BORROWING
Concise Oxford Companion to the English Language
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1998
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© Concise Oxford Companion to the English Language 1998, originally published by Oxford University Press 1998. (Hide copyright information)
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BORROWING 1. Taking a word or phrase from one language into another, or from one variety of a language into another
.
2. The item so taken, such as
arpeggio from
ITALIAN into English, and
schlock from
YIDDISH into AmE, then into BrE. Borrowing is a major aspect of language change, but the term itself is a misnomer: it presumes repayment, whereas there is no
quid pro quo between languages. The item borrowed is not returned, because it never left the source language and in any case changes in the transfer. Compare
LOAN,
LOANWORD.
Patterns of borrowing
Any language, under appropriate circumstances, borrows lexical material from other languages, usually absorbing the exotic items or translating them into native equivalents. Some languages borrow more than others, and borrow more from some sources than others. English has borrowed massively from
FRENCH,
LATIN, and GREEK, significantly from Italian,
SPANISH,
GERMAN,
DANISH, and
DUTCH, and to varying degrees from every other language with which it has come in contact. The Cannon corpus of 13,683 new English words shows that this process continues unabated; the 1,029 transfers listed in the corpus entered English from 84 languages (1987–9) as follows: French 25%, Spanish and Japanese both 8%, Italian 6.3%, Latin 6.1%, Greek 6%, German 5.5%, and 77 languages contributed 1–39 items each. Here, only the Japanese element breaks the traditional pattern, in which European languages predominate.
Reasons for borrowing
The preconditions for borrowing are: (1) Close contact in especially multilingual situations, making the mixing of elements from different languages more or less commonplace. (2) The domination of some languages by others (for cultural, economic, political, religious, or other reasons), so that material flows ‘down’ from those ‘high’ languages into ‘lower’ vernaculars. (3) A sense of need, users of one language drawing material from another for such purposes as education and technology. (4) Prestige associated with using words from another language. (5) A mix of some or all of these. Individuals may use an exotic expression because it seems to them to be the most suitable term available, the only possible term (with no equivalent in any other language), or the most impressive term. Much of the vocabulary of French entered English in the Middle Ages because French was the language of political and social power and the channel through which mainland European culture reached Britain. Much of the vocabulary of Latin entered English during the Renaissance (directly or via French) because Latin was the European language of religion, education, and learning. While so prestigious a language could provide time-hallowed resources, there was little encouragement to develop the resources of relatively insignificant vernaculars like English. In the late 20c, English sometimes serves in its turn as a kind of Latin in the main because both have been languages of empire. Thus, as part of the Malaysian Government's educational programme based on Malay (intended to unify the nation's ethnic groups), the already polyglot scientific and technical vocabulary of English has been massively adopted into Malay.
Reasons for resisting borrowing
Listeners and readers have their own responses to the use of an exotic term, and these responses affect their inclination to repeat it. Although such reactions are not properties of the item itself, the associations formed may affect its new use, so that it may remain in a limited field, such as French
œuvre and
auteur in English literary criticism. Such a term may not be understood outside its field or may be considered pretentious. However, some items are so universally apt that they swiftly occupy a niche in the language at large, such as French
garage and
cliché. In addition, there may be personal and communal reasons for resisting the influx of foreignisms: for example, a protectionist language policy (as in Iceland), on the grounds that the community is small and linguistically fragile; a sense of past oppression (as in such ex-colonial countries as Tanzania, where
SWAHILI is promoted as a national medium rather than English); and pride in the home language and culture (as in Iran). All three factors were present in the Canadian province of Quebec in the 1970s, when official legislation militated against English influence on French.
Diffusion and adaptation
Borrowing is sometimes simple and limited (a few words taken from Language A into Language B), sometimes complex and extensive (much of the vocabulary of A becoming available for use in B, and perhaps C and D as well, as with
SANSKRIT in India,
ARABIC in West Asia, and Latin in Europe). What appears to be a single process affecting two languages may be multiple, in that an item may be diffused as a
pilgrim word into a range of languages, usually adapting as it goes: (1) Greek
phantasía has become French
fantaisie, German
Fantasie, Italian
fantasia,
PORTUGUESE fantazia, Spanish
fantasía, and English
fancy, along with
fantasy,
fantasia, and archaic
phantasy. (2) Latin
planta (sprout, offspring) passed into Italian as
pianta, Old English and Old French as
plante, Spanish
llanta, Portuguese
chanta, German
Pflanze,
WELSH plant, and Old Irish as
cland, whence it became
GAELIC clann (offspring, family, stock, race). Both
plant and
clan are now English words. (3) Sanskrit
dhyāna (meditation) passed into Pali as
jhāna, into Chinese as
ch'an, then into Japanese as
zen. Both
dhyana and
Zen are now English words.
