Occidental & Oriental

Occidental (pronounced ok-si-den-tl)

(1) Of, relating to, or characteristic of the Occident or its natives and inhabitants (usually initial capital letter).

(2) A literary or formal word for Western.

(3) A native or inhabitant of the Occident (usually initial capital letter).

(4) An artificial language, created by Baltic German mathematician Edgar de Wahl (1867-1948), later renamed Interlingue shortly before the publication of Interlingua (1949) (always initial capital).

1350–1400: A Middle English borrowing from the Old French occidental from the Latin occidentālis (western), the construct being occident- + -ālis.  The Latin occidentalis was from occidēns (west), the present active participle of occidō (I fall down; pass away).  Occidental is a noun & adjective, occidentalism, occident & occidentalist are nouns and occidentally is an adverb; the noun plural is occidentals.

Oriental (pronounced awr-ee-en-tl or ohr‐ee-en-tl)

(1) Of, relating to, or characteristic of the Orient, or East; Eastern (usually initial capital letter).

(2) Of the orient, or the eastern region of the world.

(3) In geography, belonging to a geographical division comprising southern Asia and the Malay Archipelago as far as and including the Philippines, Borneo, and Java (initial capital letter).  (In pre-modern geography, pertaining to the regions east of the Mediterranean, beyond the Roman Empire or the early Christian world).  Oriental is a noun & adjective, orientalism, orient & orientalist are nouns and orientally is an adverb; the noun plural is orientals (often correctly used with initial capital).

(4) In jewelry, designating various gems that are varieties of corundum: Oriental aquamarine; Oriental ruby (usually initial capital letter).

(5) Designating certain natural saltwater pearls found especially in Asia.

(6) Of a pearl or other precious stone: having a superior lustre.

(7) A breed of slender muscular cat with large ears, long legs, and a long tail.

(8) A native or inhabitant of the Orient (usually initial capital letter).

(9) In astronomy and astrology), pertaining to the eastern part of the sky; happening before sunrise.

(10) Designating various types of aromatic tobacco grown in Turkey and the Balkans (post-nineteenth century use).

(11) A lily cultivar of a widely varied group, with strong scent.

(12) In any context, eastern or of the eastern part (obsolete except as a literary or poetic device).

1350–1400: Middle English from the Middle French $ Anglo-Latin oriental from the Latin orientālis (eastern), from oriēns (rising (of the sun)), present active participle of orior (I rise), the construct being orient- (east, the east) –ālis.  The suffix –ālis was added to a noun or numeral to form an adjective of relationship; it was from the primitive Indo-European -li-, which later dissimilated into an early version of –aris, perhaps connected to hzel- (to grow).  The neuter form was –āle.

Edward Said

Controversial even in the post-colonial milieu of the time, Edward Said’s (1935-2003) Orientalism (1979) was a critique of a particular construct of the historic Western treatment of things eastern.  It dealt with not only academic orientalists but also seminal figures of western social science such as Karl Marx (1818-1883) and Max Weber (1864-1920) whose writings emphasized fundamental differences between East and West.  It’s regarded still, by some, as a dangerous book, blamed for the schism in the field of modern Middle Eastern studies which coalesced into the polarized factions of the Middle East Studies Association (MESA) and its newer rival, the Association for the Study of the Middle East and Africa (ASMEA).  The stylistic patchwork Said adopted perhaps made criticism inevitable.  Within a scholarly framework, the author laid bare his outage at the reductionist objectification of the Western tradition in its treatment of the other, his words construed as political and polemic.

Even the book's covers attracted comment and varied according to the market in which it was sold although, unlike some controversial titles, it was apparently never necessary anywhere to offer it in a plain, brown wrapper. 

Detractors and admirers alike all were aware of the significance of Orientalism and it’s regarded still as “one of the most influential scholarly books published in English in the last half-century”, even by some who documented its flaws.  The book was one of those rare texts in historiography which stirred up a stormy debate in and beyond academia, the idea of authors in the West having a skewed and condescending view towards the East finding a sympathetic audience.  So incendiary was the reaction that not only was the book controversial but so was the nature of the reaction although, despite the claims of some, the pattern of the responses appeared not to align with the ethnicity or religious orientation of the scholars and intellectuals but with their attitude to history and the modern and post-modern philosophical ideas (deconstruction, truth as illusion, intellectual hegemony et al).

In a sense, it was Said himself who created the structure for the criticism which would follow because he defined Orientalism in three ways: (1) the academic profession, (2) the world view and (3) a mode of hegemony.  The first was the most readily understood, an academic Orientalist was anyone who teaches, writes about, or researches the Orient, whether they be an anthropologist, sociologist, historian, philologist or literary critic.  That did not imply the world view of Orientalists was monolithic but Said did contend that their views were almost invariably dictated by a style of thought based upon an ontological and epistemological distinction made between the “the Orient” and “the Occident” (ie between Eastern & Western culture) and this applied also to poets, novelists, philosophers, political theorists and economists, their position a direct inheritance from the ideas spread by European imperial administrators, travellers and explorers; whether in simple or elaborate form, the theorists, novelists and poets all worked within the same framework of “difference”.  Finally, Said defined Orientalism by the actual political and colonial relations constructed in “the West” epistemologically, based on the earlier definitions; it was this construct with which the West conducted itself with the Orient.  Perhaps predictably, the academics appeared more upset at what they perceived as Said’s attack on the accuracy of their research and their intellectual impartiality than what was done with what he claim they created, even if unknowingly. 

One concept he introduced was the notion of “the distinction between the latent and manifest orientalism”, the latent being a general unconscious certainty the Orient was the way it has been described by the practitioners while the manifest was the supremacy of American imperialism as practiced since in the post-war years they assumed the hegemony in things east of Suez from the British and French: “The distinction I am making is really between an almost unconscious (and certainly an untouchable) positivity, which I shall call latent Orientalism, and the various stated views about Oriental society, languages, literatures, history, sociology, and so forth, which I shall call manifest Orientalism”.  The idea of the latent and manifest wasn’t wholly new but was one which later would be picked up and developed in critical race theory (CRT).

