Tag Archives: language podcast

Is China in the midst of a second golden age of poetry?

Poets Mo Mo and Yu Jian reveal a commemorative plaque at the the First Lushan New Century Famous Poets Summit.  (Photo: Heather Inwood)

Poets Mo Mo and Yu Jian reveal a commemorative plaque at the the First Lushan New Century Famous Poets Summit. (Photo: Heather Inwood)


Read this post from Alina Simone. Or listen to the podcast above.

A few weeks ago in Beijing, a dozen well-known poets got together.

Among them was an IT guy who wanted their help testing out a new app for a social network — not based on sharing friends, photos or business contacts, but about sharing poetry. He convinced them to each recite some of their work.

Yibing Huang recorded his poem, “Shoulder to Shoulder We…” into an app called “Poem For You.” According to Yibing, the poets were skeptical. They weren’t “app” kind of guys. Was this really a good venue for poetry, they wondered? But, within minutes of the poets uploading their poems, he says, “there were hundreds of people ‘liking’ them and writing comments.”

Poets Gao Xing, Xiao Xiao and Yibing Huang at the "Poem For You" recording session in Beijing. (Courtesy Yibing Huang)

Poets Gao Xing, Xiao Xiao and Yibing Huang at the “Poem For You” recording session in Beijing. (Courtesy Yibing Huang)

Hundreds of ‘likes’ within minutes. In the US, where poetry can feel like the exclusive domain of MFA grads and disaffected teens, I would never say to someone, “If you really want to understand America, read some modern poetry.” But in today’s China, where it seems like everyone is writing poetry, that might be just the thing to do.

“Maybe you hear a poet like Zheng Xiaoqiong, who’s going to read a poem she wrote when she was a migrant worker in Southern China,” says Jonathan Stalling, editor of Chinese Literature Today, of the scene at a typical reading. “She’ll be talking about the vulnerable bodies of her co-workers, dancing like dust in the afternoon sun, reflecting off the machinery on the factory floor. The next poet could be Luo Ying, the pen name of Huang Nubo, who’s one of the most wealthy men in China and writes poetry from the point of view of a capitalist.”

As in other spheres, the Internet has proven a huge democratizing force in the world of Chinese poetry, leveling the playing field for migrant workers and millionaires alike. But love of verse was already there. Chinese poetry has 2,000 years of tradition at its back. Parents read it to their babies. Kids study it in school. But the thing is, most Chinese believe poetry peaked in the Tang Dynasty. That ended more than 1100 years ago. So for today’s poets, their chosen art form’s exalted status can feel like a double-edged sword.

“Some people say, ‘Oh, new poetry is dead in China,’” poet Ming Di says. She loves the ancient poets, but feels the strict classical forms they pioneered tended to dead end after, you know, a few hundred years.

“Poets in the Tang Dynasty already did their best. And we in 21st Century have to do something new — either we bring something new to the old form or go our own way.”

And they are. Modern Chinese poets are exploring radical new terrain when it comes to form, sentence structure, and perhaps most importantly, subject matter. At the far end of this spectrum, according to professor Heather Inwood, is the “School of Rubbish.” (Although, she says, “you can also translate it as the ‘Trash School,’ or something like that.”)

vvvInwood teaches Chinese cultural studies at the University of Manchester in England and is the author of “Verse Going Viral,” a book about China’s new media scenes. “The ‘School of Rubbish’ became famous for writing poems about, basically, bodily excretions,” she explains. “Their goal was to go one meter lower than the ‘lower body’ — that was the name of an earlier poetry group around the turn of the millennium that wrote about sex. So they were thinking, ‘If we can’t write about sex because that’s already been done, what can we write about that will open people’s eyes to new ways of thinking about poetry?’”

And the answer was: Poems with a toilet theme. Of course, not everyone is convinced this is a hallmark of literary progress.

“People have argued … modern or contemporary Chinese poetry has not completely found its own legitimacy,” says Yibing Huang. “Some people say, ‘Is this a poem?’ You know, ‘This morning, I woke up. I drank a cup of coffee… Life sucks.’ People say that’s not a poem because it doesn’t rhyme. It doesn’t fit a certain expectation.”

Yet, social media may be turning the tide. This past January, WeChat, a messaging and social networking app, produced an unlikely media darling whose poems don’t rhyme and don’t avoid the fact that, yeah, sometimes life sucks. Yu Xiuhua had two books come out in one week and sell out overnight — 15,000 copies.

In addition to being a poet, Yu is also a farmer from a rural village who was born with cerebral palsy. As Ming Di points out, “Some people even consider her [to be the] Emily Dickinson in China.’”

Ming has translated some of Yu Xiuhua’s poetry, including her most famous poem, “Crossing Half of China to Sleep with You.”