There is a continuum in borrowing, from words that remain relatively alien and unassimilated in pronunciation and spelling (as with
blasé and
soirée from French), through those that become more or less acclimatized (as with
elite rather than
élite, while retaining a Frenchlike pronunciation, and
garage with its various pronunciations) to forms that have been assimilated so fully that their exotic origin is entirely obscured (as with
cockroach, from Spanish
cucaracha, and
chocolate through Spanish from Nahuatl
chocolatl).
A word taken from a typologically or genetically related language would appear to be more easily assimilated than one taken from a very different kind of language. Like English, Spanish is an Indo-European language written in the Roman alphabet, and so the absorption of items like
armada and
guerrilla into English offers few problems. However, some elements may be too alien for convenient absorption: for example, although Mexican Spanish
chili and
taco have been easily absorbed, the phrase
frijoles refritos has posed a problem, because the order of noun and adjective and the double plural are not native to English. As a result, the loan translation
refried beans has become the choice for non-bilinguals. On the other hand, Chinese is a tone language usually written ideographically; in theory, this should deter transfer, but large-scale English—Chinese and Chinese—English borrowing has gone ahead without much difficulty, English for example acquiring
chow mein,
ginseng,
kaolin,
taipan, and
tea/char.
Linguistic effects of borrowing
Transfers may have an influence on such basic aspects of a language as its pronunciation, spelling, syntax, and semantics. The local system usually overwhelms the acquisition; thus, when numbers of items with aspirated voiced stops came into English, spelled with
h, the consonantal system remained unchanged,
bhang being pronounced like
bang,
dhow like
dow,
ghat like
gat. However, transfers into English from French may be pronounced as closely as possible to the French (as with
raison d'être,
sabotage), or with concessions to French and adaptations into English (the various pronunciations of
garage). Morphological impact may introduce different plural forms: for example, such sets as Greek
criterion/criteria,
thesis/theses, Latin
appendix/appendices,
stimulus/stimuli,
Italian graffito/graffiti, and Hebrew
cherub/cherubim,
kibbutz/kibbutzim. However, such adoptions are not always stable, and conflict may occur between foreign and nativized forms, as with
cactus/cacti∼cactus. See
CLASSICAL ENDING. Perhaps the largest morphological impact on English has been the addition of French, Latin, and Greek affixes such as
dis-,
pro-,
anti-,
-ity,
-ism, and such combining forms as
bio-,
micro-,
-metry,
-logy, which replaced many of the original Germanic affixes in English. Only rarely do affixes from other sources establish themselves to any degree in English: for example, the suffix
-nik, from
RUSSIAN, as in
kolkhoznik, and Yiddish, as in
kibbutznik, and nativized, as in
beatnik and
peacenik.
Kinds of words borrowed
Nouns make up the highest proportion of transfers, followed by adjectives. Verbs are usually few, with even fewer adverbs and grammatical words like pronouns. However, the replacement of the Old English third-person plural
hīe by Old Danish
they shows that such transfers sometimes occur. The 1,029 recent transfers in the Cannon corpus break down into 916 nouns (such as
art trouvé,
honcho,
pita), 86 adjectives (such as
gauchesco,
kitschy,
Namibian), 12 verbs (such as
francicize,
nosh,
vinify), 3 interjections (
arigato from Japanese,
ciao from Italian,
inshallah from Arabic), and 12 bound forms (including
atto- from Danish/Norwegian,
-nik from Russian, and
ur- from German). This does not, however, mean that nouns are most and interjections least easily transferred; nouns in any case predominate in a language. In terms of such proportions, interjections are at least as easily borrowed, when the conditions are appropriate, as the worldwide spread of AmE
OK testifies. Phrases are also commonly transferred, as with
drame à clef and
roman à clef from French into English, Sentences are less common, although English has a tradition of using short Latin and French sentences like
Tempus fugit and
C'est la vie.
