English – Trigedasleng Code- Switching in the CW Series "The 100”

English – trigedasleng code- switching in the CW series "The 100”

Cambio de código lingüístico inglés – trigedasleng en la serie de televisión CW "The 100”

Rodrigo Erazo J.1

Recepción: 07 de agosto de 2020 Aceptación: 19 de octubre de 2020

1 Universidad Central del Ecuador. Quito, Ecuador. [email protected]

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English – trigedasleng code- switching in the CW series "The 100”

Cambio de código lingüístico inglés – trigedasleng en la serie de televisión CW "The 100”

Rodrigo Erazo J.

Keywords: code-switching, motivations, constructed language, Trigedasleng

Palabras clave: cambio de código lingüístico, motivaciones, lengua construida, trigedasleng

Abstract

The present article deals with the considered the different situations, con- issue of establishing the characters’ rea- texts, and functions where each linguis- sons or motivations for code-switching tic code is used. The results revealed that between English and the constructed the major causes for such alternation in- language, Trigedasleng, in the American clude affective and strategic functions in TV series "The 100”. To accomplish this situational and conversational environ- objective, a sample of six episodes issued ments, where English and Trigedasleng from seasons 2 and 3 of the series, have are assigned a specific place. It has been analyzed using an observational also been observed, however, that the approach. The qualitative analysis has screenplay allowed the characters, bilin-

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gual or not, to use both languages indis- different reactions in the TV audience as tinctly to evidence the speakers’ linguis- has been determined by the developer tic resourcefulness as well as to provoke and screenwriters of the series.

Resumen

En el presente artículo se intenta revelan que las principales causas para establecer las razones o motivaciones esta alternancia incluyen funciones de los personajes para el cambio de có- afectivas y estratégicas en entornos si- digo lingüístico entre el inglés y el idio- tuacionales y conversacionales en los ma construido trigedasleng en la serie que el inglés y el trigedasleng toman estadounidense de televisión "The 100”. un lugar determinado. Se ha observado Para tal objetivo, una muestra de seis además, que en la interacción se permi- episodios extraídos de la segunda y ter- te a los personajes, bilingües o no, usar cera temporadas de la serie fue analiza- los dos idiomas de manera indistinta da usando la técnica de la observación. para evidenciar su recursividad lingüís- Para el análisis cualitativo, se ha tomado tica y también para provocar diferentes en cuenta las diversas situaciones, con- reacciones en la teleaudiencia que vie- textos y funciones por las cuales se usa ne determinada por el desarrollador y cada código lingüístico. Los resultados los guionistas de la serie.

Introduction

Code-switching bilinguals (Rivera & Mather, 2015). Never- Li (2000) defines code-switching theless, Grande (1988) had argued that as "changes from one language to an- a good command of either language is other in the course of conversation”. This not always required for it to happen. alternation may involve phrases, clauses, Once code-switching is pro- constituents, or merely words of one lan- duced, it becomes a linguistic phe- guage or another. It implies that the par- nomenon with the main characteristic ticipants need a certain degree of profi- of the participants’ ‘unawareness’ when ciency in the languages and are possibly it happens, because of a smooth tran-

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sitioning without long pauses, hesita- Appel and Muysken (2006) argue that tions, or comments about it (Grande, code-switching serves the same six func- 1988). It has its origins in social factors, tions of language in general: referential, though. Kaan et al. (2020) mention a directive, expressive, phatic, metalinguis- "dynamically changing social situation” tic, and poetic. However, Choy (2011) es- for which speakers choose a different tablishes that only three of them are the code for a reason or motivation. They functions of code-switching: referential, "use their languages for different pur- expressive, and metalinguistic. poses, in different domains of life, and Despite these affirmations, the with different people. Different aspects most widespread distinction has been of life often require different languages” formulated by Gumperz’s (1982) semantic (Grosjean, 2010). model, proposing the existence of situa- Toribio (2002) asserts that the tional and conversational code-switching. study of code-switching can take two In a similar fashion, more recently, Holmes approaches: the syntactic and the soci- (2013) distinguishes two main reasons for olinguistic. The sociolinguistic perspec- code-switching: a change in a feature of tive revolves around the motivations, the domain or social situation and the as- and above all, around the functions of pect of the function or purpose of interac- the alternation of codes. On this note, tion as showed in Table 1.