    To spend or to be spent, what’s the difference if there is any?

    Two bodies collide — the force, the flower opened by the force,

    and the virtual Spring brought by the flower — nothing more than this,

    and this we mistake as life restarting.

    In half of China, things are happening: volcanoes

    erupt, rivers run dry,

    political prisoners and displaced workers are abandoned,

    elk deer and red-crowned cranes get shot.

    I cross the hail of bullets to sleep with you.

    I press many nights into one morning to sleep with you.

    I run across many of me and many of me run into one to sleep with you.

    Of course I can be misguided by butterflies

    and mistake praise as Spring,

    and a village similar to Hengdian as home.

    But all these are absolute

    reasons that I spend a night with you.

Shi Zhongren recites his poetry at the Zhu Gangzi peach blossom poetry meeting in a Beijing suburb. (Photo: Heather Inwood)

Shi Zhongren recites his poetry at the Zhu Gangzi peach blossom poetry meeting in a Beijing suburb. (Photo: Heather Inwood)

It’s hard not to feel good about social networks like WeChat if they can launch a woman like Yu Xiuhua into literary celebrity. And WeChat recently debuted a new program where every evening at 10pm it publishes a poem read by a “daily guest,” including luminaries like China’s first lady, Peng Liyuan. WeChat’s goal for the project is to help people “develop a deeper understanding of life.” Hard to imagine Twitter doing that.

Recently a popular Beijing anchor read “Shoulder to Shoulder We…” one of Yibing Huang’s poems on WeChat. Yibing is thrilled about the exposure the Internet brings him. But what is this all this doing to Chinese poetry?

“In a way I would say there is a danger in contemporary Chinese poetry,” Yibing says. “There is a kind of intellectual laziness. Taking poetry more for its entertainment value or eyeball effect.”

Social media has ensured there’s a lot more poetry out there, but Yibing argues it also makes the good stuff harder to find. How many microblog posts do you really want to scroll through to get your poetic fix? True that, but I wonder if purists are also miffed because they believe poetry is supposed be difficult — and a little out of reach. For this crowd, clickability has taken away some of poetry’s luster, and that’s unlikely to change. But as a vehicle for enjoyment, poetry has always been more unicycle than bullet train. Even the simplest poem requires a lot more of us than settling back to watch a movie.

The Internet isn’t going to kill poetry, people deciding it’s not worth that effort will. And that doesn’t seem likely to happen in China anytime soon.


Advertisements

Leave a comment

Filed under Uncategorized

Are we witnessing the death of ‘uh’? Um, maybe — and not just in English

US President Barack Obama and Dutch Prime Minister Mark Rutte both favor "uh" (or "eh" in Dutch) over "um." Younger people and women are more likely to say "um." (PRI's The World)

US President Barack Obama and Dutch Prime Minister Mark Rutte both favor “uh” (or “eh” in Dutch) over “um.” Younger people and women are more likely to say “um.” (PRI’s The World)

Read this post from Ari Daniel. Or listen to the podcast above.

According to experts, “uh” and “um” are somewhat different beasts. “It does seem to be the case that ‘um’ generally signals a longer or more important pause than ‘uh,'” says Mark Liberman, a linguist at the University of Pennsylvania. At least that’s what he thought.

Liberman has been studying these so-called “filled pauses” for almost a decade, and he has made a rather curious discovery.

“As Americans get older, they use ‘uh’ more,” he says. “And at every age, men use ‘uh’ more than women.”

If you look at “um,” exactly the opposite is true. Younger people say “um” more often than older people. And no matter the age, women say “um” more than men. Nobody, not even the linguists, were expecting this result; until they studied these hesitations, they thought it was more about the amount of time a speaker hesitates than who that speaker is.

Then, late last summer, Liberman attended a conference in Groningen in the Netherlands. During a coffee break, Liberman was chatting with a small group of researchers. He brought up his finding about the age and gender differences related to “um” and “uh,” which prompted the group to look for that pattern outside of American English. They scanned British and Scottish English, German, Danish, Dutch and Norwegian.

The result, says University of Groningen linguist Martijn Wieling, is that, “in all cases, we find the same thing.” Just like the Americans that Mark Liberman analyzed, women and younger people and younger people said “um” more than “uh.”

Wieling’s conclusion is that we are witnessing a language change in progress, “and that women and younger people are leading the change.”

The future of “um”

This pattern of women and young people leading us forward is typical of most language changes. But why is “um” our future, across at least two continents and five Germanic languages? It’s still a puzzle.

Josef Fruehwald's research suggests that the use of "um" is more popular among females and young people. (Josef Fruehwald/University of Edinburgh)

Josef Fruehwald’s research suggests that the use of “um” is more popular among females and young people. (Josef Fruehwald/University of Edinburgh)

Josef Fruehwald, a sociolinguist at the University of Edinburgh, agrees that “um” and “uh” may be used slightly differently. But as far as he is concerned, they are pretty much equivalent.

