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The Social Meaning of Eh in Canadian English∗
THE SOCIAL MEANING OF EH IN CANADIAN ENGLISH∗ Derek Denis University of Toronto 1. Introduction. The recent surge in sociolinguistic investigation of pragmatic markers such as general extenders (and stuff, and things like that), discourse and quotative like, and utterance final tags (right, you know) has been primarily fuelled by questions about grammaticalization and language change (D’Arcy 2005; Tagliamonte and D’Arcy 2007; Cheshire 2007; Tagliamonte and Denis 2010; Pichler and Levey 2011; Denis and Tagliamonte pear). Included in that set of pragmatic markers is eh, a very special variant (at least for Canadians). In this paper, I build on earlier work (Avis 1972; Johnson 1976; Gibson 1977; Gold 2005, 2008) and discuss the development of this very Canadian feature in terms of indexical order and indexi- cal change, along the lines of Silverstein’s seminal 2003 paper and Johnstone and Kiesling’s (Johnstone and Kiesling 2008; Johnstone 2009) work on Pittsburghese, which applies Silverstein’s framework. Although eh is well-known as the quintessential Canadian English stereo- type, there has been little research that discusses how exactly it came to hold this status. By tracking the points in time at which eh gained meanings at subse- quent orders of indexicality, a` la Silverstein (1993, 2003) and Johnstone (2009), I establish a timeline of the development of eh’s social meaning in Canada. My arguments draw on evidence based on the metadiscourse surrounding eh, perfor- mances of Canadian identity, real- and apparent-time data that tracks the usage of eh in Southern Ontario English over the last 130 years (Tagliamonte 2006; Denis 2012) and the commodification of eh. -
How Is Rush Canadian?
Rush and Philosophy 2nd pages 3/11/11 1:56 PM Page 287 21 How Is Rush Canadian? DURRELL BOWMAN Given Canada’s relatively small population (twenty-one million in 1969, thirty-four million in 2009), many—but certainly not all—of the nation’s more ambitious musicians have pursued at least some of their career activities in the US and other foreign parts. Rush mainly demonstrates “Canadianness” by combining such British and American influences as progressive rock, hard rock, and indi- vidualism. However, the band has also included more specifically Canadian references across its long career. CanCon The Canadian government implemented specific content—or “CanCon”—regulations in 1971, and broadcasters were then required to include certain percentages of Canadian material. For music, at least two of a song recording’s four main categories of Music, Artist, Production, and Lyrics (“M-A-P-L”) must be “Canadian” according to citizenship or location. The interpretation of this changed after 1991, due to a “scandal” involving Bryan Adams failing to qualify as Canadian because of co-writing certain songs, such as “(Everything I Do) I Do it For You” ( Waking up the Neighbours and Robin Hood: Prince of Thieves , both 1991), with such non-Canadians as Mutt Lange and Michael Kamen. (Spelling the word “neighbours” in the Canadian way apparently didn’t help.) The outcome is that even though Shania Twain similarly co- wrote the songs on Come on Over (1997) with her then-husband Mutt Lange and did not record any of this music in Canada, her album and its songs by that point qualified as Canadian. -
CANADIAN the Beaverton Its National Is Ready for Spotlight from Stage Fast-Track to Screen Tallboyz Head Writer at Writerat Head
CANADIAN CANADA $7 FALL 2019 VOL.22, NO.1 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA The Beaverton Tallboyz Brander is ready for fast-track graduates to its national from stage head writer at spotlight to screen 22 Minutes The Comedy Issue Meet the minds behind the funniest shows in Canadian TV PM40011669 CANADIAN SCREENWRITER The journal of the Writers Guild of Canada SPECIAL AWARDS Vol. 22 No. 1 Fall 2019 Contents ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Cover DESERVE SPECIAL Publisher Maureen Parker From Pratfalls to Flatfalls 6 Editor Tom Villemaire [email protected] For our special comedy issue, we talk to 11 of the hottest writers of Canadian comedy about the scenes that made them laugh and Director of Communications the ones that got away. Their responses are, well, funny. Lana Castleman CANDIDATES! By Diane Wild Editorial Advisory Board Michael Amo Michael MacLennan Features Susin Nielsen Simon Racioppa Fake News. Real Laughs. 14 Rachel Langer NOMINATIONS OPEN JAN. 6, 2020 FOR: With so many voices clamouring to be heard, The Beaverton President Dennis Heaton (Pacific) has managed to capture an audience with its sharp and incisive Councillors brand of news parody as it moves to national broadcast on CTV. Michael Amo (Atlantic) Mark Ellis (Central) By Matthew Hays Marsha Greene (Central) Alex Levine (Central) Anne-Marie Perrotta (Quebec) Tallboyz Fast-Track to TV 18 ALEX BARRIS MENTORSHIP AWARD Andrew Wreggitt (Western) With Bruce McCulloch of Kids in the Hall fame on-board as Design Studio Ours showrunner, Tallboyz Guled Abdi, Vance Banzo, Tim Blair, Cover Photo: Dan Bannister and Franco Nguyen discuss their quick transition from writing Printing Vibrant Graphics for the stage to writing for the small screen. -