Table 1 Reasons for code-switching Change in a feature of the domain or social situation Aspect of the function or purpose of interaction Setting Add emphasis Participant features Add authority Addressee specification Express feelings (vs describing facts) Ethnic identity marker Express solidarity Express social distance Assert social status Topic Quoting someone Proverb

Adapted from Holmes (2013)

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Although some of these reasons Na’vi from Avatar). This list is, however, are much easier to observe during an not extensive as smaller productions are interaction, it is worth noting that some- not included. A great amount of the data times code-switching may have more presented revolves around the linguistic than one motivation. A bilingual person features of these languages, especially at is, therefore, able to exploit all "the rhe- the phonological and morphosyntactic torical possibilities of their linguistic rep- levels, leaving the pragmatic dimension ertoires” (Holmes, 2013). This means that aside. Therefore, the sociolinguistic im- the ability to switch between languages plications of code-switching between during a conversation is a unique re- these constructed languages, and "natu- source evidencing a high linguistic com- ral” languages have not yet been studied. petence (Muysken et al., 1996). Trigedasleng in the CW series: The Constructed languages in 100 audiovisual productions English and Trigedasleng (a con- Adams (2011) highlights the na- structed language) are the languages ture of our everyday languages, in the used for code-switching in the American world, as a result of evolution from the TV series The 100. This show premiered in proto language. However, constructed 2014 and was on air on The CW network languages are the outcome of a per- until September 2020. son’s invention, for whom the languag- The 100 (The Hundred) is a sci- es available are not what they want for ence-fiction teen drama taking place in their need or purpose. Thus, in audio- a post-apocalyptic world after a nuclear visual products, the language creator’s disaster that had apparently made the purpose is to manipulate the form of Earth uninhabitable. The survivors of this language which "can be used for pro- apocalypse, having fled away from Earth moting or changing the social, cultural, ;and now, living in a space station for and political orders” (Romaine, 2011) de- nearly 100 years, send a group of a 100 veloped in fictional worlds or realities. teenagers back to Earth to explore and The Language Creation Society verify Earth’s suitability for life. Once on provides information on constructed the surface, this group finds that people languages included in the scripts of more (Grounders) had survived the end of the than 27 notable audiovisual productions world, and developed a new creole lan- since 1970 (e.g. Dothraki from Game of guage based on English: Trigedasleng Thrones; Klingon, Vulcan from Star Trek; (Rothenberg, 2014).

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Trigedasleng is a constructed English is only spoken by warriors, in or- language, developed especially for the der to communicate with monolingual series by David J. Peterson. He was also enemies (Rothenberg & White, 2014). responsible for creating other fiction- With the arrival of people from space, al languages for TV shows (Peterson, the need of communication between 2020). During the show, the origin of the Grounders and Sky People arises, giving language is not declared until Season also place to code-switching situations. 7 - Episode 8 (Rothenberg & Fraiman, The interactions between the 2020); nevertheless, Peterson (2016) characters established in the screenplay, had previously stated that Trigedasleng containing utterances in alternatively would have started as a code or a secret English and Trigedasleng, are the object language, used by Grounders, to identi- of analysis in this work. The aim is to de- fy the in-group; and eventually, evolved termine the underlying reasons or mo- into a creole language when transmitted tivations behind such language use, as to new generations. cross-sectional element of the narrative Most starring Grounder char- of the audiovisual product. The diverse acters are fully bilingual in English and situations, contexts, and functions for Trigedasleng, as observed throughout which each linguistic code is used have the series; even though, in Season 2 - been taken into consideration to attain Episode 1, one of the characters claims this goal.