“When you have two options, you can start using one more frequently and maybe replace the other one so that it’s no longer an option,” he says. “So why ‘um?’ It’s just one of these things. There’s always a little bit of randomness to the whole situation.”

By random, he means that we do not know why changes in usage like this happen, or when the next one will be. Fruehwald admits linguists are terrible at predicting the future — worse than meteorologists! Language, he says, is even more chaotic than the weather.

As for how such a linguistic trend might have jumped from one language to another, Fruehwald says “there are some documented cases of that kind of thing happening, usually where people can speak both languages and borrow features of one into the other.”

English is the most likely to be influencing the other languages, but we still don’t know whether that’s actually what’s happening with “um.” More research and more linguists are needed.

And as for the future, “um” and “uh” may yo-yo back and forth in terms of their popularity. Or we may well be watching the extinction of “uh” from our lexicon.

So would Fruehwald would miss “uh?”. “I don’t have a really strong emotional connection to either of these,” he admits. “Although based on my age demographics, I’m likely a high ‘um’ user. So maybe that’s where I should throw my loyalties.”

Patrick Cox adds: Also in this podcast episode, a conversation with Michael Erard, editor of Schwa Fire and author of “Um…:Slips, Stumbles and Verbal Blunders, and What They Mean.”


2 Comments

Filed under Uncategorized

Africa’s new generation of indigenous language translators

Many Kenyans, like this man, do not speak English-- but they may speak several African languages. (Photo: Phillip Martin)

Many Kenyans, like this man, do not speak English– but they may speak several African languages. (Photo: Phillip Martin)

We’re getting better at breaking down language barriers. Thanks to the likes of Google Translate, Duolingo, Rosetta Stone and Skype, we can understand — and even communicate — across languages.

Machine translation is improving all the time. But it’s not always enough.

In most African countries, there are too many sick people, and not enough people or money to care for them. Western countries and aid agencies have done much to improve health care systems: They train doctors, help build hospitals and donate medication.

Caroline Mirethi is a doctor at Gertrude's Pediatric Hospital in Nairobi. (Photo: Phillip Martin)

Caroline Mirethi is a doctor at Gertrude’s Pediatric Hospital in Nairobi. (Photo: Phillip Martin)

It’s only now that they’re realizing that they need to do something else: Train translators and interpreters to help patients understand what doctors are telling them, to translate public health leaflets and, above all, to translate instructions that come with medications.

“The instructions are written in English,” says Caroline Mirethi, a doctor at Gertrude’s Pediatric Hospital in Nairobi, Kenya. The hospital serves some of Nairobi’s poorest communities.

“Many of these drugs are imported into the country,” Mirethi says. “We explain to the patients in a language they can understand … on how to take the medication.”

Koseto Opio in his home in Nairobi's Kibera slum. Opio takes his medication and other ailments with the help of an outreach worker who translates for him. (Photo: Phillip Martin)

Koseto Opio in his home in Nairobi’s Kibera slum. Opio takes his medication and other ailments with the help of an outreach worker who translates for him. (Photo: Phillip Martin)

The language in this case is usually Swahili. The hospital sends health workers to patients’ homes where they will translate the instructions and make sure the patients follow them.

It’s a far cry from the ideal: Pointing a smartphone camera at the medication instructions then reading those instructions in your own language via a translation app. That might be possible one day, but not right now. The instructions are often complicated, as are the patients’ needs. For the many who have Type 2 diabetes or HIV, there are a multitude of drugs to take.

The translator/outreach workers at Gertrude’s are an exception.

In Africa, “the translation industry has not been appreciated much,” says Paul Mirambu, director of the Nairobi office of Translators Without Borders.

“Hospitals know that language is a barrier, but they do not employ translators or interpreters,” Mirambu says. “Probably there’s no budget for it, or nobody cares about it.”

Translators Without Borders is a global organization that seeks to help deliver humanitarian services to people in their native tongues — or at least languages that they understand better than English, French or Spanish.

Reference materials at the offices of Translators Without Borders in Nairobi. (Photo: Phillip Martin)

Reference materials at the offices of Translators Without Borders in Nairobi. (Photo: Phillip Martin)

Mirambu’s colleague in his Nairobi office, Mathias Kauke, tells the story of a mother who was having trouble producing milk for her baby.

“She goes to the hospital and is given drugs that are supposed to stimulate milk production — but the prescription is in French,” Kauke says. “She doesn’t know how to read or write. So she goes home and she doesn’t take the medicine. She gives it to the child.”

After the child is given the drug intended for his mother, he dies.

“That’s how tragic miscommunication can be,” Kauke says. “That’s where translation comes in.”