Making Meatballs: Canadian Film and Television Comedy by Monica M
Making Meatballs: Canadian Film and Television Comedy by Monica M. Champagne A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies Carleton University OTTAWA, Ontario September 13,2005 Copyright © 2005, Monica M. Champagne Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Library and Bibliotheque et Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-18243-7 Our file Notre reference ISBN: 978-0-494-18243-7 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce,Canada de reproduire, publier, archiver, publish, archive, preserve, conserve,sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet,distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform,et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. -
Canadian English: a Linguistic Reader
Occasional Papers Number 6 Strathy Language Unit Queen’s University Kingston, Ontario Canadian English: A Linguistic Reader Edited by Elaine Gold and Janice McAlpine Occasional Papers Number 6 Strathy Language Unit Queen’s University Kingston, Ontario Canadian English: A Linguistic Reader Edited by Elaine Gold and Janice McAlpine © 2010 Individual authors and artists retain copyright. Strathy Language Unit F406 Mackintosh-Corry Hall Queen’s University Kingston ON Canada K7L 3N6 Acknowledgments to Jack Chambers, who spearheaded the sociolinguistic study of Canadian English, and to Margery Fee, who ranges intrepidly across the literary/linguistic divide in Canadian Studies. This book had its beginnings in the course readers that Elaine Gold compiled while teaching Canadian English at the University of Toronto and Queen’s University from 1999 to 2006. Some texts gathered in this collection have been previously published. These are included here with the permission of the authors; original publication information appears in a footnote on the first page of each such article or excerpt. Credit for sketched illustrations: Connie Morris Photo credits: See details at each image Contents Foreword v A Note on Printing and Sharing This Book v Part One: Overview and General Characteristics of Canadian English English in Canada, J.K. Chambers 1 The Name Canada: An Etymological Enigma, 38 Mark M. Orkin Canadian English (1857), 44 Rev. A. Constable Geikie Canadian English: A Preface to the Dictionary 55 of Canadian English (1967), Walter S. Avis The -
Lamb Diss Dew&O
UC Riverside UC Riverside Electronic Theses and Dissertations Title A Funny Thing Happened on the Way to the Cinema: Shakespeare's Comedies in Film and Television Permalink https://escholarship.org/uc/item/4j05b2rk Author Lamb, Wendy Nicole Publication Date 2010 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE A Funny Thing Happened on the Way to the Cinema Shakespeare’s Comedies in Film and Television A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Wendy Nicole Lamb December 2010 Dissertation Committee: Dr. Deborah Willis, Chairperson Dr. John M. Ganim Dr. Heidi Brayman-Hackel Copyright by Wendy Nicole Lamb 2010 The Dissertation of Wendy Nicole Lamb is approved: Committee Chairperson University of California, Riverside Acknowledgements One does not write a dissertation in a vacuum and I owe many people a great debt of gratitude for their conversation, encouragement, exhortation, and labor that have propelled me to the end of this process. Tina Feldmann kept me on track and fixed all my technical mishaps. Dr. Deborah Willis, my committee chair, read and re-read every chapter, continually providing suggestions that have always been right. Dr. John Ganim is the great encourager. Dr. Heidi Brayman-Hackel pushed me out of my academic comfort zone. I would never have been able to write this dissertation if I had not had English mentors along the way, especially Dr. Ann Appleton, La Sierra High School; Dr. Stanley Stewart, UC Riverside (the first time); Drs. Marcia Savage, DawnEllen Jacobs, and Stan Orr, California Baptist University; Dr. -