See
AFRIKAANS,
BANTU,
BISOCIATION,
CALQUE,
CHINA,
CLASSICAL COMPOUND, CODEMIXING AND CODE-SWITCHING,
COMBINING FORM,
DOUBLET,
ETYMOLOGY,
FOREIGNISM,
INDO-EUROPEAN LANGUAGES,
INTERNATIONAL SCIENTIFIC VOCABULARY,
JAPAN,
LANGUAGE CHANGE,
MAORI,
NEOLOGISM,
NONCE WORD,
NORSE,
PHILOLOGY. ROMANI,
TAGALOG.
BORROWINGS INTO ENGLISH
In the following sections, arranged according to the world's major regions, is a wide selection of languages from which at various times and in various ways English has borrowed. The samples are organized so as to suggest the proportions in which material from other languages is present in English, but no section seeks to be exhaustive and the historical dimension (for example, the periods when particular words entered English) is not explored. In some cases, the intermediary languages through which material has passed are indicated.
Oceania.
1. Australian Aboriginal:
billabong,
boomerang,
corroboree,
kangaroo,
koala,
kookaburra,
murree,
wallaby,
wombat,
yabber,
yakka/yacker.
2. Polynesian, including: Hawaiian
aloha,
heiau,
hula,
kapu,
lanai,
lei,
muumuu,
ukulele/ukelele,
wahine;
MAORI aroha,
iwi,
kauri,
kiwi,
Maoritanga,
marae,
moa,
ngati,
pakeha,
pohutukawa,
tangata whenua,
tangi,
toheroa,
tuatara,
whakapapa,
whare; Tahitian
tattoo; Tongan
kava,
taboo/tabu.
Africa.
1. Afrikaans:
aardvaark,
aardwolf,
apartheid,
Boer,
commando,
dorp,
kop,
kopje/koppie,
outspan,
spoor,
springbok,
trek.
2. BANTU languages, including Kongo, Swahili, Tswana, Xhosa, Zulu:
boma,
bwana,
chimpanzee,
impala,
impi,
indaba,
mamba,
marimba,
tsetse,
zombie.
3. West African languages, including Ewe, Fanti, Hausa, Mandingo, mainly through the Atlantic creoles:
anansi,
gumbo,
harmattan,
juju,
juke(
box),
mumbo-jumbo,
okra,
voodoo,
yam; perhaps
banjo,
jazz.
4. Malagasy:
raffia.
5. Khoisan languages:
gnu,
quagga.
The Americas.
1. Algonquian, including Abnaki, Cree, Micmac, Ojibway, Narragansett, Shawnee:
caucus,
chipmunk,
hickory,
manitou,
moccasin,
moose,
muskrat,
opossum,
papoose,
pecan,
pemmican,
persimmon,
pow-wow,
rac(
c)
oon,
skunk,
squash,
squaw,
succotash,
toboggan,
tomahawk,
wampum,
wapiti,
wigwam,
woodchuck.
2. Aleut and Inuit:
anorak,
igloo,
kayak,
parka.
3. Araucanian through Spanish:
coypu,
poncho.
4. Arawakan, especially through Spanish:
barbecue,
cacique,
hammock,
iguana,
potato,
tobacco,
savanna(
h)
.
5. Carib, especially through Spanish:
cannibal,
canoe,
hurricane,
macaw,
maize,
manatee,
papaya/pa(
w)
paw,
peccary,
tomalley,
yucca.
6. Creek:
catalpa,
tupelo.
7. Nahuatl through Spanish:
avocado,
axolotl,
cacao/cocoa,
chili/chilli,
chocolate,
coyote,
mescal,
ocelot,
peyote,
teocalli,
tomato.
8. Quechua through Spanish:
alpaca,
charqui/jerky,
coca(
ine),
condor,
guanaco,
guano,
llama,
pampas,
puma,
quinine,
vicuna.
9. Tupi-Guaraní through French, Portuguese, Spanish:
buccaneer,
cashew,
cayenne,
cougar,
ipecac(
uanha),
jaguar,
manioc,
petunia,
tapioca,
tapir,
toucan.
Asia: Western.