Translators Without Borders is focusing on the Swahili language because it is widely spoken in several African countries. But it doesn’t cover everyone. The Masai people, for example, generally do not speak either Swahili or English.

“They suffer from completely curable, preventable illnesses as a result of that,” says Lori Thicke, founder and president of Translators Without Borders.

Lori Thicke, founder and president of Translators Without Borders. (Courtesy Lori Thicke)

Lori Thicke, founder and president of Translators Without Borders. (Courtesy Lori Thicke)


More than 1,000 languages are spoken in Africa. Thicke says that has made many Africans “incredible linguists” who can be recruited to translate medical materials.

“They will generally speak three to five language, regardless of education level,” she says. “But the issue is if English is their third or fourth language, you want to make sure that any critical information does get to them in their main language — or as close to their main language as possible.”

Thicke says it’s even more complicated in other African countries. Not only do people not have access to health care in their own language — they may be self-diagnosing as well.

“In Ethiopia, they have one doctor for 80,000 people,” Thicke says. “Most people in Africa will never see a doctor in their lives. Empowering mothers with information about how to take care of their babies is really important.”

Thicke believes that translation into native tongues “would have rewritten history” in the countries struck by the recent Ebola epidemic.

“They lost an opportunity when they gave the message about Ebola in English in countries where [only 15 to 20 percent of the people] spoke English,” Thicke says. “It really gave rise to a lot of rumors that it was a government plot. If you speak to someone in their own language you’re more likely to touch them, and convince them.”

The Nairobi interviews were done by Phillip Martin of Boston public radio station WGBH. His trip to Kenya was funded by the International Center for Journalists and the Ford Foundation.


2 Comments

Filed under Uncategorized

The secret language of Turkey’s LGBT community

A drawing of Sevval Kilic by Mine Bethet (courtesy of Mine Bethet)

A drawing of Sevval Kilic by Mine Bethet (courtesy of Mine Bethet)

Read this post from Dalia Mortada. Or listen to the podcast above.

Sevval Kilic is a couple of inches shy of six feet. Her hair, various shades of light brown, rests at the middle of her back, and her eyes, outlined by long lashes, look like perfectly drawn almonds.

She has one of the biggest smiles I’ve ever seen, and it’s infectious. She looks much younger than her 40 years, and she likes to reminisce about the good old days when she made good money.

“In my day,” she reminisces, “I was shopping. I was shopping as hell…my shoes, just my shoes…” she trails off, giggling. That was in the 1990s, when Sevval lived in a neighborhood notorious for its unregistered brothels. She was 19 when she moved in.

Today, the quiet lane in central Istanbul looks much like it did in the 90s. But the sounds that fill the street are completely different.

Ulker St in Istanbul used to be part of a red-light district. The streetwalkers have long since moved on. (Photo: Dalia Mortada)

Ulker St in Istanbul used to be part of a red-light district. The streetwalkers have long since moved on. (Photo: Dalia Mortada)

A lady washing her windows on the third floor takes a break to chat with a neighbor hollering hello from the street. It’s not, as it once was, packed with guys taking their pick of sexual adventures for the night. No catcalls descend from the windows like they did a couple of decades ago, like the kind of catcall Sevval used to attract clients: “Psh psh, psh psh — this is the way,” Sevval explains, “or sfoot sfoot.” Just a small, subtle sound to catch a guy’s attention.

In Turkey, prostitution is legal with a license, and state-run brothels have an intense registration process. But Sevval and her colleagues were not eligible: The state did not, and still does not, accept transitioning women or gay men. Sevval had not completed her transition to becoming a woman when she signed up for her brothel.

In fact, she arrived with just her boy clothes. One of the more experienced women took her under her wing. “She took care of me like real mom. She washed me, she fed me, she dressed me, she taught me everything about working, about secrecy,” she says. Secrecy included using a secret slang, or as linguists call it, an argot, called Lubunca.

Lubunca is how Sevval and her colleagues talked to each other about their work in front of clients or the cops. It uses Turkish sentences and grammar, but certain words are replaced. The words Sevval used were related to her work. There are terms for hair and make-up, sex positions and different types of clients. “Let’s say there’s a rich customer and the girl in the front apartment yells, ‘It’s a hundred dollar customer!’ That’s bir but baari, Sevval explains.

Bir is the Turkish word for “one” and but means thigh or rump, like a large cut of meat. Bari is like saying “at least.” These are all Turkish words, but the way they’re strung together means you wouldn’t understand unless you knew Lubunca.

