In linguistics, a blend is a word formed from parts of two or more other words. These parts are sometimes, but not always, morphemes.
Contents |
Blends deal with the action of abridging and then combining various lexemes to form a new word. However, the process of defining which words are true blends and which are not is more complicated. The difficulty comes in determining which parts of a new word are "recoverable" (its root can be distinguished).[1]
There are many types of blends, based on how they are formed. Algeo, a linguist, proposed dividing blends into three groups[1] :
Most blends are formed by one of the following methods:
When two words are combined in their entirety, the result is considered a compound word rather than a blend. For example, bagpipe is a compound, not a blend, of bag and pipe.
Blending can also apply to roots rather than words, for instance in Israeli Hebrew. "Israeli דחפור dakhpór ‘bulldozer’ hybridizes (Mishnaic Hebrew>>)Israeli דחפ √dħp ‘push’ and (Biblical Hebrew>>)Israeli חפר √ħpr ‘dig’[...] Israeli שלטוט shiltút ‘zapping, surfing the channels, flipping through the channels’ derives from (i) (Hebrew>)Israeli שלט shalát ‘remote control’, an ellipsis – like English remote (but using the noun instead) – of the (widely known) compound שלט רחוק shalát rakhók – cf. the Academy of the Hebrew Language’s שלט רחק shalát rákhak; and (ii) (Hebrew>)Israeli שטוט shitút ‘wandering, vagrancy’. Israeli שלטוט shiltút was introduced by the Academy of the Hebrew Language in [...] 1996. Synchronically, it might appear to result from reduplication of the final consonant of shalát ‘remote control’. Another example of blending which has also been explained as mere reduplication is Israeli גחלילית gakhlilít ‘fire-fly, glow-fly, Lampyris’. This coinage by Hayyim Nahman Bialik blends (Hebrew>)Israeli גחלת gakhélet ‘burning coal’ with (Hebrew>)Israeli לילה láyla ‘night’. Compare this with the unblended חכלילית khakhlilít ‘(black) redstart, Phœnicurus’ (<<Biblical Hebrew חכליל ‘dull red, reddish’). Synchronically speaking though, most native Israeli-speakers feel that gakhlilít includes a reduplication of the third radical of גחל √għl. This is incidentally how Ernest Klein[2] explains gakhlilít. Since he is attempting to provide etymology, his description might be misleading if one agrees that Hayyim Nahman Bialik had blending in mind."[3]
"There are two possible etymological analyses for Israeli Hebrew כספר kaspár ‘bank clerk, teller’. The first is that it consists of (Hebrew>)Israeli כסף késef ‘money’ and the (International/Hebrew>)Israeli agentive suffix ר- -ár. The second is that it is a quasi-portmanteau word which blends כסף késef ‘money’ and (Hebrew>)Israeli ספר √spr ‘count’. Israeli Hebrew כספר kaspár started as a brand name but soon entered the common language. Even if the second analysis is the correct one, the final syllable ר- -ár apparently facilitated nativization since it was regarded as the Hebrew suffix ר- -år (probably of Persian pedigree), which usually refers to craftsmen and professionals, for instance as in Mendele Mocher Sforim’s coinage סמרטוטר smartutár ‘rag-dealer’."[4]
Blending may occur with an error in lexical selection, the process by which a speaker uses his semantic knowledge to choose words. Lewis Carroll's explanation, which gave rise to the use of 'portmanteau' for such combinations, was:
Humpty Dumpty's theory, of two meanings packed into one word like a portmanteau, seems to me the right explanation for all. For instance, take the two words "fuming" and "furious." Make up your mind that you will say both words ... you will say "frumious."[5]
The errors are based on similarity of meanings, rather than phonological similarities, and the morphemes or phonemes stay in the same position within the syllable.[6]
![]() |
This unreferenced section requires citations to ensure verifiability. |
Some languages, like Japanese, encourage the shortening and merging of borrowed foreign words (as in gairaigo), because they are long or difficult to pronounce in the target language. For example, karaoke, a combination of the Japanese word kara (meaning empty) and the clipped form oke of the English loanword "orchestra" (J. ōkesutora オーケストラ), is a Japanese blend that has entered the English language.
Many corporate brand names, trademarks, and initiatives, as well as names of corporations and organizations themselves, are blends. For example, Wiktionary, one of Wikipedia's sister projects, is a blend of wiki and dictionary. Also, Nabisco is a blend of the initial syllables of National Biscuit Company.
![]() |
Look up blend in Wiktionary, the free dictionary. |
Blender is a professional free and open-source 3D computer graphics software product used for creating animated films, visual effects, art, 3D printed models, interactive 3D applications and video games. Blender's features include 3D modeling, UV unwrapping, texturing, raster graphics editing, rigging and skinning, fluid and smoke simulation, particle simulation, soft body simulation, sculpting, animating, match moving, camera tracking, rendering, video editing and compositing. Alongside the modeling features it also has an integrated game engine.