1. Arabic, through European languages:
admiral,
albatross,
alchemy,
alcohol,
alcove,
alembic,
algebra,
alkali,
almanac,
apricot,
arsenal,
assassin,
assegai,
attar,
aubergine,
azimuth,
bedouin,
caliph,
cipher/cypher,
emir,
gazelle,
genie/jinn,
ghoul,
giraffe,
hazard,
jasmine,
kismet,
Koran,
lemon,
magazine,
minaret,
mohair,
monsoon,
Moslem,
nadir,
saffron,
sash,
scarlet,
sequin,
sheik(
h),
sherbet,
simoom/simoon,
sirocco,
sofa,
syrup,
talisman,
tariff,
zero; direct or through Afro-Asian languages:
ayatollah,
harem,
hashish,
henna,
hooka(
h),
imam,
Islam,
jihad,
kaffir,
muezzin,
mufti,
mujahedin,
mullah,
Muslim,
nadir,
Qur'ān,
safari,
sahib,
salaam,
Sharia,
shaykh,
zenith.
2. Aramaic:
abbot,
kaddish,
pharisee.
3. Hebrew, especially through Greek, Latin, and Yiddish:
alphabet,
amen,
bedlam,
camel,
cherub,
cinnamon,
hosanna,
Jehovah,
manna,
maudlin,
nard,
nitre,
rabbi,
seraph,
shemozzle,
simony,
sodomy; more or less direct:
behemoth,
cabal,
Cabala,
chazan/haz(
z)
an,
golem,
hallelujah,
leviathan,
messiah,
sabbath,
shalom,
shibboleth,
Talmud,
Torah,
Yahweh.
4. Persian through European languages:
arsenic,
azure,
check,
checkmate,
magus/magic,
paradise,
peach,
pilaf,
pistachio,
spinach,
talc; direct or through Asian languages:
bazaar,
caravan/caravanserai,
dervish,
durbar,
jackal,
khaki,
kiosk,
lilac,
maidan,
mogul,
pilau/pulao,
pyjamas/pajamas,
shah,
shawl,
sherbet,
tiara,
tulip,
turban.
5. Turkish/Tatar:
bosh,
caftan/kaftan,
caique,
coffee,
cossack,
divan,
horde,
kavass,
khan,
kumiss,
mammoth,
pasha,
Tartar,
turkey,
turquoise,
yoghurt/yogurt/(
CanE)
yoghourt.
Asia: Southern and South-Eastern.
1. Hindi/Urdu:
bungalow,
crore,
dacoit,
deodar,
dinghy,
dungaree,
ghee,
gymkhana,
lakh/lac,
loot,
paisa,
pakora,
Raj,
samo(
o)
sa,
shampoo,
tandoori,
tom-tom,
wallah.
2. Javanese:
bantam,
batik,
gamelan,
junk.
3. . Malay:
amok/amuck,
bamboo,
caddy,
camphor,
cassowary,
cockatoo,
dugong,
durian,
gecko,
gingham,
gong,
kampong/compound,
kapok,
kris,
lory,
mangosteen,
organgutan/orang-outang,
paddy,
pangolin,
rattan,
sago,
sarong.
4. . Malayalam:
betel,
coir,
copra,
singer,
teak.
5. . Marathi:
mongoose.
6. Sanskrit through various languages:
ashram,
avatar,
banya,
banyan,
beryl,
brahmin,
carmine,
cheetah,
chintz,
chutney,
crimson,
juggernaut,
jungle,
jute,
lacquer,
mandarin,
palanquin,
pundit,
sapphire,
sugar,
suttee; more or less direct:
ahimsa,
asana,
ashrama,
atman,
avatara,
bodhisattva,
brahmana,
Buddha,
chakra,
guru,
hatha yoga,
karma,
lingam,
maharaja(
h),
mahatma,
mantra,
Maya,
nirvana,
raja(
h),
rani/ranee,
satyagraha,
sutra,
swastika,
yantra,
yoga,
yogasana.
7. . Sinhala:
anaconda,
tourmaline.
8. TAGALOG:
boondock,
ylang-ylang.
9. . Tamil:
catamaran,
cheroot,
curry,
mango,
mulligatawny,
pariah.
10. . Telugu:
bandicoot.
Asia: Central and Eastern.
1. Chinese languages:
china,
chin-chin,
chopsticks,
chopsuey,
chow chow,
chow mein,
fan-tan,
ginseng,
gung-ho,
kaolin,
ketchup/catsup,
kowtow,
kung fu,
litchi/lichee/lychee,
loquat,
mahjong,
pekoe,
sampan,
tai chi,
taipan,
Tao,
tea,
yang,
yen,
yin.