Other words in the slang come from different languages. “Some of the core elements of Lubunca come from other minority languages that haven’t been spoken very much for quite some time,” Nicholas Kontovas explains. Kontovas is a socio-historical linguist who has studied the origins of Lubunca. He explains that most of the words come from Romani — the language of ethnic Roma, or gypsies, who live in Turkey. There are words from Greek, Kurdish and Bulgarian, too. Kontovas explains that people from these communities have, to a greater or lesser extent, been outcasts in Turkish society, so they tend to live in the same city neighborhoods. That’s how Lubunca picked up its foreign feel.

Kontovas says the words from Lubunca are intimately tied to these neighborhoods and to meeting spots within those neighborhoods. The Turkish word for an Ottoman style bathhouse, for example, is hamam. In Lubunca, it’s tato which comes from the Romani word for warm. “The fact that there’s a word for hamam is pretty telling, the queer slang varieties that were used beforehand, at least what is recorded, were predominantly used in hamams,” which is where male sex work took place during the Ottoman empire, Kontovas says.

Of course, Lubunca has evolved. The terms for sex organs and positions get pretty creative — and are not appropriate for publishing. Terms for flirting are pretty crafty, too. “Badem alikmak, which is also to eye up. Badem, meaning almond, obviously in reference to shape of the eye,” Kontovas describes. “There’s another thing that’s great which is badem sekeri, which is ‘almond candy,’ which is eye candy,” he adds.

British comedian Kenneth Williams helped popularize Polari in the 1960s (Wikimedia Commons)

British comedian Kenneth Williams helped popularize Polari in the 1960s (Wikimedia Commons)

It is quite similar to Polari — the British gay argot that made it into the mainstream in the 1960s, back when being gay was still criminal in the UK. An example of Polari would be: “Bona to vada your dolly old eek.” That means “Nice to see your pretty face.”

Eventually, after homosexuality was decriminalized in Britain, the argot dropped out of fashion. Kontovas says, “The use of Polari started to decline so much so people had to go and record it and go into archives and look into recordings and ask older members of the community.”

As more people use Lubunca, it’s possible that it too could fade away like Polari, but that seems unlikely. Like Polari, Lubunca exists because it needs to: Not only is gay and trans sex work likely to stay illegal, but Lubunca’s use has grown in recent years. More members of the LGBT community — especially gay men — have adopted the argot. Sometimes they use it to show off — to declare they are part of the gay community while still keeping it a secret in public. And being trans or a sex worker can even be looked down upon within the LGBT community.

Turgay Bayindir, for example, came out as gay in college, but he knew nothing about the community. He heard his new friends using Lubunca for fun, but he did not get it. “At first I was uncomfortable, especially because it was associated with trans-women who are sex workers,” Turgay recalls, saying he considered it demeaning. But he got over his bias after he actually learned more about Lubunca and why certain people need to use it.

The word “lubunya” is how gay men and trans women often describe themselves — and it has crept into Turgay’s vocabulary. He says it might not be such a bad thing if the secret language becomes a little less secret. “I think in general exposure would be good and also it would make the lubunya community less scary to the public when they start learning about it,” he says.

Still, because certain words have become so mainstream, they are no longer used in the sex work community. Sevval, who left sex work to become an activist after her gender reassignment surgery, says she doesn’t recognize a lot of the words anymore. “Girls invented some new words — even I don’t understand them. In 2015, girls speak something else,” she says. “It evolves.”

Perhaps society will evolve too, so that Lubunca can be used for fun and not just because it is necessary.


Leave a comment

Filed under Uncategorized

A Soviet-era storytelling game trains you to bluff, lie and sometimes tell the truth

A tense moment during a game of "Mafia" in Kiev, Ukraine. (Photo courtesy of the English Mafia Club of Kiev)

A tense moment during a game of “Mafia” in Kiev, Ukraine. (Photo courtesy of the English Mafia Club of Kiev)

Read this post from Alina Simone. Or listen to the podcast above.

The storytelling parlor game “Mafia” crosses borders, transcends culture and bridges the language divide in ways you’d never expect.

There are no game boards or joysticks involved in Mafia — just words — and a setup that’s probably as old as human settlement: An uninformed majority of civilians against an informed minority, the Mafia. One side has power in numbers, the other has the power of knowledge.

Since 1987, Mafia has become a television series in Latvia, a World Championship event in Las Vegas and a training tool for the Russian security services. But I was still surprised to learn that Mafia was actually invented in the Soviet Union by Dimitry Davidoff, then a psychology graduate student at Moscow State University.

Dimitry Davidoff in the 1980s (Courtesy of Dimitry Davidoff)

Dimitry Davidoff in the 1980s (Courtesy of Dimitry Davidoff)

Davidoff tells me that even behind the Iron Curtain, he never doubted Mafia would become a global hit. In his day, games that were popular in the Soviet Union were all based on the idea of “us” vs. “them.” But in Mafia, as in real life, we ordinary civilians have no idea who the real enemies are — or whether the enemy is an enemy at all.