An occidental in the orient: Long-time resident Lindsay Lohan creating a photo opportunity with the Dubai Police, thanking them and the government of the United Arab Emirates (UAE) for their ongoing support during the Covid-19 pandemic, Dubai, April 2020.

That the critics found faults in both Said’s historiography and theoretical inconsistencies in his framework clearly pleased them but appeared to do little to affect the impact of Orientalism, something probably at least partly attributable to his deconstruction of the Western filter through which things eastern were viewed being built with the tools provided by some of the cult favourites in late twentieth century Western philosophy: Friedrich Nietzsche (1844–1900) (representation and the thing-in-itself), Michel Foucault (1926–1984) (discourse, power, knowledge, episteme and truth regimes), Antonio Gramsci (1891–1937) (cultural hegemony) and Jacques Derrida (1930-2004) (deconstruction).  Said was a subtle thinker but to try to synthesize something from applying the thoughts of that lot would of necessity need some intellectual brutishness just to make it fit and it’s not surprising there were those who faulted him for occupying “…theoretical positions which are mutually contradictory”.  Still, if anything the effect of that was stimulative and Orientalism was one of those books which people read and found it confirmed their own views about the West or the West’s critics.  It’s doubtful Orientalism changed many minds and there were flaws which the critics were right to identify but regardless of how ultimately it will be remembered as an academic text, it remains a literary classic.

Pandemonium

Pandemonium (pronounced pan-duh-moh-nee-uhm)

(1) Wild uproar or unrestrained disorder; tumult or chaos.

(2) A place or scene of riotous uproar or utter chaos.

(3) Satan’s palace at the centre of Hell in Milton’s Paradise Lost.

(4) Following Milton, the abode of all the demons (often with initial capital letter).

1667: In John Milton’s (1608-1674) epic poem, Paradise Lost (1667-1674), Pandæmonium was the name of the palace in the centre of hell, "the high capital of Satan and all his peers”.  Milton coined the word as a construct of the Ancient Greek πᾶν (pân) (all; every (and equivalent to the English pan-)) + the Late Latin daemonium (evil spirit, demon), from the Ancient Greek δαιμόνιον (daimónion) (a diminutive form of δαίμων (daímōn) (“little deity”, “little spirit”, “little angel” or (as Christians interpreted it) “little daemon”, later modernized as “demon”).  Depending on one’s didactic or literary purpose, Pandæmonium may thus be translated variously as “All Demons” or, following Milton, as Pandemoneios (Παν-δαιμον-ειον) (the place of all demons).  The transferred sense of “a place of uproar” dates from 1779 while the general use meaning “wild, lawless confusion” has been in use since 1865.  The alternative spellings are pandaemonium & pandæmonium, the latter still in literary use.  Pandemonium is a noun, pandemoniacal, pandemonious, pandemonic & pandemonian are adjectives, pandemoniac is a noun & adjective; the noun plural is either pandemoniums or pandemonia.

There are special, technical uses of “pandemonium”.  In physics, a pandemonium describes a problem that leads to inaccurate results from high-resolution gamma ray detectors in cases of beta decay when the decay product has a large Q value because the decay product has too many possible energy excitation levels with too much variation in the amount of energy emitted by different levels.  Those who understand that doubtlessly visualize the phenomenon while the rest of us probably need something like a cartoon.  In cognitive science, a pandemonium is a conception of visual object recognition in the brain as a hierarchical system of detection and association by a metaphorical set of "demons" sending signals to each other.  No cartoons required.

Some who have inspired fandemonium: The anyway statuesque Taylor Swift, adding to the effect in 6 inch (150 mm) heels (2016, right), the mean girls of Mean Girls (2004, centre) and the more diminutive Lady Gaga (2023, right).

By way of portmanteau nouns, pandemonium has been an element in (1) pandemonium (panda + (pande)–monium) (the furor induced by the reaction of people to the sight of pandas) and (2) fandemonium (fan + -(pan)demonium) (in pop-culture, the furor caused by or involving fans).  In the matter fandemonium, Lady Gaga (b 1986) called her fans “little monsters” while devotees of the Taylor Swift (b 1989) cult are known as “Swifties” (apparently always with an initial capital).

Paradise Lost

Written in the epic tradition of starting in medias res (in the midst of things), John Milton’s Paradise Lost was published originally as a poem of some ten-thousand lines in ten books (1667) before the second edition (1674) was re-organized into twelve volumes, possibly a nod to the Roman poet Virgil (Publius Vergilius Maro (70–19 BC)) whose epic work the Aeneid (circa 30-19 BC) was thus assembled.  The poem is an account of the biblical tale of the fall of man: the temptation of Adam & Eve by the fallen angel Satan and their expulsion from the Garden of Eden and was structured in two narrative threads, one following Satan, the other about Adam and Eve, a depiction of the tragedy of human existence which can be transformed only by a pure will for redemption.  The second edition is easier to read because it includes chapter summaries.

Milton coined the name for the capital of Hell, “the High Capital, of Satan and his Peers”, built by the fallen angels at the suggestion of Mammon and it appears at the end of Book I of Paradise Lost (1667), noted as having been designed by the architect Mulciber (In Ancient Rome, Mulciber was another name for the Roman god Vulcan), the designer of palaces in Heaven before his fall.  Book II begins with the debate among the Stygian Council (known also as the Infernal Council and the grand gathering of the demons of the Inferno; apparently something like a Tory Party conference but with better catering) in the council-chamber of Pandæmonium.  In an example of free-market efficiency, the demons built the structure in little more than an hour though by far it surpassed in grandeur all human palaces and, being made from solid gold, it never tarnished.  Interestingly, it was Tardis-like, being both small yet with a vast and spacious hall which thronged with swarms of shape-shifting demons, a quality which may account for the spatial ambiguity in the account of the dimensions.

The Shepherd’s Dream (1793), from Paradise Lost, oil on canvas by Henry Fuseli (1741-1825).