2. Japanese:
aikido,
banzai,
bonsai,
bushido,
futon,
geisha,
haiku,
harakiri,
judo,
jujitsu,
Kabuki,
kamikaze,
kimono,
koan,
mikado,
sake,
samisen,
samurai,
sayonara,
Shinto,
shogun,
soy(
a),
sushi,
teriyaki,
tofu,
tycoon,
yen,
Zen.
3. Tibetan:
lama,
yak,
yeti.
4. Tungus:
shaman.
Europe: the Celtic languages.
1. Breton through French:
bijou,
dolmen,
menhir.
2. Celtic before Gaelic, Welsh, Breton, and Cornish, and through Latin, French, and Old English:
ambassador/embassy,
bannock,
bard,
bracket,
breeches,
car/carry/career/carriage/cargo/carpenter/charge,
crag,
druid,
minion,
peat,
piece,
vassal/valet/varlet.
3. Cornish:
porbeagle,
wrasse.
4. Gaelic, general:
bog,
cairn,
clarsach,
coronach,
crag,
crannog,
gab/gob,
galore,
skene,
usquebaugh/whisk(
e)
y; Irish:
banshee,
blarney,
brogue,
colleen,
hooligan,
leprechaun,
lough,
macushla,
mavourneen,
poteen,
shamrock,
shebeen,
shillelagh,
smithereens,
spalpeen,
Tory.
5. Scottish:
caber,
cailleach,
cairngorm,
clachan,
clan,
claymore,
corrie,
glen,
loch,
lochan,
pibroch,
plaid,
ptarmigan,
slogan,
sporran,
strath,
trews,
trousers.
6. Welsh:
bug,
coracle,
corgi,
cromlech,
cwm,
eisteddfod,
flannel,
flummery.
Europe: the Germanic languages.
1. Danish:
smørrebrød/smorrebrod.
2. Dutch, including Flemish and Low German (but not Afrikaans):
bluff,
boor,
boss,
brandy,
bully,
bumpkin,
clamp,
clipper,
coleslaw,
cookie,
cruise,
dapper,
derrick,
dope,
drill,
drum,
easel,
frolic,
golf,
grime,
hunk,
kink,
landscape,
loiter,
poppycock,
rant,
runt,
scow,
skipper,
sled,
sledge,
sleigh,
slim,
smack,
smuggle,
snap,
snoop,
splint,
spook,
stoop,
yacht,
yawl.
3. German:
blitz(
krieg),
dachshund,
fahrenheit,
flak,
frankfurter,
glockenspiel,
gneiss,
hamburger,
hamster,
kaffeeklatsch,
kindergarten,
kitsch,
leberwurst,
leitmotiv,
nix,
pretzel,
quartz,
realpolitik,
sauerkraut,
schadenfreude,
schmaltz,
schnitzel,
schwa,
strafe,
waltz,
weltanschauung,
weltgeist,
yodel,
zeitgeist.
4. Icelandic:
auk,
eider,
geyser,
saga.
5. Norse:
anger,
balderdash,
bing,
bleak,
blether,
blink,
bloom,
blunder,
blur,
call,
clamber,
creek,
crook,
die,
dirt,
dowdy,
doze,
dregs,
egg,
fellow,
flat,
flaunt,
flaw,
fleck,
flimsy,
gasp,
gaunt,
gaze,
girth,
glint,
glitter,
gloat,
happen,
harsh,
inkling,
kick,
kilt,
law,
leg,
loan,
meek,
midden,
muck,
muggy,
nasty,
nudge,
oaf,
odd,
raise,
root,
scalp,
scant,
scowl,
seat,
skerry,
skewer,
skid,
skill,
skin,
skull,
sky,
sniff,
snub,
squall,
squeal,
take,
they,
thrall,
thrift,
thrust,
ugly,
vole,
want,
weak,
window.
6. Norwegian:
fjord/fiord,
floe,
kraken,
krill,
lemming,
ski,
slalom.