It turns out he struck a universal nerve. And once you get the hang of the rules, it’s also wicked fun.

But for today’s global entrepreneurs, Mafia has become much more than a game. “I think I use it all the time in real life,” says Sam Lundin, who founded a website named Vimbly that helps New Yorkers find cool and adventuresome activities. He even hosts as monthly Mafia meetup.

Lundin says he’s drawing on his Mafia skills “anytime there’s any kind of negotiation or problem-solving scenario going on, or someone is either bluffing or not bluffing in a business environment. Are they really telling the full story? Are they not?”

A Mafia meetup in New York (Photo: Alina Simone)

A Mafia meetup in New York (Photo: Alina Simone)

It also helps him expand his bag of tricks: “You might think of a new trick that would work really well to root out who the mafia is, but then everyone sees that you use that trick and you have to figure something new out genuinely,” he says. “I think the entrepreneurial world is like that in that it’s not structured. You constantly are figuring out new tricks.”

Sam was born in America, but he’s in the minority at a recent meetup. Most of the players are from China, Russia, South America or one of the many other places where Mafia is being put to strategic use. That includes Ukraine’s capital, Kiev.

“I believe in Kiev we have maybe 30 or 50 clubs. Maybe even more,” says Eugene Bazhenov. He started an English-language Mafia club back in 2010, and it immediately caught on with Ukrainians.

“The initial motivation is, of course, to improve English. But then they get addicted to the game because it’s really fun to play,” Bazhenov says. People have even found dates — and spouses — through the club. “It’s a really good place to meet people, whatever your purpose is.”

A Mafia game in Kiev, Ukraine. (Photo courtesy of the English Mafia Club of Kiev)

A Mafia game in Kiev, Ukraine. (Photo courtesy of the English Mafia Club of Kiev)

As for Eugene’s purpose? “At that time I was working for a company and I wanted to have my own business, but I didn’t have network, I didn’t have money to start the business. So it was totally nothing,” he says.

Nothing, that is, but a bunch of people crazy about Mafia, which is actually how Eugene achieved his goal. He ended up creating two companies with the help of expat Mafia players, one from Denmark, the other from Australia. Today, most of his closest friends, he tells me, are foreigners he met through the club.

It turns out, pretending to kill one another can really bring people together.

Meanwhile, back at Lundin’s Mafia meetup, a Chinese woman named Joy is killing it — pun totally intended — for the civilians, picking off Mafia one by one.

She keeps insisting her English isn’t very good, but she’s had a lot of practice at the game. About six years ago, Mafia — or the “Killer Game,” as it’s known there — became huge in China. Dozens of brick-and-mortar clubs sprang up across the country, complete with high-tech screens and audio systems blasting sound effects — all of which are completely unnecessary, given this is purely a storytelling game.

A Mafia game in China (Photo courtesy of Silvia Lindtner)

A Mafia game in China (Photo courtesy of Silvia Lindtner)

The game is known in China as "The Killer Game."Silvia Lindtner, who teaches at the University of Michigan’s School of Information, spent two years in China researching the Killer Game phenomenon. As she discovered, the Killer Game boom had everything to do with the booming Chinese economy:

“They were like, ‘We have to deal with people we are not at all familiar with. We sometimes have to convey a particular message to our customers, or to our clients, and you sort of have to sometimes pretend to be someone else in these settings.’” Lindtner says.

Playing Mafia wasn’t just a way to hone those skills: It was a great way to establish a competitive advantage. “These were skills they believed were utterly necessary in Chinese society, in international business relationships, and they were also saying that these were skills that would distinguish them from other people in China,” Lindtner explains.

These kinds of concerns weren’t on Dimitry Davidoff’s radar when he created Mafia. Having grown up in the Soviet Union, the thought of a business application for the game never crossed his mind.

He actually designed Mafia in part as a means of understanding the bloody history of the Communist regime: Change the word Mafia to KGB, and the game becomes a metaphor for the Stalin era, where anyone could be an informant and a lot of innocent civilians get killed.

But 25 years later, Davidoff is now living in the United States and he’s made a business out of Mafia. He licenses it for various uses, and even served as a consultant for a Mafia movie that will be released next year in Russia.

The youthful version of himself that invented the game back in the Soviet era might even point at the Dmitry Davidoff of today and call him “Mafia.”


2 Comments

Filed under Uncategorized

Eat your words

Where do the words "ketchup," "toast" and "salad" come from? [Photos: Steven Depolo (l), Adam Singer (c), stacya (r)/Flickr Creative Commons]

Where do the words “ketchup,” “toast” and “salad” come from? [Photos: Steven Depolo (l), Adam Singer (c), stacya (r)/Flickr Creative Commons]


Read this post from Alex Gallafent. Or listen to the podcast above.