Materials and Methods

Data Season 2 A total of six episodes, from both ◊ Episode 03 – Reapercussions seasons 2 and 3 of the TV series on Net- ◊ Episode 09 – Remember Me flix, have been analyzed to obtain data ◊ Episode 10 – Survival of the Fit- to fulfill the goal of the present research. test Such episodes, according to the tran- scripts of the episodes (Peterson, 2014), Season 3 contain the greatest number of utter- ◊ Episode 01 – Wanheda: Part One ances in Trigedasleng: ◊ Episode 07 – Thirteen ◊ Episode 09 – Stealing Fire

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Procedure ances that would not comply with any The six episodes were watched instance of Holmes’s classification, or focusing on the interactions that includ- would fall into more than one category ed a code-switching situation. The tran- at once, underwent a different analysis scription of such utterances was classi- that included recurring to other authors’ fied into categories in accordance with approaches. The context and the devel- Holmes’s (2013) reasons for code-switch- opment of the character were taken into ing (see table 1). In the case of utter- consideration for these occurrences.

Results

According to Holmes (2013), (see Findings section) (Grillo-Marxuach & code-switching happens for different White, 2016). reasons, and it has been verified with the evidence of this research. LEXA: We gather here on this Ascen- sion Day to honor the Commanders Solidarity with the participants that came before me, those who live The Grounders, being the bilin- on within me, as I would live on with- gual group, often use English in front of in one of you. the Sky People to be accurately under- (Peterson, 2014). stood, even when they are not address- ing their speech to them. Holmes (p. 36) also mentions This can be clearly seen through- the possibility of non-bilingual peo- out the series. As an example, at 8:51 in ple switching code as a signal of group Season 3 – Episode 7, a speech given by membership. Sky People use Trige- Lexa, the commander of the Grounders, dasleng in this context. In an attempt for is carried out in English at the beginning getting acceptation from the Ground- in a Trigedasleng-speaking domain, be- ers, Sky People would use some typical cause of the presence of Clarke, from expressions in Trigedasleng, such as: Yu the space station. Lexa, the commander gonplei ste odon (Your fight is over), of the Grounders, and Titus, her mentor, ogeda (together), Skaikru (Name given eventually switch back to their native to the survivors coming from the space language to give orders to their people station), Trikru (Name given to one clan

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of survivors on the surface of earth) or Whereas for Sky People, switching Ste yuj (Stay strong). The use of these from English to Trigedasleng happens expressions often cause surprise in the in hostile situations with the Ground- Grounders and is very noticeable in Sea- ers. Sky People uses Trigedasleng to try son 2 – Episode 9 at 17:04 (Fortenberry & to calm down the Grounders as seen in Madha, 2015). Season 3 – Episode 1 at 17:54 (Rothen- berg & White, 2016). CLARKE : Yu gonplei ste odon. (Peterson, 2014). BELLAMY: Tell them we observe the Commander’s truce. Do it now! Switching for affective functions OCTAVIA: Osir gouba ogonzaun kom This reason for code-switching Heda in. is a very much frequent one in the ob- (…) served episodes. In the case of Ground- LEAD GROUNDER: Weron Wanheda ers switching, from English back to Trige- kamp raun? dasleng, it is normally used to threaten BELLAMY: Breik em au! the participants as seen in Semet’s in- OCTAVIA: Osir nou get in chon daunde terventions at 5:58 – 10:22 in Season 3 bilaik! Beja! – Episode 7 (see Findings section) (Gril- (Peterson, 2014). lo-Marxuach & White, 2016) or Ontari’s dialog in Season 3 – Episode 9 at 25:00 Lexical borrowing (McAdams & Briesewitz, 2016). Since Trigedasleng is a language derived from English, it is not easy to ONTARI: Well, Lexa’s not Heda any- recognize any lexical borrowing from more. Thanks to you. Let’s get this English per se. English, borrowing some over with. words from Trigedasleng, is much more TITUS: (to Ontari) You must be noticeable because English-speaking cleansed before you ascend. (to Mur- people are introduced to a new world phy) Take her to the commander’s of possibilities in this new language. One chambers. Perform the ritual. of the most repeated lexical borrowing MURPHY: Are you sure I’m ready for from Trigedasleng , throughout the ep- that? isodes, are the words Heda and Wan- ONTARI: Hod yu hichplei op, moskwo- heda, which are translated in English as ma. Commander and Commander of death, (Peterson, 2014). respectively, and are used systematical-

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ly. The same goes for expressions like: people that are the subjects of conver- Octavia kom Skaikru (Octavia of the Sky sation; or the words Skaikru and Trikru People) or Lexa kom Trikru (Lexa of the themselves, which refer to the two main Tree Clan), to point out the origins of the groups of people starring in the series.