One mid-century critique was Milton's God (1965) by Sir William Empson (1906–1984), among the earliest published examples of the techniques of literary deconstructionism being applied to poetic text.   Milton noted his work was a way of “…justifying the ways of God to men” and Empson deconstructed those means, mapping them onto a framework of theological paradox.  While Milton’s God had a mixed reception, it was briefly influential as an early post-modern text although one of the problems inherent in deconstruction is it tempts others to reconstruct and there was a critic who deduced Empson had claimed “the poet felt an active hatred for the God of Christianity.”  That was a challenging notion given the book for so long sat on shelves next to the King James Bible (KJV 1611) and it seemed Epson’s subconscious was being probed.  Although in Milton’s God there was the observation Milton’s social judgment had told him that the Heaven he was imagining before the fall of the angels was already a horrible place, “against his overall intention”, it seems a quite a leap from that to a hatred of the God of the New Testament.

Empson explained what needed better to be understood (because, as he put it, modern Christianity has gone to extreme lengths “to hush it up”) was the moral character of God had become very hard to defend and that this was widely known by the time John Calvin (1509–1564) and Martin Luther (1483–1546) had trod the path of Saint Thomas Aquinas (1225–1274).  Milton was struggling to defend God, noting that in the De doctrina Christiana (On Christian Teaching (397-426)), Aquinas himself had written there were many who believed God caused evil, practically making God the Devil and Milton would assert the relevant Bible texts must not be interpreted literally.  Milton certainly presents God at his worst but the Almighty is a agreeable figure by Book III although it remains clear his path for man will long and painful with many casualties but the poet's theme remained that there would be awful consequences if “the widespread hatred of God could no longer be contained” and this Empson understood.

Sidewinder

Sidewinder (pronounced syde-whine-der)

(1) A North American rattlesnake (Crotalus cerastes), also known as the horned rattlesnake and sidewinder rattlesnake, a venomous pit viper species belonging to the genus Crotalus (rattlesnakes) and found in the desert regions of the south-western United States and north-western Mexico. 

(2) An air-to-air missiles of US design.

(3) In nautical use, a type of middle-distance deep-sea trawler widely used during the 1960s and 1970s.

(4) In slang, a person thought untrustworthy and dangerous.

(5) In the slang of hand-to-hand combat, a heavy swinging blow from the side which disables an adversary (now rare).

(6) In the slang of baseball, a pitcher who throws sidearm.

(7) In the slang of certain photographers, a certain aspect used to photograph certain models in certain dresses or tops.

1875: A creation of US English to describe the small horned rattlesnake found in the south-west near the border with Mexico, the construct being the adjective side + the agent noun of wind, so called in reference to its "peculiar lateral progressive motion".  The first known use was in an 1875 US Army report detailing the zoology of the western US.  Dating from 1888, there are also references to the snake as the "sidewiper".  Side was from the Middle English side, from the Old English sīde (side, flank), from the Proto-Germanic sīdǭ (side, flank, edge, shore), from the primitive Indo-European sēy- (to send, throw, drop, sow, deposit).  It was cognate with the Saterland Frisian Siede (side), the West Frisian side (side), the Dutch zijde & zij (side), the German Low German Sied (side), the German Seite (side), the Danish & Norwegian side (side) and the Swedish sida (side).  As an adjective (as in sidewinder) it's used to mean (1) being on the left or right, or toward the left or right; lateral & (2) indirect; oblique; incidental.  The construct of winder was wind + -er and was from the Middle English wynder, from the Middle English wynd & wind, from the Old English wind (wind), from the Proto-West Germanic wind, from the Proto-Germanic windaz, from the primitive Indo-European hwéhtos (wind), from hwéhts (wind), from the present participle of hweh- (to blow).  The –er suffix was from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought most likely to have been borrowed from the Latin –ārius where, as a suffix, it was used to form adjectives from nouns or numerals.  In English, the –er suffix, when added to a verb, created an agent noun: the person or thing that doing the action indicated by the root verb.   The use in English was reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant -our), from the Latin -ātor & -tor, from the primitive Indo-European -tōr.  When appended to a noun, it created the noun denoting an occupation or describing the person whose occupation is the noun.  Sidewinder is a noun; the noun plural is sidewinders.

A sidewinder taking lunch (left) and sidewinding (right).

The snake’s common name, sidewinder, alludes to its unusual form of locomotion, which is thought to give it traction on windblown desert sand, but this peculiar specialization is used on any substrate over which the sidewinder rapidly can move. As its body progresses over loose sand, it forms a letter J-shaped impression, with the tip of the hook pointing in the direction of travel.  The species is nocturnal during hot months and diurnal during the cooler times of its activity period, which typically extends from November to March (though often longer in the southern part of its range, subject to seasonal variation).

The AIM-9x Sidewinder and the Vympel K-13

AIM-9x Sidewinder Air-to Air missile being launched.

The AIM-9x Sidewinder is a short-range air-to-air missile developed by the US Navy which entered service in 1956.  One of the most widely used missiles, it equips both western and (notionally) non-aligned air forces as well as (indirectly), the many nations which use the Soviet-era Vympel K-13, a reverse-engineered clone.  More than 110,000 Sidewinders have been produced and it’s considered outstanding value for money, being one of the less expensive weapons of its type.  Aside from cost, it owes its longevity to a simple, easy-to-upgrade design, long shelf life, robustness and famously high reliability; the US military say it’s possible the Sidewinder will remain in service until late this century, the one basic design might thus endure over one-hundred years.  One of the early mass-produced guided missiles, the Sidewinder name was selected in 1950 because the venomous snake uses infrared sensory organs to hunt warm-blooded prey.  The Sidewinder was first developed by the US Navy (USN) and later adopted by the US Air Force (USAF), both branches still using what is essentially the same design, the critical components of which are (1) an infrared homing guidance section, (2) an active optical target detector, (3) a high-explosive warhead and (4) rocket propulsion.  The attraction of infrared units is their low-cost, ease of maintenance and the ability to be used day and night.  According to the 2021 fiscal year Department of Defense (DoD) budget, AIM-9x Sidewinders are costed at around US$430,000 for Navy use & US$472,000 for the Air Force, the difference accounted for by the cost of the mounting system which attaches to and aircraft’s hard-points.  The DoD’s numbers are not necessarily accurate but the comparative values are probably at least indicative.

The rollerons on the fins of the early AIM-9.