I didn’t think too much about what food I stuffed into my mouth when I was a kid, so long as there was lots of it.

No longer. Now I often want to know as much as I can about what’s headed for my belly: what the ingredients are, where they came from, and how they were put together.

Something else interests me too — the words we use for food. Dan Jurafsky is way ahead of me on that one: He’s a linguist at Stanford, and the author of “The Language of Food.” [Listen to this interview with did with Jurafsky earlier this year.]

“It’s like we speak these words and we just look right past them,” he says. “And in fact they’re telling us the history of our culture and our globalization, and the way we’ve been interacting for a thousand years.”

But most of us do look right past food words, so I thought it might be fun to run a little experiment.

I took my friends Adam and Jenny out for dinner at a local burger joint in Brooklyn. I asked them: Where do common food words like “ketchup” and “salad” come from? What would they guess? Oh, and I had Dan Jurafsky listen in on their linguistic guesses, to see how good their hunches were.

We began our meal by toasting Adam, who just got a new job. So where does “toasting” someone come from?

Adam thought that it might have something to do with toasted bread, or breaking bread with people. Jenny countered with the idea that it came from a Latin root and morphed into “toast” somewhere along the way, possibly through misspelling.

“So maybe it’s from middle English,” Adam offered, “like toostare, or something, and it was something you did with mead. Maybe you toasted your hops.”

Dan Jurafsky, author of "The Language of Food" (Photo: Alex Gallafent)

Dan Jurafsky, author of “The Language of Food” (Photo: Alex Gallafent)

The mead idea was actually pretty close, Jurafsky says. “We used to drink, in the Middle Ages, sweetened mead with toast in it,” he explains. “The drinks of the Middle Ages were much more hearty — people got a lot more of their sustenance from their wine and their beer than we do now. So toast in wine was a very common thing.”

That drinking tradition then gave rise to slang phrases. “Somewhere in the 18th century, it became the custom to talk about the society lady of the hour as if she spiced the party, just as the toast spiced the wine,” Jurafsky says. “So we talked about her as the ‘toast of the town.’ And then we began to raise our glasses to those people — the glasses which still barely had toast in them, for not very much longer. So that’s the story.”

Alright, next up: what about the word “ketchup?”

Adam and Jenny had no idea. “Catch up?” But they thought it might come from Vietnam, or “some sort of Asian-type cooking.” Like some sort of “fermented sauce,” Adam ventured.

Jenny added a piece of pop culture trivia: “Wasn’t there an episode of Mad Men when they were talking about ketchup as catsup? It’s ‘catsup,’ right?”

Not bad. “Ketchup comes from Chinese, it was originally a fermented fish sauce,” Jurafsky says. “You stick fish in a vat, put a lot of salt in, and you go away. It was made in Vietnam, Thailand, and in the southern part of China” — the region that traded with those two places.

“The fact that it’s spelled in two different ways is usually a hint that a word comes from a language that may not have had the same orthography as us,” he says. “So the fact that we spell with a ‘c-a-t-s’ or with a ‘k-e-t-c’ tells us that it was borrowed from Chinese, which of course didn’t use the Roman alphabet.

The different spellings were yet another by-product of imperial competition: “English, Dutch and Portuguese sailors and traders who first encountered the word had to figure out a way to spell it,” Jurafsky points out. “And so they all spelled it in different ways.”

Ketchup found its way to Europe and then, in the late 19th century, America. And that’s where the tomatoes and the sugar got added — of course.

And one more: how about “salad?”

Jenny began by sounding out the word: “Sal-ad. But ‘sal’ is salt. That’s not right.”

“Maybe it is,” said Adam in reply. “At another time, people probably salted a lot of things. I wonder if something salted that wasn’t necessarily cooked, but was cured in somewhere using salt, lead to the word salad.”

“Excellent!” says Jurafsky. “Salad indeed comes from salt. The Latin is erba salata, salted greens. And the word salt is there in so many of our words. Sauce and salsa and salami — they literally all just mean salted, as does salad.”

Low sodium wasn’t a big priority back in the old days, it turns out: “Before refrigeration, salt was our major means of preserving, so words like sausage and sauces [referred to] salting — ways to preserve foods.”

Jurafsky’s work is a reminder that food words signify much more than food: They reveal the ways people have borrowed from each other down the centuries, passing things along this culture to that, transforming foods and ways of life along the way.


Leave a comment

Filed under Uncategorized

Do we still need professional translators to subtitle foreign language movies?

Photo: froussecarton/Creative Commons

Photo: froussecarton/Creative Commons

Read this post from Nina Porzucki. Or listen to the podcast above.

In the beginning there was light, a little music and subtitles, technically called intertitles. I’m talking the beginning of the 20th century, during the silent era of moviemaking, when an image really spoke a thousand words and intertitles were used sparingly to explain action, and dialogue, and exposition.