7. Scots, in English at large:
balmoral,
burn,
canny,
carfuffle/kerfuffle,
collie,
cosy,
eerie,
eldritch,
forebear,
glamour,
glengarry,
gloaming,
glower,
gumption,
guddle,
lilt,
pony,
raid,
rampage,
uncanny,
wee,
weird,
wizened,
wraith; mainly in Scotland:
ashet,
bogle,
bonnie,
burn,
cleg,
dreich,
dwam,
fornent,
furth of,
glaikit,
glaur,
hochmagandy,
howf,
leal,
lowp,
outwith,
scunner,
speir,
stot,
thole,
trauchle.
8. Swedish:
glogg,
ombudsman,
smörgåsbord/smorgasbord,
tungsten.
9. Yiddish:
chutzpah,
shlemiel,
shlep,
shlock,
schmaltzy.
Europe: Greek.
1. Inflectional endings retained but spelt in the Latin style:
abiogenesis,
aegis,
analysis,
anemone,
antithesis,
automaton,
charisma,
cinema,
crisis,
criterion,
cytokinesis,
diagnosis,
dogma,
drama,
electron,
enigma,
genesis,
gnosis,
hoi polloi,
kerygma,
lalophobia,
magma,
osteoporosis,
phenomenon,
photon,
rhinoceros,
rhododendron,
stigma,
synthesis,
thesis.
2. With Latin endings:
brontosaurus,
chrysanthemum,
diplodocus,
hippopotamus,
Pliohippus.
3. Endings dropped or adapted:
agnostic,
agnosticism,
alphabet,
alphabetic,
analyst,
analytic,
anthocyanin,
astrobleme,
atheism,
automatic,
biologist,
biology,
blasphemy,
charismatic,
chemotherapy,
chronobiology,
cinematography,
critic,
criticism,
dinosaur,
dogmatic,
dogmatism,
dramatic,
dramatist,
electric,
electronic,
enigmatic,
epistemic,
epistemology,
gene,
genetic,
herpetology,
narcolepsy,
odyssey,
oligarchy,
patriarch,
phenomenology,
photograph,
pterodactyl,
sympathomimetic.
4. Modern:
bouzouki,
moussaka,
ouzo,
rebetika,
sirtaki,
souvlaki.
Europe: Latin.
1. Inflectional endings retained:
addendum,
albumen,
apex,
area,
bacterium/bacteria,
cactus,
calix,
camera,
cancer,
circus,
colossus,
complex,
datum/data,
discus,
equilibrium,
fauna,
flora,
formula,
fungus,
genius,
genus,
homunculus,
honorarium,
inertia,
interim,
latex,
locus,
medium/media,
memorandum,
momentum,
onus,
opera,
ovum,
pauper,
pendulum,
peninsula,
propaganda,
radium,
referendum,
series,
simile,
simplex,
status,
stimulus,
terminus,
vertigo,
victor.
2. Actual inflected Latin verbs used as nouns:
audio,
audit,
caveat,
exeunt,
fiat,
floruit,
imprimatur,
mandamus,
video.
3. Fixed phrases:
ad hoc,
a posteriori,
de facto,
de jure,
extempore, (
ex)
post facto,
post mortem,
quid pro quo,
sine die.
4. Binomials:
Homo sapiens,
Pax Britannica,
miles gloriosus,
gluteus maximus.
5. Endings dropped or adapted, often through French:
add,
addition,
additive,
agent,
agentive,
aqueduct,
candle,
colo(
u)
r,
colossal,
consider,
contemplate,
decide,
decision,
erupt,
eruption,
general,
generic,
hono(
u)
r,
hono(
u)
rable,
honorary,
igneous,
ignite,
ignition,
ignoble,
illiteracy,
illiterate,
immoral,
immortality,
ingenious,
ingenuity,
literacy,
literate,
literature,
meditate,
meditation,
meditative,
memorable,
memory,
moment,
momentary,
momentous,
moral,
morality,
nobility,
noble,
pendulous,
peninsular,
revise,
revision,
sex,
similar,
similarity,
temple.
Europe: the Romance languages.