Although in production since 1956, the Sidewinder is now a much changed device, product development meaning parts interchangeability between an original and one from the 2020s is limited to the odd screw.  In that, the missile can be compared to something like the Volkswagen Beetle in that while the first in 1938 and the last in 2003 were recognizably related and conceptually the same (rear-mounted air-cooled flat-four engine, rear-wheel drive (RWD), separate chassis etc), the only mechanical carry-overs would be some of the nuts & bolts.  In the 1950s, the technology to permit the Sidewinder's fins to act as self-stabilizer didn't exist.  While it would have been possible to build an electro-mechanical device which could fulfil the function, it would have been prohibitively large and heavy and, when subject to the stresses of launch, anyway too fragile to provide the reliability the military required.  Instead, "rollerons" were fitted to the tips of the fins.  Rotating at 100,000 rpm, these provided gyroscopic stabilization, a solution similar to that adopted by the Germans for their big World War II (1939-1945) ballistic missile (The Aggregat 4 (A4), better known as the V2 (or V-2) (Vergeltungswaffe (Retaliation (ie vengence) Weapon 2)) although being bigger and flying for a greater distance in a more complex trajectory, the V2 was fitted also with controllers on the rocket engine's vanes which compensated dynamically for directional variations.  The issue of directional stability was the most challenging aspect of the V2's development. 

Lindsay Lohan sidewinder shots, 2007.  Where possible, photographers like to take both SFW (suitable for work, left) shots and NSFW (not suitable for work, right) shots so they have product for both market niches.  Paul Smith shot these as part of a sequence at the General Motors Annual Ten Event Fashion Show, Los Angeles, February 2006.

The use of Sidewinders in dog-fights between Chinese and Taiwanese (from the renegade province of Taiwan) pilots during the Second Taiwan Strait Crisis (1958) was the first use of air-to-air guided missiles in combat and the Vympel K-13 (NATO reporting name: AA-2 (Atoll)) was reverse-engineered (ie pirated) by the Soviet Union, using a Sidewinder launched from a Taiwanese F-86 Sabre during the Crisis which became lodged, unexploded, in the fuselage of a Chinese MiG 17.  The MiG landed safely and although Sino-Soviet relations weren’t at the time ideal, some sort of deal was done between Peking and Moscow which resulted in the missile being delivered to Soviet weapons scientists who deconstructed and replicated it, allowing the Vympel to enter the arsenals of Warsaw Pact nations.  The USSR had something of a tradition of doing this with Western hardware (their Boeing B29 clone legendarily almost identical to Boeing’s original) and the Chinese soon became masters of the technique.  By 1961 the K-13 was in full-scale production and so diligent were the Soviets in their duplication that even the part-numbers stamped on the components were replicated.

In February 2023, the Sidewinder was briefly in the news after one was used by a USAF F-16 fighter to shoot down the balloon which infamously penetrated US airspace.  Depending on whose story one prefers, it was either a weather research device operated by Chinese meteorological authorities or a spy system run by the PLA (People’s Liberation Army) to gather data for the Chinese Communist Party (CCP).  Most observers not in fear of being sent to a re-education camp seem to tend to the latter but for the USAF it wasn’t that important; pilots just like shooting stuff with sidewinders.  Targeted at an altitude around 20,000 feet (6000 m), the balloon was brought down in the vicinity of Lake Huron above over Michigan and was the third such airborne object shot down in a three-day span, all at the time believed to be linked with the CCP.  Once the thing was downed, one of the main interests to those examining the wreckage was to work out how a relatively large object could have evaded the surveillance of the North American Aerospace Defense Command (NORAD), which uses visual contact, radar, and other tracking systems.

1997 Dodge Dakota Sidewinder Concept.

The Dodge Dakota Sidewinder was a one-off concept displayed at 1997’s SEMA Convention in Las Vegas.  It used a 640 hp (477 kW), 490 cubic-inch (8.0 litre) V10 Viper (LA) engine and was said to be capable of 170 mph (274 km/h) although it wasn’t clear whether this was (1) worked out on the back of an envelope, (2) calculated by computer simulation or (3) verified by some intrepid test driver.  Like most of Detroit’s more fanciful creations, it never reached production although Chevrolet later picked up the idea for their retro-styled SSR (Super Sport Roadster) pickup truck (2003-2006) which featured a retractable hard-top and between 2004-2006 Dodge did install the a 505 cubic inch (8.3 litre) version LA V10 in their Ram pick-up truck.  One of the crazier trucks and very much in the tradition of their 1964-1966 D-100 pick-up which used the 426 cubic inch (7.0 litre) Street Wedge V8, the limited-production V10 SRT-10 is still much in demand in the collector market.

Homage

Homage (pronounced hom-ij, om-ij or oh-mahzh)

(1) Respect or reverence paid or rendered.

(2) In feudal era custom & law, the formal public acknowledgment by which a feudal tenant or vassal declared himself to be the man or vassal of his lord, owing him fealty and service; something done in acknowledgment of vassalage (archaic).

(3) The relation thus established of a vassal to his lord (archaic).

(4) Something done or given in acknowledgment or consideration of the worth of another.

(5) To render homage to (archaic except in artistic or historic use).

(6) An artistic work imitating another in a flattering style.

(7) A (sometimes controversial) way of describing an imitation, clone or replica of something.

(8) A demonstration of respect, such as towards an individual after their retirement or death (often in the form of (an obviously retrospective) exhibition).

1250–1300: From the Middle English hommage, omage & umage (the existence of “homage” is contested), from the Old French homage & hommage, from the Medieval Latin homināticum (homage, the service of a vassal or 'man'), the construct being (h)ome (man), from the from Latin hominem, accusative of homō (a man (and in Medieval Latin “a vassal”)) + -āticum (the noun-forming suffix) (-age).  The suffix -age was from the Middle English -age, from the Old French -age, from the Latin -āticum.  Cognates include the French -age, the Italian -aggio, the Portuguese -agem, the Spanish -aje & Romanian -aj.  It was used to form nouns (1) with the sense of collection or appurtenance, (2) indicating a process, action, or a result, (3) of a state or relationship, (4) indicating a place, (5) indicating a charge, toll, or fee, (6) indicating a rate & (7) of a unit of measure.  The verb homage was derived from the noun in the late sixteenth century (the agent noun homager noted from the turn of the fifteenth).  Homage is a noun & verb, homager is a noun, homageable is an adjective and homaging, & homaged are verbs; the noun plural is homages.  In Scots the spelling was homage and in Irish, ómós and the old synonym manred has been obsolete since the fourteenth century.  The predominately US pronunciation with a silent h happened because of a conflation with the nearly synonymous doublet hommage, pronounced thus.