And then the talkies came. But while Al Jolson’s voice in ‘The Jazz Singer‘ did away with the need for the intertitle to do all that explaining, The Jazz Singer became the first film to need translating. In fact, it was the first film to officially use foreign language subtitles when it opened in Paris in 1929.

In the 80-plus-years since, subtitling has gone from a necessity to an art.

“People aren’t supposed to notice subtitles, if we’re doing our job properly. The ideal situation is when they aren’t even aware they’re reading subtitles,” says John Miller. Miller makes a living as a subtitler in Paris, where he went to school to learn the art of subtitling. And he’s been at it for 20 years translating French films into English.

“The French call ‘subtitlers’ ‘adapters.’ You do have to adapt it, you can’t just take a literal translation of the screenplay and throw it up on the screen. You would spend the whole time reading it and you wouldn’t be able to watch the film,” Miller says.

People can read an average of 12 characters a second, Miller says. A subtitler has about two seconds to relay everything being said to the audience and within those 24 characters, the subtitler not only has to translate what’s said, but all the complexities of everyday speech: puns, jokes, word play.

Sometimes you get lucky and expressions will easily translate from one language to another. But sometimes, says Miller, an expression gets lost in translation or, worse yet, doesn’t translate into American English at all. This happens all the time. In a recent film that Miller had to work on he had to translate the French expression “tu la boucle”

“Tu la boucle, which means shut-up, also means put your seatbelt on. So I [translated] the British English [expression], what I thought was American English too. ‘Belt up!’ which fits perfectly for both meanings, but it apparently [doesn’t mean the same thing] in American English. So I had to lose the double reference and just end up with “Buckle up!”

While subititling may be an art and a profession, increasingly this art is undergoing another evolution. Just like when sound came and turned moviemaking upsidedown, the digitization of film and TV has upended the subtitling industry. Digital media has allowed people around the world to access more content, more quickly. And more content means more subtitles, right?

Enter VIKI, just one of several online crowd-sourced subtitling platforms. The name VIKI is a mash-up of “video” and “wiki,” as in Wikipedia. And the service acts much like Wikipedia: Subtitlers submit translations for peer review, the crowd evaluates the translations, voting things up and down.

VIKI CEO Razmig Hovaghimian began to appreciate subtitles as a kid. He grew up in Egypt but spent his summers in Lebanon — watching Bollywood movies with his dad.

“Neither one of us speaks Hindi, but we just loved it. I remember the Amitab Bachchan movies,” he recalls.

VIKI licenses TV shows and movies from around the world — from Korean dramas, to Latin American soaps to Japanese Anime — and then puts them online so fans from around the world can subtitle them.

“[Some] 200 languages with over 700 million words translated by fans — for free,” Hovaghimian says.

Just who are these fan subbers doing the work for free? They’re teachers, doctors, lawyers, grandmothers, people like you and me, says Hovaghimian. Including retiree Patricia Pon from San Francisco.

Pon is a Cantonese speaker and the translator of more than 200,000 subtitles. What motivates Pon to do this in their spare time for no money? Simple, she says. She got fed up with bad translations. Bad, as in what she considers racy language. Like, for example, she says she was offended by a subtitle from a recent episode of the Korean Drama, Empress Ki. In the soap, the emperor’s concubine gets pregnant and the subtitle was written in a rather colloquial fashion.

“The tramp got knocked up”

“I don’t think so,” Pon says. She would’ve translated the line as “The consort was pregnant.”

Consort, tramp, concubine — subtitling risks a certain subjectivity. Would a retiree translate a Hong Kong gangster flick the same as a teenager? Does it matter? No, according to Razmig, that’s the beauty of the crowd. Subtitles are vetted and edited by many. And then the content can quickly be consumed by many more. And these rapid translations have led to the globalization of film and TV at hyper-speed in rather unexpected places.

“We had Egyptian movies that were doing great in Dutch. We have Korean movies that are doing phenomenal in Saudi Arabia. It’s actually our number one country for it. And it’s in Arabic subtitles,” Hovaghimian says.

VIKI is just one service in an ever-expanding world of crowd-sourced subtitles. While professional subtitler John Miller isn’t worried about being “crowded out” of his profession, he and fellow English-language subtitlers in Paris have felt the squeeze.

“It is a professional job. You wouldn’t necessarily want to have crowd-sourced surgeons or crowd-sourced mechanics. So, while what we do isn’t life or death, it is to the detriment of the films if they’re being done by people who, well, they’re certainly not professionals,” Miller says.

Certainly, Pon and her subbing pals aren’t claiming to be professionals. And the subtitles you’ll be reading at your local art house theatre aren’t the crowdsourced kind — at least not yet.


Leave a comment

Filed under Uncategorized