <strong>the</strong> heading ‘colloquial’; sample address<br />

forms are included for exemplification (<strong>the</strong> indicates avoidance <strong>of</strong><br />

any term <strong>of</strong> address).<br />

Jargon takes <strong>the</strong> full gamut <strong>of</strong> styles, but slang <strong>and</strong> (pr<strong>of</strong>ane) swearing are<br />

restricted to colloquial styles; that is what makes exclamatives like those in<br />

(1) so impossible by comparison with (2).<br />

1. * Oh faeces! * Copulate <strong>of</strong>f! * What a fornicate up! * That’s a load <strong>of</strong> testicles!<br />

* Testicles! * This nut’s a real vagina to get <strong>of</strong>f!<br />

2. Oh shit! Fuck <strong>of</strong>f! What a fuck up! That’s a load <strong>of</strong> bollocks! Bollocks!<br />

This nut’s a real cunt to get <strong>of</strong>f!<br />

Any one person’s language may reflect a wide range between <strong>the</strong> extremes <strong>of</strong><br />

frozen <strong>and</strong> intimate style. Touchstone is playing with just two styles (formal<br />

<strong>and</strong> colloquial) in <strong>the</strong> earlier quote from As You Like It (V.i.52):<br />

Therefore you clown, ab<strong>and</strong>on – which is in <strong>the</strong> vulgar ‘leave’ – <strong>the</strong> society – which in<br />

<strong>the</strong> boorish is ‘company’ – <strong>of</strong> this female – which in <strong>the</strong> common is ‘woman’.<br />

Style varies according to:<br />

who we are <strong>and</strong> whom we are communicating with;<br />

whe<strong>the</strong>r we are speaking or writing;<br />

where we are <strong>and</strong> when <strong>the</strong> utterance takes place;<br />

what we are talking about; <strong>and</strong><br />

how we feel about <strong>the</strong> whole situation.<br />

If any one <strong>of</strong> <strong>the</strong>se factors is changed, <strong>the</strong> style may well change accordingly.<br />

For any given utterance, <strong>the</strong>re exists a wide variety <strong>of</strong> possible stylistic<br />

choices: not only lexical choices (although <strong>the</strong>se are <strong>the</strong> most obvious), but<br />

also choices <strong>of</strong> grammar, pronunciation <strong>and</strong> paralinguistic features like gesture<br />

<strong>and</strong> facial expression. Usually, <strong>the</strong> speaker’s stylistic choices are tuned to<br />

create just <strong>the</strong> impression s/he wants to create: where <strong>the</strong> speaker wants to<br />

avoid <strong>of</strong>fence, s/he will be orthophemistic or euphemistic <strong>and</strong> choose a style

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