By convention, the modern use of the form is usually as “pay homage to” but because of the variations in pronunciations (the h silent and not), homage is sometimes preceded by the article “a” and sometimes by “an” and under various influences in popular culture, the French pronunciation has in some circles become fashionable.  The term “lip homage” is much the same as “lip service”: something expressed with “mere words”.  In Middle English, the meanings variously were (1) An oath of loyalty to a liege performed by their vassal; a pledge of allegiance, (2) Money given to a liege by a vassal or the privilege of collecting such money, (3) A demonstration of respect or honor towards an individual (including prayer), (4) The totality of a feudal lord's subjects when collected and (5) Membership in an organized religion or belief system.

In feudal times, a homage was said to be an “act of fealty”.  The Middle English noun fealty dates from the twelfth century and was from feaute, from the Old French feauté, from fealte (loyalty, fidelity; homage sworn by a vassal to his overlord; faithfulness), from the Latin fidelitatem (nominative fidelitas) (faithfulness, fidelity), from fidelis (loyal, faithful), from the primitive Indo-European root bheidh- (to trust, confide, persuade).  In feudal law, to attorn was to “transfer homage or allegiance to another lord”.  The verb attorn (to turn over to another) was from the Middle English attournen, from the Old French atorner (to turn, turn to, assign, attribute, dispose; designate), the construct being a- (to) + tourner (to turn), from the Latin tornare (to turn on a lathe) from tornus (lathe), from the Greek tornos (lathe, tool for drawing circles), from the primitive Indo-European root tere- (to rub, turn).  Attornment was a part English real property law but was not directly comparable with the operation of those laws which in matters of slavery assigned property rights over human beings which technically were no different than those over a horse.  Attornment recognized there was in the feudal system some degree of reciprocity in rights & obligations and it was held to be unreasonable a tenant should become subject to a new lord without their own approval.  At law, what evolved was the doctrine of attornment which held alienation could not be imposed without the consent of the tenant.  Given the nature of feudal relations it was an imperfect protection but a considerable advance and attornment was also extended to all cases of lessees for life or for years.  The arrangement regarding the historic feudal relationships lasted until the early eighteenth century but attornment persists in modern property law as a mechanism which acts to preserve the essential elements of commercial tenancies in the event of the leased property changing hands.  It provides for what would now be called “transparency” in transactions and ensures all relevant information is disclosed, thereby ensuring the integrity of the due diligence process.

The historical concepts of homage and tribute are sometimes confused.  Homage was a formal ritual performed by a vassal to pledge loyalty and submission to a lord or monarch.  There were variations but the classic model was one in which the vassal would kneel before the lord, place his hands between the lord's hands, and swear an oath of loyalty and service.  That was not merely symbolic for it signified the vassal's acknowledgment of the lord's authority and their willingness to serve and protect the lord in exchange for a right to live on (and from) the land.  The relationship was that creature of feudalism; something both personal and contractual.  Tributes were actual payments made by one ruler or state to another as a sign of submission, acknowledgment of superiority, or in exchange for protection or peace.  Tribute could be paid in gold, other mediums of exchange or in the form of  goods or services.  Tribute was something imposed on a subordinate entity by a dominant power, either as a consequence of defeat in war or as a way of avoiding being attacked (ie a kind of protection racket).  The meaning of homage in feudal property law was quite specific but synonyms (depending on context) now include deference, tribute, allegiance, reverence, loyalty, obeisance, duty, adoration, fealty, faithfulness, service, fidelity, worship, adulation, honor, esteem, praise, genuflection, respect, awe, fidelity, loyalty & devotion.  However, those using homage for anything essentially imitative might find out other synonyms include fake (and more generously faux, tribute, reproduction, pastiche, clone or replica).

Sample from Ariana Grande’s (b 1993) Thank U, Next (2018). 

Singer Ariana Grande’s (b 1993) song Thank U, Next (2018) was one of the year’s big successes and the video included well-constructed references to a number of early-century pop culture products including Legally Blonde (2001) and Mean Girls (2004).  Within popular culture, there seems to be a greater tolerance of works which are in some way a homage, the term “sampling” presumably chosen to imply what was being done was (1) taking only a small fragment of someone else’s work and (2) for all purposes within long established doctrine of “fair use”.  Interestingly, instead of regarding sampling as fair use, US courts initially were quite severe and in many early cases treated the matter as one of infringement of copyright, apparently because while a attributed paragraph here and there in a paper of dozens or hundreds of pages could reasonably seen as “fair use”, a recurring snatch of even a few seconds in a song only three minutes long was not.  Of late, US appeal courts seem to have been more accommodating of sampling and have taken the view the legal doctrine of de minimis which has been used when assessing literary or academic works should apply also to sampling but the mechanics of calculating “fair use” need to be considered in the context of the product.  The Latin phrase de minimis (pertaining to minimal things) was from the expressions de minimis non curat praetor (the praetor does not concern himself with trifles) or de minimis non curat lex (the law does not concern itself with trifles) and was an exclusionary principle by which a court could refuse to hear or dismiss matters to trivial to bother the justice system.  One Queen of Sweden preferred the more poetic Latin adage, aquila non capit muscās (the eagle does not catch flies).  As a legal doctrine, it actually predates its fifteenth century formalization in the textbooks and there are records in civil, Islamic and ecclesiastical courts of Judges throwing out cases because the matters involved were of such little matter.  In many jurisdictions, governments now set a certain financial limit for the matters to be considered, below which they are either excluded or referred to a tribunal established for such purposes.

