The difference over twenty years, in the making of ET since 1985, includes the vanishing away of paper files. In a cabinet beside my desk I have A–Z files for the many people who literally ‘wrote’ – that is, typed – to me on paper. I almost never consult any of those files now, and don’t remember when I last added a sheet to them. Instead, of course, I check my email, which piles up electronically in non-real space somewhere inside this machine in front of me. And, though I strive to keep my records straight, I seldom check back very far or go into e-files of old e-mails. And, most days, whether in Cambridge or in Hong Kong, I read daily e-abstracts from my much-prized Edinburgh newspaper, The Scotsman, and don't recall when I last saw, leave alone bought and read, a conventional paper edition of it.

THIS PAPER recounts the challenges faced by young Nigerian writers in a climate that is hostile to new authors. The experience presented and discussed here epitomises both the dilemma and the experiences of the new generation of creative writers. The problem of language choice – English or a mother tongue – is re-examined, while exploring the various reasons, noble and not so noble, behind such matters as: choice of genre, the new writer’s response to democracy and globalization, the problem of audience recognition, and the failure of do-it-yourself publishing and marketing.

THIS STUDY investigates how speakers of Educated Yoruba English (EYE) produce the vowels in typically unstressed syllables of English words whose suffixes require a shift of stress and a consequent reduction of vowels, as in atómic from átom and dramátic from dráma. Twenty suffixed English words were read by one hundred Yoruba subjects, with a Briton who studied at the University of London serving as the control. The focus is on Yoruba English because of both its many speakers and the need for a ‘geo-tribal’ approach to defining the concept Nigerian English. The data was analysed by converting tokens of occurrence to percentages, the higher percentages being taken as the norm. The acoustic analysis was done in a computerized speech laboratory. The study establishes that vowels occurring in typically unstressed syllables in traditional Standard English remain strong and full in educated Yoruba English.

AS ELECTRONIC engineers create virtual reality in and through computer software, they are also creating new English words to describe their ongoing technical achievements. While following existing rules of word formation, they are also changing these rules: for example, by making new nouns from prepositions. Their neologisms seem to be driven by humorous responses to electronic requirements of speed, multi-functionality and reversibility. This paper examines the current but on-going impact of their usage on the grammatical structure of the language. In a rapidly-evolving electronic future, their usage is likely to have a major impact on how ‘ordinary’ Internet users communicate online.

BY GENERAL consensus English has become, if not a global language, then at the very least a lingua franca. Some commentators on English in the world, like Robert Phillipson (Linguistic Imperialism (Oxford University Press, 1992), use the term that serves him as a title to imply that English is itself part of the problem of having just such a global language. The argument here however is that English – like Latin, Sanskrit, Classical Arabic and Examination Chinese – through its political ascendancy (as a result of various waves of colonial activity alongside its use for religious purposes), may have taken on the character of a ‘semi-sacred’ rather than simply an imperial and imperialist language.

SLANG IS characterized by its capacity to shock, startle and amuse: often achieved by manipulating existing lexical material in a playful way. Indeed, this play instinct is at the core of language use at large: cf. Nilsen & Nilsen (1978:28–44), Redfern (1984:6), and especially Crystal (1998). It is however in the realm of informal discourse that all types of ludic word-forming – from malapropisms to homonymic puns – thrive most richly. One such way of manipulating existing lexical items is to expand them implicitly into longer forms so that the original does double (and often facetious) duty. This process is at work not only in such acronyms as S.F.A. – impeccably, Scottish Football Association, but facetiously both sweet fuck-all and its euphemistic variant Sweet Fanny Adams – but also in such elaborations as do-re-mi for ‘dough’ (US slang money), Oswald for ‘an ounce’ of a drug (expanding oz, the abbreviation of ‘ounce’), and Georgie (after the late renowned footballer George or Georgie Best), for ‘best’ itself. The following article seeks to explore the curious realm of curtailed puns formed on the same principle as Georgie.

The 20th century’s most popular novelist? – the third of three articles. The year 2005 marks the 50th anniversary of the publication of J.R.R. Tolkien’s prose epic The Lord of the Rings: voted ‘the book of the century’ in a poll conducted in 1997 by the UK book retailer Waterstones and ‘the UK’s best loved book’ in a BBC survey carried out in 2003. TLOTR was adapted to the screen in 2001 by the New Zealand-based director Peter Jackson and released, to widespread acclaim, in three parts between 2001 and 2003. The present is the third of three linked discussions of Tolkien’s work and the media through which it has been channelled (text and film), and of why it has been so phenomenally popular.

‘UK school leavers a dismal failure’: conclusion of a survey of employer opinion on communicative and related skills. Most of the text (unadapted) of a British press release sent to ET in Nov 05 by the Forum of Private Business (FPB), a pressure group formed in 1977 that represents c.25,000 UK-based small and medium businesses (SMEs) employing over half a million people, for which it lobbies in both the United Kingdom and the European Union at large. The FPB claims ‘a track record of positively affecting [EU] legislation prior to its introduction in the UK’ (and elsewhere in the EU).

Two inter-related essays deal with matters of current English usage. The first is on an orthographic theme, while the second is on a lexical one. (1) On the letters ‘ph’ in English, (2) On Beedham on Pinker on ‘computer mouse’

THE RECENT Bulley-Davidson discussion of English initial consonant clusters (ET80, ET81, ET83) brings attention to the need for phonetic rigor and some phonological understanding when describing the sounds and sound patterns of English. Three topics the two writers deal with would benefit from such rigor: /tr/ and /dr/ clusters, the status and function of /j/ in initial clusters before /u/, and the role of syllable structure in the description of consonant clusters.

LITTLE BRITAIN is a television comedy show in the UK. Recurring characters appear in its episodes enacting situations that can be said to satirize British society. It was first aired by the BBC in February 2003. Little Britain has quickly amassed a loyal following and has grown significantly in popularity. It has won a number of prestigious comedy awards including ‘Best Comedy Performance’ and ‘Comedy Programme or Series Award’ at the BAFTAs (British Academy of Film and Television Arts awards, 2005). The humour in Little Britain has therefore been successful. Moreover, it is not based purely on visual comedy, being originally launched on BBC Radio 4 then transferred to television. Its humour originates in the language used. Schema theory, a useful tool for analysing much situational comedy, can shed light on the construction and interpretation of humour in Little Britain