The Canadianization of the American Media Landscape Eric Weeks
Document generated on 09/26/2021 3:27 a.m. International Journal of Canadian Studies Revue internationale d’études canadiennes Where is There? The Canadianization of the American Media Landscape Eric Weeks Culture — Natures in Canada Article abstract Culture — natures au Canada An increasing number of American film and television productions are filmed Number 39-40, 2009 inCanada. This paper argues that while the Canadianization of the American medialandscape may make financial sense, the trend actually causes harm to URI: https://id.erudit.org/iderudit/040824ar the culturallandscape of both countries. This study examines reasons DOI: https://doi.org/10.7202/040824ar contributing to thetendency to move production to Canada and how recent events have impactedHollywood's northern migration. Further, "authentic" representations of place onthe big and small screens are explored, as are the See table of contents effects that economic runawayproductions—those films and television programs that relocate production due tolower costs found elsewhere—have on a national cultural identity and audiencereception, American and Canadian Publisher(s) alike. Conseil international d'études canadiennes ISSN 1180-3991 (print) 1923-5291 (digital) Explore this journal Cite this article Weeks, E. (2009). Where is There? The Canadianization of the American Media Landscape. International Journal of Canadian Studies / Revue internationale d’études canadiennes, (39-40), 83–107. https://doi.org/10.7202/040824ar Tous droits réservés © Conseil international d'études canadiennes, 2009 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. -
Lower Taxes Is the Goal by Reg P. Wydeven May 21
Lower Taxes is the Goal By Reg P. Wydeven May 21, 2017 A few weeks ago I caught the classic movie ‘Strange Brew’ on cable. The comedy stars Rick Moranis and Dave Thomas as hapless Canadian brothers Bob and Doug McKenzie. The film also popularized the insult of ‘Hoser,’ which originates in hockey. When Canadian youth played hockey outdoors, where it is meant to be played, they didn’t have Zambonis. Therefore, the losing team was tasked with getting the hose to spray water on the rink to remove the scuffs and cuts in the ice. Hence the name ‘hoser.’ Because of its outdoor roots, hockey leagues have recently begun playing games outdoors. In 2006, Lambeau Field hosted The Frozen Tundra Hockey Classic, which saw the Wisconsin Badgers defeat the Ohio State Buckeyes 4-2. In 2003, the National Hockey League held the Heritage Classic between the Edmonton Oilers and Montreal Canadiens at Commonwealth Stadium in Edmonton. It was the first outdoor regular season game in NHL history. On New Year’s Day in 2008, the NHL began the annual Winter Classic with the Pittsburgh Penguins facing the Buffalo Sabres in Ralph Wilson Stadium outside Buffalo. The Stadium Series started in 2014 featuring additional outdoor games. This year marks the 100th year of the NHL. To celebrate, the NHL Centennial Classic between the Detroit Red Wings and Toronto Maple Leafs was played at BMO Field in Toronto on January 1. The NHL 100 Classic will be played on December 16 between Montreal and the Ottawa Senators at TD Place Stadium in Ottawa. -
The Canadianization of the American Media Landscape Eric Weeks
Document généré le 30 sept. 2021 23:14 International Journal of Canadian Studies Revue internationale d’études canadiennes Where is There? The Canadianization of the American Media Landscape Eric Weeks Culture — Natures in Canada Résumé de l'article Culture — natures au Canada Alors qu’un nombre croissant de films américains et de Numéro 39-40, 2009 productionstélévisuelles sont tournés au Canada, cet article soutient que même si lacanadianisation du paysage médiatique américain obéit à une logique URI : https://id.erudit.org/iderudit/040824ar économique, ellenuit en fait au patrimoine culturel des deux pays. Il examine, DOI : https://doi.org/10.7202/040824ar d’une part,les raisons qui contribuent à la tendance du transfert de la production au Canadaet, d’autre part, la façon dont des événements récents ont influé sur lamigration d’Hollywood vers le nord. En outre, les Aller au sommaire du numéro représentations« authentiques » des lieux sur les grands et petitsécrans sont explorées, tout comme les effets économiques de ces productionsextérieures — la relocalisation de la production des films et des émissionstélévisées en raison Éditeur(s) des faibles coûts ailleurs dans le monde — sur l’identitéculturelle nationale et sur l’accueil de la part du public, tant aux États-Unisqu’au Canada. Conseil international d'études canadiennes ISSN 1180-3991 (imprimé) 1923-5291 (numérique) Découvrir la revue Citer cet article Weeks, E. (2009). Where is There? The Canadianization of the American Media Landscape. International Journal of Canadian Studies / Revue internationale d’études canadiennes, (39-40), 83–107. https://doi.org/10.7202/040824ar Tous droits réservés © Conseil international d'études canadiennes, 2009 Ce document est protégé par la loi sur le droit d’auteur. -