One suspects artists, architects, film directors and such are inclined to call their work a homage (or probably the French hommage (pronounced omm-arge)) as a kind of pre-emptive strike against accusations of plagiarism or a lack of originality.  Car manufacturers are apt to do it too, examples in recent decades including the BMW Mini, Volkswagen Beetle, Dodge Challenger and Chevrolet Camaro, all of which shamelessly followed the lines of the original versions from generations earlier.  The public response to these retro-efforts was usually positive although if clumsily executed (Jaguar S-Type) derision soon follows.  Sometimes, it’s just a piece which is homaged.  On the Mercedes-Benz CL (C215 1998-2006), the homage was to the roofline of the W111 & W112 coupés (1961-1971), especially the memorable sweep of the rear glass although all of that was itself a homage to the 1955 Chryslers.  It was a shame the C215 didn’t pick up more of the W111’s motifs, the retrospective bits easily the best.

1969 Chevrolet Camaro Z/28 (left) and 2023 Chevrolet Camaro.  The original Chevrolet Camaro (1966-1969) was a response to the original Ford Mustang (1964) which had made the pony-car segment a wildly popular and profitable place to be and it in turn not the shape the Mustang would follow but certainly the engineering but the styling attracted Chrysler which adopted the lines just as Chevrolet abandoned them.  Chevrolet however picked them up again in 2010 but their homage to 1966 was perhaps a little too heavy-handed, dramatic though the effect was.  Still, the result doubtlessly was better that what would have been delivered had the designers come up with anything original and that's not a problem restricted cars.  One wishes architects would more often pay homage to mid-century modernism or art deco but the issue seems to be all the awards architects give each other are only for originality, thus the assembly line of the ugly but distinctive.

1970 Dodge Challenger (left) and 2023 Dodge Challenger (right).  The original Challenger (and its corporate companions the Plymouth Barracuda & Cuda) was a homage to the 1966 Camaro and so well executed that Chrysler’s pair are thought by many to be the best looking pony cars of the muscle car era.  In 2008 when the look was reprised, it was thought a most a accomplished effort and better received than would be the new Camaro two season later.  Chevrolet must have been miffed Dodge was so praised for paying homage to what in 1969 had been borrowed from their 1966 range.

1979 Volkswagen Beetle Cabriolet by Karmann (left) and 2015 Volkswagen Beetle Cabriolet (right).  First produced in 1938, Volkswagen clung to the rear-engine / air-cooled formula so long it almost threatened the company’s survival and while the public showed little enthusiasm for a return to the mechanical configuration (the Porsche crew are a separate species which, if they had their way, would still not have to bother with cooling fluid), the shape of the Beetle did appeal and over two generations between 1997-2019, the company sold what was initially called the “New Beetle”.  Despite the pre-war lines imposing significant packaging inefficiencies, it was popular enough to endure for over a decade.

1966 Austin Mini-Cooper 1275 S (left) and 2001 BMW Mini (right).  Students of the history of design insist the BMW Mini was not so much a homage to the British Motor Corporation’s (BMC) original Mini (1959) but actually to some of the conceptual sketches which emerged from the design office between 1957-1958 but were judged too radical for production.  That was true but there are enough hints and clues in the production models for nobody to miss the point.

1965 Jaguar 3.8 S-Type (left) and 1999 Jaguar S-Type.  Released in 1963, the Jaguar S-Type was an updated Mark 2 with the advantage of more luggage space and markedly improved ride and handling made possible by the grafting on of the independent rear-suspension from the E-Type (XKE) and Mark X (later 420G).  The improvements were appreciated but the market never warmed to the discontinuity between the revised frontal styling and the elongated rear end, the latter working better when a Mark X look was adopted in front and released as the 420.  Still, although never matching the appeal of the classic Mark 2 with its competition heritage, it has a period charm and has a following in the Jaguar collector market.  According to contemporary accounts, the homage launched in 1999 was a good car but it seemed a curious decision to use as a model a vehicle which has always been criticized for its appearance although compared with the ungainly retro, the original S-Type (1963-1968) started to look quite good, the new one the answer to a question something like "What would a Jaguar look like if built by Hyundai?".  As an assignment in design school that would have been a good question and the students could have pinned their answers to the wall as a warning to themselves but it wasn't one the factory should ever have posed.  Quietly, the new S-Type was dropped in 2007 after several seasons of indifferent sales.

1956 Chrysler 300B (left), 1970 Mercedes-Benz 280 SE Coupé (centre) and 2005 Mercedes-Benz SL65 (right).

The 1955-1956 Chryslers live in the shadow cast by the big fins which sprouted on the 1957 cars but they possess a restraint and elegance of line which was lost as a collective madness overtook the industry.  Mercedes-Benz in 1961 paid due homage when the 220 SE Coupé (W111; 1961-1971) was released and returned to the roofline with the C215 (1998-2006).  The big coupé was the closest the factory came to styling success in recent years (although the frontal treatment was unfortunate) but one must be sympathetic to the designers because so much is now dictated by aerodynamics.  Still, until they too went mad, the BMW design office seemed  to handle big coupés better.  

In the collector market, there are many low-volume models which have become highly prized.  Some were produced only in low numbers because of a lack of demand, some because the manufacturer needed to make only so many for homologation purposes and some because production was deliberately limited.  Such machines can sell for high prices, sometimes millions so, especially where such vehicles are based on more mundane models produced in greater numbers, many are tempted to “make their own”, a task which car range from the remarkably simple to the actually impossible.  Those creating such things often produce something admirable (and technically often superior to the original) and despite what some say, there’s really no objection to the pursuit provided there is disclosure because otherwise it’s a form of fraud.  When such machines are created, those doing the creating seldom say fake or faux and variously prefer tribute, clone, recreation, homage or replica and those words in this context come with their own nuanced meanings, replica for example not meaning exactly what it does in geometry or database administration.

A 1962 Ferrari 250 GTO in silver (US$70 million) and a fine replica by Tempero of a 1963 model in rosso corsa (US$1.2 million).