1. French, Old:
allow,
bastard,
beauty,
beef,
brush,
castle,
chivalry,
choice,
cloister,
conquest,
constraint,
court,
defeat,
destroy,
dinner,
forest,
frail,
garden,
govern,
honest,
hostel,
interest,
judge,
loyal,
marvel,
mutton,
paste,
place,
poison,
pork,
priest,
push,
quarter,
quest,
royal,
stuff,
sure,
tempest,
ticket,
trick; Modern:
aperitif/apértif,
apresski/après-ski,
avantgarde,
bidet,
bourgeois(
ie),
brasserie,
brassiere/brassière,
cafe/café,
camouflage,
canard,
chateau/château,
chef,
chevalier,
coup de grace/grâce,
coup d'etat/état,
croissant,
cuisine,
debacle/débacle/débâcle,
debut/début,
dessert,
elite/élite,
esprit de corps,
etiquette,
fiance(
e)
/fiancé(
e),
fricasee/fricassée,
frisson,
garage,
gourmand,
gourmet,
hors d'oeuvre,
hotel,
joie de vivre,
liaison,
limousine,
lingerie,
marionette,
morale,
nee/née,
objet d'art.
parole,
pastiche,
patisserie/pâtisserie,
petite,
pirouette,
prestige,
regime/régime,
risque/risqué,
silhouette,
souvenir,
toilette,
vignette,
voyeur,
2. Italian, through French:
balcony,
battalion,
brigade,
charlatan,
design,
frigate,
granite,
squadron; direct:
alto,
arpeggio,
bordello,
broccoli,
cameo,
canto,
confetti,
contralto,
cupola,
ghetto,
graffiti,
grotto,
imbroglio,
lasagne,
libretto,
mozzarella,
pasta,
piano(
forte),
piazza,
piccolo,
pizza,
pizzeria,
pizzicato,
ravioli,
risotto,
sonata,
seraglio,
soprano,
spaghetti,
staccato,
stanza,
studio,
tagliatelle,
vermicelli.
3. Occitan/Provençal, usually through French:
ballad,
beret,
cocoon,
funnel,
nutmeg,
troubadour.
4. Portuguese:
albino,
caste,
marmalade,
molasses,
palaver.
5. Spanish, adapted:
alligator,
anchovy,
barricade,
cask,
cedilla,
galleon,
grenade,
hoosegow,
lariat,
ranch,
renegade,
sherry,
stampede,
stevedore,
vamoose; direct:
adobe,
armada,
armadillo,
borracho,
bravado,
chili,
chinchilla,
embargo,
guerrilla,
hacienda,
mosquito,
mulatto,
negro,
peccadillo,
pinto,
pronto,
sarsaparilla,
silo,
sombrero,
vigilante.
Europe: the Slavonic languages.
1. Czech:
howitzer,
pistol,
robot.
2. Polish:
mazurka,
polka.
3. Russian:
agitprop,
borsch,
cosmonaut,
czar/tsar,
dros(
h)
ky,
glasnost,
gulag,
perestroika,
pogrom,
samizdat,
samovar,
steppe,
troika,
vodka.
Europe: the unique languages.
1. Basque through Spanish:
chaparral,
jai alai.
2. Finnish:
sauna.
3. Hungarian:
coach,
czardas/csárdás,
goulash,
hussar,
paprika,
tokay.
4. ROMANI:
nark,
pal.
Cite this article
Pick a style below, and copy the text for your bibliography.
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Pierre Boulez et le theatre de la cruaute d'Antonin Artaud : de Pelleas a Rituel, in memoriam Bruno Maderna.
Magazine article from: Intersections: Canadian Journal of Music/ Revue Canadienne de Musique; 3/22/2008; ; 700+ words
; Deux traditions se sont rencontrees. Mais nos pensees cadenassees N'avaient pas la place qu'il faut, Experience a recommencer. --Antonin Artaud INTRODUCTION Compositeur, pedagogue, theoricien, chef d'orchestre, Pierre Boulez est un artiste aux activites multiples, mais aussi un auteur
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Tanto por Escuchar.(Cultura)
Newspaper article from: Reforma (México D.F., México); 9/4/2003; 700+ words
; ...realiza un trabajo de ensamble extraordinario. Maderna sin etiquetas La poesa acompa a Bruno Maderna (1920-1973) a lo largo de toda su vida...lnea vocal. De esta primera etapa creativa, Maderna conservar una cierta ingenuidad que ir acrisolando...
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Oboe Concertos: No. 1; No. 2; No. 3
Magazine article from: Fanfare; 9/1/2007; ; 700+ words
; MADERNA Oboe Concertos: No. 1; No. 2; No...Saarbrcken RSO * COL LEGNO 20037 (55:54) Bruno Maderna (1920-1973) was one of the great polymath...identifying factor.) At various times Maderna's music suggests Boulez and the late...