Findings

After analyzing the data, it has The English-speaking woman comes out been seen that sometimes, code choice from where she was hiding to approach and switching might serve more than the warriors (Ginsburg, McIntyre & White, one of the purposes established on 2014). This code-switching could be due Holmes’s (2013) work. In some other cas- to, in part, solidarity with the participant es, code choice could imply other inten- -Octavia- so she could understand, and tions, especially because of the warlike also due to a directive function of the nature of the series in these two partic- language. There is an ulterior motive for ular seasons. this code-switching, which is an eventu- al victory at war, which may have been Military strategy achieved thanks to the appropriate and Jones (2018) argues that the strategic use of language. means in military strategy "are the re- sources and methods used to achieve INDRA: Sobwe dou kamp raun the strategy”. In the context of the se- hir. Oso na zog emo daun hir. ries, the use of other linguisticcodes PENN: Dison laik yu strat? Tomak ge has a strategic function that implies led op. Artigas laik skat noumou— communicating with enemies and al- ARTIGAS: Emo don hon ai lies (Chauvot, 2010). In Season 2 – Ep- nontu daun. Ai na gon raun. isode 3 at 20:32, we can observe how PENN: Yu na gon raun on ripa op? Indra starts explaining the war strategy INDRA: Stop! We strike from the sha- in Trigedasleng, and suddenly, switches dows when they stop to feed on our to English, in the middle of it, when she bait. stops her warriors from questioning her ARTIGAS: So I’m the bait? strategy, but most importantly, because INDRA: No! You are a warrior. She is the she perceives the presence of Octavia, bait. who would eventually become their ally. (Peterson, 2014).

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In Season 3 – Episode 7, starting CROWD: Jus drein jus daun! Wamplei at 5:32, there is a celebration day for the gon Skaikru! Grounders, in which all the leaders of TITUS: Yu na spek daun ona disha wo- the clans meet with their commander. A geda! Grounder man interrupts this reunion to LEXA: Today I call upon the armies of demand vengeance for crimes commit- the 12 Clans to march on Arkadia. Not ted against his people; therefore, a kind to attack, but to contain. We will bloc- of trial takes place. Half of it is carried out kade the 13th Clan. We will keep them in Trigedasleng, and the other half in En- from the lands they wish to possess. glish. Surprisingly, the part in English, is We will give them time to take out their when the commander explains the strat- leaders from within. Once they rise up egy and gives orders to the armies. The against them, then we will welcome petitioner, who had originally explained them back as one of us. his situation in Trigedasleng, uses En- TITUS: You heard the Commander. glish to express his dissatisfaction with Send riders. Tell your armies to set up the commander’s strategy, and when a buffer zone around Arkadia. 5 miles the tension grows, he uses Trigedasleng should be enough to keep them away again (Grillo-Marxuach & White, 2016). from our villages. What are their or- This time, because of affective functions, ders, Heda? with the goal of infuriating the crowd. LEXA: Any Skaikru caught across the line will be subject to a kill order. SEMET: Fleimkepa don swega klin bi- SEMET: Heda, I do not understand, laik osir na ge sen in! how is this vengeance? Wigod ai op hashta min klin ona disha LEXA: That is not vengeance, my broth- presh sintaim, Heda. Ai laik Semet kom er. It is justice. Trikru en ai kom op hashta raitnes. SEMET: Skaikru killed my son, and my LEXA: Gouva yu klin. Chomouda yu brother, and my wife! The steer of the don sis op Okteivia kom Skaikru gon Commander will not protect us! Then honon? what will! SEMET: Em laik honon kom wor, Heda, TITUS: You mind yourself, Semet. don ge lid hir na sin in kripon-de kom SEMET: WAMPLEI GON HEDA! omon kru. TITUS: Blood must have blood. SEMET: Beja, Heda. Ai beja yu daun. (Peterson, 2014). Goch osir klin.