As an extreme example of the homage was inspired by the Ferrari 250 GTO, of which it’s usually accepted 36 were built although there were actually 41 (2 x (1961) prototypes; 32 x (1962–63) Series I 250 GTO; 3 x (1962–1963) “330 GTO”; 1 x (1963) 250 GTO with LM Berlinetta-style body & 3 x (1964) Series II 250 GTO).  The 36 in the hands of collectors command extraordinary prices, chassis 4153GT in June 2018 realizing US$70 million in a private sale whereas an immaculately crafted replica of a 1962 version by Tempero (New Zealand), said to be better built than any original GTO (although that is damning with faint praise, those who restore pre-modern Ferraris wryly noting that while the drive-trains were built with exquisite care, the assembly of the coachwork could be shoddy indeed) was listed for sale at US$1.3 million.  Even less exalted machinery (though actually more rare still) like the 1971 Plymouth Hemi Cuda convertible also illustrate the difference for there are now considerably more clones / replicas / recreations etc than ever there were originals and the price difference is typically a factor of ten or more.  On 13 November 2023, the market will be tested when a Ferrari 250 GTO (chassis 3765LM) will be auctioned in New York, RM Sotheby’s, suggesting a price exceeding $US60 million.  A number which greatly exceeds or fails by much to make that mark will be treated a comment on the state of the world economy.

Drupelet

Drupelet (pronounced droop-lit)

In botany (plant anatomy), the small drupe, one of the individual subdivisions (pericarps) composing the outer layer of certain fruits such as blackberries or raspberries.

1875–1880: The construct was drupe (stone fruit), from the Scientific Latin, from the Latin drūpa (plum; over-ripe or wrinkled olive), from the Ancient Greek δρύππᾱ (drúppā) + -let (the diminutive suffix).  The –let suffix was from the Middle English –let & -elet, from the Old French -elet, a double diminutive from the Old French –el & -et.  It was used to create diminutive forms and in English is widely appended (booklet: a small book, applet: a small computer application, piglet: a young pig et al).  It’s applied almost exclusively to concrete nouns and except in jocular use (and unusually for a diminutive) never with names. When used with objects, it generally denotes something smaller; when used with animals, it is of their young form; when used of adult persons, it’s usually depreciative, connoting pettiness and conveying contempt.  A special use was in suits of armor where it denoted a piece of the larger whole, this sense carrying over to some aspects of military uniforms.  In the Late Latin, a drupella was a “small ripe olive”.  The synonym is drupel.  Drupelet & drupel are nouns, drupaceous & drupelike are adjectives; the noun plural is drupelets.

A handful of raspberries.

Drupelets are the individual subdivisions (pericarps) and technically are small individual fruits which comprise the aggregate, fleshy outer layer of certain fruits such as blackberries or raspberries, assembled over the seed within.  The bramble is in the large genus Rubus of flowering plants in the rose family (Rosaceae) including raspberries, blackberries and hybrids such as loganberries and boysenberries.  Typically erect or trailing shrubs with canelike stems (although some species are herbaceous), many spread vegetatively and are noted for the protective prickles along their branches.  Delighting botanists, many species freely hybridize with each other, making the task of classification more or less permanently a work in progress.  Strictly speaking, the aggregate fruits (such as the raspberry and blackberry) are not, despite their names, true berries.

The Razzie trophy (note the detailed druplets).

Dating from 1981, the Golden Raspberries Awards (known within the industry as “the Razzies” and it is the word Razzie which is printed on the physical trophy) was established as a parody of the annual Academy Awards (the Oscars) run since 1929 by the Academy of Motion Picture Arts and Sciences.  The event, now conducted immediately before the Academy Awards, “honors” the worst of that year’s cinematic releases and in addition to a number of innovative categories, its awards mirror those of the academy including: Worst Picture, Worst Director, Worst Actor, Worst Actress, Worst Supporting Actor, Worst Supporting Actress & Worst Screenplay.  The name is based on "blowing a raspberry" which is to make a expression of derision or disapproval by blowing air through the lips (known in the US ironically as the "Bronx cheer").  Receiving regular or frequent nominations for a Razzie has not prevented several actors from enjoying successful careers and some have even personally accepted their awards; nor is there of necessity any relationship between Razzies and a film’s commercial success.  The relationship between the Razzies and the Oscars is rather like the Ig Noble prizes which are awarded to those who have published the findings of research which seems bizarre, absurd or unnecessary.  Just as there are researchers who have won both a Nobel & Ig Nobel prize, some in the entertainment business have taken home both Oscars and Razzies.  I Know Who Killed Me (2007) set a mark in 2008 by winning seven Razzies (though the record would stand for only two years), two of which went to Lindsay Lohan although some claimed she deserved four because in the film she played two parts (the characters may or may not have been twins); the film has since become a cult favorite and in a regular feature of special screenings.  It may be apocryphal but the industry lore is that the original design specification for the Razzie trophy stipulated only that each should cost less than US$1.  The statuette itself is a stylized plastic raspberry (the drupelets spray-painted gold) about the size of a golf ball-sized, mounted atop a base of used film canisters and a piece of timber onto which is glued paper printed with the organization’s logo.  It’s said the quality of the trophy hasn’t improved over the decades but the effects of inflation mean the unit cost now exceeds US$5.

Lindsay Lohan with Blackberry Bold, Los Angeles, 2008.

The conventional wisdom in the IT industry used to be that the only things which last for decades are operating systems and languages.  The ability of companies like Microsoft and Adobe to achieve critical mass at the application level has disproved that but the tendency for products to achieve a seemingly unassailable dominance only rapidly to fade from use or even disappear as the market preference switches to something new, remains a feature of the industry.  Early in the twenty-first century, Research In Motion's (RIM) Blackberry mobile phone (named because the keys of the mechanical keyboard (vaguely) resembled the fruit’s drupelets) dominated the upper (ie most expensive) segment of the mobile phone market and the famous keyboard played a part in that, being so pleasant to use in an era when the most important (non-telephonic) aspect of the mobile phone was the inherently text-focused e-mail.  However, what really sold the things to corporations was RIM’s security layers (the traffic ran exclusively through their own servers which were in secure facilities in regions like Western Europe & North America) which provided what was at the time the most secure form of civilian communication.  Blackberries quickly became a status symbol but their technical model was a cul-de-sac and Apple’s iOS and Google’s Android prevailed, Blackberry market share in rapid decline by 2011 and neither re-branding nor corporate restructures could save the company.  The modern smartphones are better than the Blackberry in every way except the keyboard because there is (as yet), no way in which a touch-screen can emulate the seductive, tactile experience of the mechanical. 

