an interesting interview with cognitive scientist steven pinker on his book, the sense of style: the thinking person's guide to writing in the 21st century and writing styles in general.
a couple of excerpts:
a couple of excerpts:
JS: How much of that tendency comes from postmodern and poststructuralist fields where academics have very different ideas of what knowledge is and what can be proven? Do you think that some of those fields have done damage to academic writing?
SP: Oh absolutely, yeah. Unquestionably. Because by far the worst writing in academia comes from postmodernist scholars, notoriously so. When Denis Dutton ran his bad academic writing contest in the late 1990s, it was postmodernists and other similar literary scholars who won the award year after year.
Postmodernism is an extreme exaggeration of a stance which all academics have to some extent: we don’t open our eyes and just see the world as it is. We understand the world through our theories and constructs. We are constantly in danger of being misled by our own unconscious biases and assumptions. Gaining knowledge about the world is extremely difficult, so all of those qualifications are certainly true, and even scientists who believe in an objective reality acknowledge the fragility and difficulty of obtaining knowledge.
But postmodernism takes that to the lunatic extreme of denying that there is such a thing as objective, as the real world or objective reality or truth or knowledge at all. The problem is that one can be fully aware of all these epistemological issues, how hard it is to gain knowledge, but not let it cloud up one’s writing. That is, in writing one can for the purpose of exposition adopt a fiction that there is an objective world that you can know just by looking at it even if one is not committed to that as as an actual statement. So it is an indispensable fiction even if it is a fiction.
http://www.newrepublic.com/article/119687/steven-pinker-language-interview-jesse-singalJS: You’re not a fan of the “Gotcha gang,” as you call them—folks who take a narrow view of usage that often relies on questionable rules. You write, “In their zeal to purify usage and safeguard the language, they have made it difficult to think clearly about felicity and expression and have muddied the task of explaining the art of writing.” Can you expand on that a little?
SP: Absolutely. Many purists have remarkably little curiosity about the history of the language or the scholarly tradition of examining issues and usage. So a stickler insists that we never let a participle dangle, that you can’t say, “Turning the corner, a beautiful view awaited me,” for example. They never stopped to ask, “Where did that rule come from and what is its basis?” It was simply taught to them and so they reiterate it.
But if you look either at the history of great writing and language as it’s been used by its exemplary stylists, you find that they use dangling modifiers all the time. And if you look at the grammar of English you find that there is no rule that prohibits a dangling modifier. If you look at the history of scholars who have examined the dangling modifier rule, you find that it was pretty much pulled out of thin air by one usage guide a century ago and copied into every one since, And you also find that lots of sentences read much better if you leave the modifier dangling.