The English Miscellany

Connected Brain Zones § 371. IV. The use of connectives . The words of connection and transition between clauses, members, and sentences, may be made, according to the skill or the awkwardness of the writer, sources of strength or of weakness. It is always a source of weakness for two prepositions, having different antecedents, to be co-ordinated in connection with a common subsequent . This mode of expression has been called "the splitting of particles;" a name not very applicable to it as it occurs in English construction. The proper name for it is the one implied in the italicized words above. The following is an example. "Though personally unknown to, I have always been an admirer of, Mr. Calhoun." The way to correct it is to complete the first clause, and let the last, if either, be elliptic; thus: "Though personally unknown to Mr. Calhoun, I have always admired him," or "been an admirer of him." It is pro...

In A Manual of the Art of Prose Composition: For the Use of Colleges and Schools (1867), John Mitchell Bonnell explained the value of Extemporaneous Composition;   Debating by the Class; and proposed a list of topics for debate. This is an extract from his book. The following list presents a few of the questions that afford good fields for debate. Does wealth exert more influence than intelligence? Should a criminal be capitally condemned on circumstantial evidence? Are banks more beneficial than injurious? Ought military schools to be encouraged? Should colleges be endowed? Did the French revolution advance the cause of liberty in Europe? Is there any real danger of the over-population of the globe? Is country life more favourable to the cultivation of virtue than life in a city? Is history a more useful study than biography? Is ambition more destructive of personal happiness than avarice? Is it the duty of good ...

Are you still sharpening your use of academic language, or are you loosening the reins? The title of this blog points to the tensions involved in professional educational writing. In one sense the purely personal, original, pre-academic voice is a fiction. By joining the ranks of academe your voice has already begun to switch from a personal to a public voice. Taking the micky becomes parody or satire , for instance. Academic writing loses colloquial speech-like qualities and takes on the jargon of professional authenticity. And speech also tends to lose the accent and dialect of your class roots. Sadly, standard academic English is a rather middle-class business proposition. There is a gain but there is also a loss. But academic voice in the arts and the social sciences need not be the bleak accent of dry neutrality and emotionless abstraction. Surely there's an error in losing the individual idiosyncrasy of the human pulse in this domain of work? While it is true that ...