Mugwump

Mugwump (pronounced muhg-wuhmp)

(1) A member or supporter of the Republican Party who declined to support the party's nominee James Blaine (1830–1893) during the 1884 US presidential election, (claiming he was corrupt) lending their support to the Democratic Party's candidate Grover Cleveland (1837–1908).

(2) A person who is unable to make up their mind on an issue, especially in politics (mostly US & Australia).

(3) Someone who remains neutral on a controversial issue; a person who purports to stay aloof from party politics (mostly US & Australia).  In a derogatory sense it’s used to suggest someone is a “fence sitter” or maintains an aloof and often self-important demeanor.

(4) One who switches from supporting one political party to another, especially for personal benefit (also used in this sense in Australia).

(5) Used informally (usually humorously), a (male) leader; an important (male) person (sometimes as “big mugwump”).

(6) A foolish person (a now rare Australian slang term which emerged apparently because it was conflated with “mug”).

1832: An Americanism and an artificial, nineteenth century revival of the Massachusett (English spelling) mugquomp & mummugquomp (war leader), a syncopated form of muggumquomp (war leader), the construct being the (unattested) Proto-Algonquian memekw- (assumed to mean “swift”) + -a·pe·w (man).  The alternative etymology was the Algonquian (Natick) mogki (great) + a·pe·w (thus something like “great chief).  It was folk etymology which re-interpreted the word, the re-purposed meaning referring to a person who sat on the fence, deconstructed as “their mug (face) on one side and wump (rump) on the other”.  This graphical description produced a slew of political cartoons in this vein during the 1884 US presidential election.  The original Americanism emerged in 1832 in the New England region and was a jocular word for “a great man, boss; very important person”.  By 1840 it was in satirical use as “one who thinks himself important” but faded from used before being revived for the 1884 presidential contest, originally as a term of abuse but the independents embraced it and from that it picked up the specific sense “one who holds themselves aloof from party politics."  Mugwump is a noun & verb, mugwumpery & mugwumpism are nouns, mugwumpian, mugwumping & mugwumped are verbs and mugwumpian, mugwumpesque & mugwumpish are adjectives; the noun plural is mugwumps.

Originally, the Mugwumps were those Republican Party members (or supporters) who claimed to be appalled by the corruption they said was associated with James Blaine (1830–1893), declining to support his candidacy in the 1884 US presidential election.  Unlike some of the dissident movements in US politics (the Tea Party, the Know Nothings, the Progressives et al) the Mugwumps never formed any sort of organizational structure or even self-identified as a faction.  They gained the name because they “switched sides”, supporting the Democratic Party’s Grover Cleveland (1837-1908) although in their public statements, some Mugwumps would say they were “still Republicans”, hence the association with “fence-sitting”, the term adapted for the purpose because they were sitting with “their mug (face) on one side and wump (rump) on the other”, a theme cartoonists and caricaturists took to with gusto.

Those who rat on political parties, shifting their allegiance to another risk a lifetime of suffering the enmity of their former colleagues, politics attracting haters like few other professions although Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955) who ratted twice reckoned the trick was to do it with style.  Fence sitters seem to attract less opprobrium but there’s often a sense of exasperation; at least with the rats one knows where one stands.  Sir John Simon (1873–1954; First Viscount Simon, cabinet minister on several occasions 1913-1945, Lord Chancellor 1940-1945) picked up the nickname “slippery Sam” for a reason (actually many) and David Lloyd George (1863–1945; UK prime-minister 1916-1922) said of him: ”He has sat on the fence so long the iron has entered into his soul.”  That probably wasn’t quite what Boris Johnson (b 1964; UK prime-minister 2019-2022) had in mind when, as Foreign Secretary, he dismissed Jeremy Corbyn (b 1949; leader of the UK Labour Party 2015-2020) as a “mutton-headed old mugwump”, although with Mr Johnson, one can never quite be sure.

MAGAwump's high priest, Mitt Romney, mugwumping (David Horsey in the Seattle Times, September 18 2023).  Note the carpetbag.

The Mugwumps have been compared with the “Anyone but Trump” movement which was an attempt by what used to be called “mainstream Republicans” to block Donald Trump’s (b 1946; US president 2017-2021) path to the party’s nomination (and from there the White House).  The movement formed but failed though it’s not far-fetched to imagine if might have gained for traction if it had used a catchy name like MAGAwumps and interestingly, in the “Guilded Age” era of the Mugwumps, their critique of the state their nation sounds little dissimilar to those heard over the last three decades.  Charles Eliot Norton (1827–1908; Harvard professor of art) in 1895 contemplated things and confessed “the greatest apprehension… about a miserable end for this century”, the United States afflicted by the “worst spirit in our democracy, … a barbaric spirit of arrogance an unreasonable self assertion.  I fear that American is beginning a long course of errors and wrong and is likely to become more and more a power for disturbance and barbarism.”  Other agreed, the anyway gloomy historian Henry Adams (1838–1918) at the same time reviewing the closing century concluded it was “rotten and bankrupt”, sunk in “vulgarity commonness, imbecility and moral atrophy”.  It all sounds so modern.

One noted for her mugwumpery is Lindsay Lohan.  In 2008 she made clear her support for Barack Obama (b 1961; US president 2009-2017) yet by 2012 was tweeting she was inclined to vote for Mitt Romney (b 1947; governor of Massachusetts 2003-2007, junior US senator (Republican-Utah) since 2019) on the basis that “employment is really important right now”.  That feeling apparently didn’t last and she reaffirmed her support for Obama, latching onto #ProudOfObama although she did once refer to him as the country's “first colored president”, a black mark against anyone who hasn’t updated their list of politically correct descriptors.  Later, her mugwumpian tendencies continued.  In 2017 she tweeted of Donald Trump: “THIS IS our president. Stop #bullying him & start trusting him” later praising the entire Trump family, calling them “kind people” although during the 2016 election she had endorsed crooked Hillary Clinton (b 1947; US secretary of state 2009-2013), tweeting “I couldn’t understand you more”.  However, like Mr Johnson, while one can always read what Lindsay Lohan has written, what she means can be elusive.  It’s thought she endorsed crooked Hillary but “I couldn’t understand you more” is certainly cryptic.