The Dutch animation studio Neo Geo developed Blender as an in-house application, with the primary author being software developer Ton Roosendaal. The name Blender was inspired by a song by Yello, from the album Baby. When Neo Geo was acquired by another company, Tod Roosendaal and Frank van Beek founded Not a Number Technologies (NaN) in June 1998 to further develop Blender, initially distributing it as shareware until NaN went bankrupt in 2002.
In linguistics, a blend word or a blend is a word formed from parts of two or more other words. These parts are sometimes, but not always, morphemes.
Blends abridge then combine lexemes to form a new word. Defining a true blend is complicated by the difficulty of determining which parts of the new word are "recoverable" (have roots which can be distinguished).
Blends can be divided into three groups:
Most blends are formed by one of the following methods:
Praise refers to positive evaluations made by a person of another's products, performances, or attributes, where the evaluator presumes the validity of the standards on which the evaluation is based. The influence of praise on an individual can depend on many factors, including the context, the meanings the praise may convey, and the characteristics and interpretations of the recipient. Praise is distinct from acknowledgement or feedback, which are more neutral forms of recognition, and encouragement, which is more future oriented. In addition, while praise may share some predictive relationships (both positive and negative) with tangible rewards, praise tends to be less salient and expected, conveys more information about competence, and is typically given more immediately after the desired behavior.
The concept of praise as a means of behavioral reinforcement is rooted in B.F. Skinner's model of operant conditioning. Through this lens, praise has been viewed as a means of positive reinforcement, wherein an observed behavior is made more likely to occur by contingently praising said behavior. Hundreds of studies have demonstrated the effectiveness of praise in promoting positive behaviors, notably in the study of teacher and parent use of praise on child in promoting improved behavior and academic performance, but also in the study of work performance. Praise has also been demonstrated to reinforce positive behaviors in non-praised adjacent individuals (such as a classmate of the praise recipient) through vicarious reinforcement. Praise may be more or less effective in changing behavior depending on its form, content and delivery. In order for praise to effect positive behavior change, it much be contingent on the positive behavior (i.e., only administered after the targeted behavior is enacted), must specify the particulars of the behavior that is to be reinforced, and must be delivered sincerely and credibly.
Praise is a 1998 Australian film directed by John Curran.
"Praise" is a 1981 gospel-inspired funk number released by American soul singer Marvin Gaye. The song, written by Gaye, is a tribute to not only his church upbringing but also to the sound of then-label mate Stevie Wonder, who is given a shout out on the song by Gaye.
The song, equipped with horns, a propulsive drum beat, and Gaye's multi-layered vocals, returned Gaye to the top forty of Billboard's Black singles chart where it peaked at number 18 on that chart while reaching #101 on Billboard's Bubbling Under the Hot 100. It was the actual first release off Gaye's controversial recording, In Our Lifetime.
The song was originally recorded in 1979 under the title "A Lover's Plea" from the singer's shelved Love Man album.
Got subjects locked in my cerebral cortex
On Ampex tape I'm circulating like a vortex
Check out my techs that use a synonym as inspect
Mentally badgering emcees with my dialect
When I inject memory cell motors retrospect
To recollect; too genuine skills I resurrect
Directed live from the 2-1-2, 7-1-8, and 5-1-6 area
Throughout borough to borough, state to state, world thorough wide
I ride, driving mass tracks to genocide
Verbal defender, the brain infiltrator
Break and fracture a sucka emcee's "structal" delegator
The pen and the pad and the microphone get blessed
With Nest, with ease now how I digress
Brothers are getting busy grabbing Teks while I apex
Verbal backshots coming without the latex
Watch the caption spin as the wax begin
How I'm rapping in to hit the backspin
Now end first verse in the blend
Herbalise to Resource done done it again
[Chorus x2]
One of the three the Natural R-e to the source
In the b-l-e-n-d
City to city (state to state)
Borough to borough
NYC to worldwide rock thorough
See me and rhymes alike
Tooth to picks
Sides to kicks
Chops to sticks
Seas to sicks
Hard Mr. Bricks
Chest to Vicks
Corruption to politics
Sticks to stones
Stones to sticks
Not opposites flips
Cheese to cakes
Beefs to steaks
Bones to breaks
Decks to tapes
Good food to plates
Movies to dates
Cities to states
Odes to papes
Shaking MCs off their mics like earth to quakes
And now the hand of fate dealt me the higher intellect
Connect verbs, dissect words down to lecterns
W serves as the first repetition
H lines and curves take second position
A plays the third
The fourth brings the T
So hit two times so you get ummmmmmm
One of the three Natural R-e to the source
In the b-l-e-n-d
[Chorus x2]
My verbal attacks react to mental stimulation
I'm leaving gaping contusions caused by lyrical abrasion
No pausing, no waiting
I play the plus and starting to get in, shining like the sun
Lyrical patterns double up on the one
Like the name when expose the flame
I combust like aerosol or kerosene contained
Deaf ears turn the conversation severed
I set it off like Lateef and getting
Debted, forget it, it only happens because you let it
I move, swift tongue sliced crews beheaded
I said it again so let the repetition end
Resource and Herbaliser in the blend