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Sarcasm be just natural to pronounce their last Sarcasm could be defined as a words in their mother tongue. In the negative notion expressed in positive case of Grounders, it would be "Ai gon- words (Deshmukh & Solanke, 2017). In plei ste odon” (My fight is over). However, Season 3 – Episode 1, Octavia chooses in Season 3 - Episode 9 at 40:18; Lincoln, Trigedasleng to convey sarcasm in her a Grounder, uses a calque from English, speech, a phenomenon that would nor- instead. The Sky People’s proverb, "May mally take place in the native language we meet again”, is translated into Trige- of the speaker (Holmes, 2013). dasleng (Mebi oso na hit choda op nodo taim), and it is used as his last words 22:43 OCTAVIA: Nais oukou. (McAdams & Briesewitz, 2016). It could 31: 11 OCTAVIA: Lis yu ste mema sleng- be explained as a code choice where de in. affective functions gain over referen- (Peterson, 2014). tial, ending up as a merger of expressing love for his native English-speaking She used these words in an angry girlfriend. and his cultural and linguistic tone, and helped by gestures, such as: background. rolling of the eyes or not looking directly Although, the analysis of the data at the person to whom she is talking to provides a basis to understand the main implies sarcasm (Rothenberg & White, reasons for code-switching in The 100, it 2016). There is an affective function as can be difficult to determine all the un- well as a solidarity part implied in the derlying purposes of the code choices in speech, but in this case, there are nega- the show. Interactions seen in Season 3 – tive feelings trying to be evoked. Episode 1 at 30:53 – 32:30 (Rothenberg & White, 2016) could be perceived as errat- Calques ic code-switching, because of its unclear Literal translation of complex ex- function. It has been hypothesized that pressions or phrasal, calquing, (Chantier it could serve entertainment purposes & Dente, 2009) has been detected, in only. Consequently, further research, in- the series, in one utterance. Both, Sky volving the developers of the series and People and the Grounders have their screenwriters, would be necessary in own set of last words, in a proverb-fash- order to establish more accurate asser- ion, which the people pronounce be- tions on the issue, by understanding the fore they die. For a native speaker, of screenplay purposes and the expected any of these two languages, it would audience reaction.

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Conclusions

Code-switching in everyday life would use Trigedasleng and Grounders can be manifested in various types of would use English to communicate with situations and for a great deal of mo- members of the other linguistic commu- tivations. In the case of an audiovisual nity, even in the case of characters that production, like The 100; however, the have been portrayed as monolinguals. It alternated use of two codes: a natu- is also important to mention that, in re- ral one, English and a constructed one, gard to the expression of feelings, for the Trigedasleng, seems to be a much more most part, Trigedasleng is used to con- of a restricted phenomenon. Such re- vey negative messages by the Ground- striction responds to the fictional nature ers; in contrast, Sky People uses it to elicit of the show and the language typology positive feelings. of Trigedasleng. Additionally, it has been found Language, as a cross-sectional el- that some other occurrences of ement of the narrative of the show, con- code-switching do not completely fall ceives the use of both: English, spoken into Holmes’s (2013) categories, and by Sky People and Trigedasleng, spoken needed further analysis involving the by Grounders for communication with development of the characters and fellow speakers. Nevertheless, the con- situational aspects. These include the tact between these people makes place expression of sarcasm, the use of lan- for code-switching situations. This study guage for military strategy, and the use has made an attempt to explain the mo- of calques. The evidence concludes that tivations in the selection of language in the native language was not employed the screenplay. to communicate with these intentions, Holmes’s (2013) reasons for although, it would have been expected code-switching, such as: expressing sol- to be the case. idarity, expressing feelings, and ethnic Another point is that a few utter- identity markers. have been observed ances that include code-switching do frequently throughout the analyzed ep- not seem to serve a clear purpose in the isodes of the series, corroborating this fictional context of the series and would theory. It has been noted that in these give the impression to be erratic some- instances, the characters use their ad- times. Consequently, it has been hypoth- dressee’s language in order to fulfill esized, that the alternation of English these functions. Therefore, Sky People and Trigedasleng, in such interactions

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could have been planned exclusively to of the developer and screenwriters, who be entertaining and easily understood could provide essential information on by the audience. the topic. Besides, investigation of this To conclude, further research is kind could be expanded to the analysis recommended to unfold all the under- of other audiovisual products or literary lying motivations of code-switching in works, especially those that include con- The 100: a study with the participation structed languages.

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