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And then there were none; The death of the avant-garde composer Luciano Berio has left a void at the heart of Italian music.
Newspaper article from: The Evening Standard (London, England); 6/11/2003; ; 700+ words
; ...whom burst forth simultaneously. Bruno Maderna, a magnetic Venetian, co-founded...the party's central committee, Maderna a revitalising moral force at the...Fifties to make strange noises with Maderna and discuss semiotics with his new...
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Berio provides challenges, and logic
Newspaper article from: The Boston Globe; 3/11/1994; ; 700+ words
; ...a work by his great compatriot Bruno Maderna, "Serenata per un satellite...called "Rendering." The 1969 Maderna work is a short, transparent serenade...as it sounds; like John Cage, Maderna didn't frame a question unless...
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A BOULEZ DISCOGRAPHY
Newspaper article from: Chicago Sun-Times; 12/15/1991; ; 345 words
; ...Instrumental Ensemble," with Bruno Maderna and the Ensemble InterContemporain...Eclat" and "Rituel (in memoriam Bruno Maderna) for Orchestra," with Boulez...cello; "Rituel (in memoriam Bruno Maderna) for Orchestra." Daniel Barenboim...
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Wie die elektronische Musik "erfunden" wurde ...: Quellenstudie zu Werner Meyer-Epplers musikalischem Entwurf zwischen 1949 und 1953.
Magazine article from: Notes; 9/1/1994; ; 700+ words
; ...Eppler's collaboration with Bruno Maderna on his Musica su due dimensione...Eimert introduced them in Bonn, that Maderna subsequently wrote to Meyer-Eppler...other hand, neither do we learn of Maderna's dissatisfaction with this hastily...
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Obituary: Luciano Berio
Magazine article from: Musical Opinion; 7/1/2003; ; 700+ words
; ...became Berio's main teacher, and who, together with Bruno Maderna, helped to promote serial composition in Italy. By...creative imagination. In 1955 he co-founded, with Bruno Maderna, the Studio di Fonologia in Milan, and coopted Cathy...
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Obituary: Giuseppe Sinopoli
Newspaper article from: The Independent - London; 4/23/2001; ; 700+ words
; ...contemporary and electronic music After further study with Bruno Maderna and Karlheinz Stockhausen at Darmstadt, and with Hans Swarowsky in Vienna, in 1975 he founded the Bruno Maderna Ensemble for contemporary music, and made his concert...
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Classical and Jazz music
Newspaper article from: The Northern Echo; 1/20/2000; 700+ words
; ...stops in a disc of top class recorded quality. *** Bruno Maderna: Music for Strings. Arditti Quartet etc. Auvidis...MO782049 A CHILD prodigy as a violinist in Venice, Bruno Maderna's music for strings has retained a feel for the lyrical...
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Bruno Maderna
Book article from: The Columbia Encyclopedia, Sixth Edition
Bruno Maderna , 1920-73, Italian composer and conductor, b. Venice. Maderna studied composing with Gian Francesco...introduced many avant-garde works to Italy. Maderna's music at times employed serialism...
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Maderna, Bruno
Book article from: World Encyclopedia
Maderna, Bruno (1920–73) Italian composer, conductor, and leader of the Italian avant-garde. In 1955 he founded, with Berio , the electronic music studio of Italian Radio. Maderna often combined electronic media with live performance.
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Berio, Luciano
Book article from: The Concise Oxford Dictionary of Music
...It. composer. In 1955 with Maderna founded EMS at It. Radio, remaining...8); Divertimento (collab. Maderna ) (1957); Différences...1975); Calmo ( in memoriam Bruno Maderna ), mez., ens. (1974, rev...
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Bernard Rands
Encyclopedia entry from: Encyclopedia of World Biography
...Vlad in Rome, Luigi Dallapiccola in Florence, and Bruno Maderna. Rands's most influential teacher in Italy was Luciano...s music, such as Pierre Boulez, Luciano Berio, Bruno Maderna, Neville Marriner, Zubin Mehta, Riccardo Muti, Seiji...
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Boulez, Pierre
Book article from: The Concise Oxford Dictionary of Music
...contemporaries. At this time, est. contacts with Maderna and Stockhausen and joined teaching staff at the Int...moriales (1973–5); Rituel in memoriam Bruno Maderna (1974–5); Notations (rev. of early...
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