Edwin L. Battistella – författare

Insulting the president is an American tradition. From Washington to Trump, presidents have been called "lazy," "feeble," "pusillanimous," and more. Our leaders have been derided as "ignoramuses," "idiots," "morons," and "fatheads," and have been compared to all manner of animals--worms and whales and hyenas, sad jellyfish, strutting crows, lap dogs, reptiles, and monkeys.Political insults tell us what we value in our leaders by showing how we devalue them. In Dangerous Crooked Scoundrels, linguist Edwin Battistella collects over five hundred insults aimed at American presidents. Covering the broad sweep of American history, he puts insults in their place-the political and cultural context of their times. Along the way, Battistella illustrates the recurring themes of political insults: too little intellect or too much, inconsistency or obstinacy, worthlessness, weakness, dishonesty, sexual impropriety, appearance, and more. The kinds of insults we use suggest what our culture finds most hurtful, and reveal society's changing prejudices as well as its most enduring ones. How we insult presidents and how they react tells us about the presidents, but it also tells us about our nation's politics. Readers discover how the style of insults evolves in different historical periods: gone are "apostate," "mountebank," "flathead," and "doughface." Say hello to "moron," "jerk," "asshole," and "flip-flopper." Dangerous Crooked Scoundrels covers the broad sweep of American history, from the founder's debates over the nature of government to world wars and culture wars and social media. Whatever your politics, you'll find Dangerous Crooked Scoundrels an invaluable source of invigorating invective-and a healthy perspective on today's political climate.

People do bad things. They misspeak, mislead, and misbehave. They lie, cheat, steal, and kill. Often, afterward, they apologize. But what makes a successful apology? Why does Joe Biden's 2007 apology for referring to Barack Obama as "articulate and bright" succeed, whereas Mel Gibson's 2006 apology for his anti-Semitic tirade fails? Naturally, the effectiveness of an apology depends on the language used, as well as the conditions under which we offer our regrets.In Sorry About That, linguist Edwin Battistella analyzes the public apologies of presidents, politicians, entertainers, and businessmen, situating the apology within American popular culture. Battistella offers the fascinating stories behind these apologies alongside his own analysis of the language used in each. He uses these examples to demonstrate the ways in which language creates sincere or insincere apologies, why we choose to apologize or don't, and how our efforts to say we are sorry succeed or fail.Each chapter expands on a central concept or distinction that explains part of the apology process. Battistella covers over fifty memorable apologies from McDonald's, Martha Stewart, Oprah Winfrey, Jane Fonda, Bill Clinton, and many more. Moving back and forth between examples and concepts, Battistella connects actual apologies with the broader social, ethical, and linguistic principles behind them. Readers will come away from the book better consumers of apologies - and better apologizers as well.

Theories of language espoused by linguists during much of this century have assumed that there is a hierarchy to the elements of language such that certain constructions, rules, and features are unmarked while others are marked; "play" for example, is unmarked or neutral, while "played" or "player" is marked. This opposition, referred to as markedness, is one of the concepts which both Chomskyan generative grammar and Jakobsonian structuralism appear to share, yet which each tradition has treated differently. Battistella studies the historical development of the concept of markedness in the Prague School structuralism of Roman Jakobson, its importation into generative linguistics, and its subsequent development within Chomsky's Principles and Parameters framework. He traces how structuralist and generative linguistics have drawn on and expanded the notion of markedness, both as a means of characterizing linguistic constructs and as a theory of the innate language faculty.

Is today's language at an all-time low? Are pronunciations like "cawfee" and "chawklit" bad English? Is slang like "my bad" or "hook up" improper? Is it incorrect to mix English and Spanish, as in "Yo quiero Taco Bell"? Can you write "Who do you trust?" rather than "Whom do you trust?" Linguist Edwin Battistella takes a hard look at traditional notions of bad language, arguing that they are often based in sterile conventionality. Examining grammar and style, cursing, slang, and political correctness, regional and ethnic dialects, and foreign accents and language mixing, Battistella discusses the strong feelings evoked by language variation, from objections to the pronunciation NU-cu-lar to complaints about bilingual education. He explains the natural desire for uniformity in writing and speaking and traces the association of mainstream norms to ideas about refinement, intelligence, education, character, national unity and political values. Battistella argues that none of these qualities is inherently connected to language. It is tempting but wrong, Battistella argues, to think of slang, dialects and nonstandard grammar as simply breaking the rules of good English. Instead, we should view language as made up of alternative forms of orderliness adopted by speakers depending on their purpose. Thus we can study the structure and context of nonstandard language in order to illuminate and enrich traditional forms of language, and make policy decisions based on an informed engagement. Re-examining longstanding and heated debates, Bad Language will appeal to a wide spectrum of readers engaged and interested in the debate over what constitutes "proper" language.

Is today's language at an all-time low? Edwin Battistella argues that it is wrong to think of slang, regional dialects and nonstandard grammar as simply breaking the rules of good English. Reexamining debates over relativism in language, Battistella argues that we should view language as made up of alternative forms of regularity and orderliness, which require informed engagement with usage.

People do bad things. They misspeak, mislead, and misbehave. They lie, cheat, steal, and kill. Often, afterward, they apologize. In Sorry About That, linguist Edwin Battistella analyzes the public apologies of presidents, politicians, entertainers, and businessmen, situating the apology within American popular culture. Battistella offers the fascinating stories behind these apologies alongside his own analysis of the language used in each. He uses these examples to demonstrate the ways in which language creates sincere or insincere apologies, why we choose to apologize or don't, and how our efforts to say we are sorry succeed or fail.Each chapter expands on a central concept or distinction that explains part of the apology process. Battistella covers memorable apologies from McDonald's and Martha Stewart, Oprah Winfrey and James Frey, Mel Gibson and Jane Fonda, Bill Clinton and Barack Obama, and many more. Moving back and forth between examples and concepts, Battistella connects actual apologies with the broader social, ethical, and linguistic principles behind them. Readers will come away from the book better consumers of apologies-and better apologizers as well.

Hailed by critics and fans as “The Queen of Noir” and “a prescient feminist,” Dorothy B. Hughes (1904-1993) challenged the conventions of the crime fiction genre by exploring race, class, and social justice across her fourteen novels. Edwin Battistella’s new work weaves discussion of Hughes’s literary output with the story of her life. Dorothy B. Hughes: A Poet Turns to Crime examines her work as a poet, journalist, novelist, screenwriter, and critic as well as her family and personal relationships.Beginning with her upbringing in Kansas City, Missouri, Battistella follows the writer’s time studying journalism at the University of Missouri, her subsequent work as a newspaper reporter, the eventual publication of her first book, a volume of poetry, and her prolific output of mystery novels that spanned two decades. Battistella situates her work in the broader context of twentieth-century crime fiction and its connection to various political and social movements, including her life-long concern with racial equality, which culminated in the 1963 publication of her final novel, The Expendable Man, which appeared at the height of the Civil Rights movement and is considered by many to be her best work.In addition to drawing from Hughes’s own work and its reception by contemporary critics, Battistella examines later critical commentaries, scholarly articles, published interviews, archival material, and interviews with friends and family to tell her life story and literary legacy. More importantly, Battistella provides insights into why Dorothy B. Hughes still matters today, making his new work an important contribution to the history of popular culture and literary history.