150 Canadian Films
150 CANADIAN FILMS MESSAGE FROM THE PRIME MINISTER OF CANADA Dear Friends: I am delighted to extend my warmest greetings to Canadians on National Canadian Film Day, a Canada 150 Signature Project, presented by REEL CANADA. This one-day event connects Canadians from sea to sea to celebrate the achievements of Canadian filmmakers. The film festival is one of many cultural projects during the Sesquicentennial year that will help build a sense of pride in and attachment to everything our remarkable country represents. National Canadian Film Day focuses on discovery, with opportunities to view culturally diverse Canadian films on television, online and in theatres large and small across the country. I would like to commend REEL CANADA for coordinating this exciting celebration of homegrown film excellence and I encourage everyone to get involved. With so many works to choose from, and an audience eager to explore the best of Canada’s rich film history, National Canadian Film Day is sure to be a resounding success. On behalf of the Government of Canada, I offer my best wishes for an enjoyable and memorable experience. Justin P.J. Trudeau Prime Minister of Canada The Rt. Hon. Justin P.J. Trudeau, P.C., M.P. Prime Minister of Canada MESSAGE FROM THE MINISTER OF CANADIAN HERITAGE As we kick off the 150th anniversary of Confederation, we want to support projects that inspire national pride and strengthen the bonds between citizens from coast to coast to coast. This is why we are pleased to support REEL CANADA and its National Canadian Film Day 150. -
After the Goldrush: the History of Popular Music Fund- Ing in Canada
CORE Metadata, citation and similar papers at core.ac.uk Provided by Birkbeck Institutional Research Online ORBIT - Online Repository of Birkbeck Institutional Theses Enabling Open Access to Birkbecks Research Degree output After the goldrush: the history of popular music fund- ing in Canada http://bbktheses.da.ulcc.ac.uk/106/ Version: Full Version Citation: Shapiro, Shain (2014) After the goldrush: the history of popular mu- sic funding in Canada. PhD thesis, Birkbeck, University of London. c 2014 The Author(s) All material available through ORBIT is protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law. Deposit guide Contact: email After the Goldrush: The History of Popular Music Funding in Canada Graduate Program in Cultural Studies. London Consortium, Birkbeck College, University of London, London, UK December 2014 A thesis submitted to the London Consortium, Birkbeck College, University of London in partial fulfilment of the requirements of the degree of Doctor of Cultural Studies Shain Shapiro I declare this this work is entirely my own, subject to the rules and regulations of the London Consortium, Birkbeck College, University of London. Signed, Shain Shapiro 1 December 2014 London, UK 1 Abstract This dissertation is a cultural and historical analysis of the history of popular music funding in Canada, from 1949 to 2013. Canada has an extensive public subsidy system for popular music, deriving from the implementation of content quotas for publicly licensed airwaves and the need to supply these airwaves with appropriate content. This thesis evaluates and analyses the history that engendered these policies to reveal their impact on the concept of Canadian identity as a whole, and the impact of Canadian identity formation on the popular music industries. -
Rice Student Margaret Fossi Slain Near Off-Campus Home
j.. .£z. TV Mitchell nixes KAOS game after campus officials change rules by Alison Bober participants. the call with weapons drawn, appropriately so, and saw the Baker freshman Mark Mitchell, the organizer of the KA OS, "Killing As an Organized Sport", is modelled on shadow of a man with a weapon in hand. While it was KAOS recreational game on campus, has decided to cancel the games Killer and Assassin which, according to Mitchell, acuaily a group of Rice alumni and two students playing the game after stringent modifications to the rules were were "successfully played at such colleges as Swarthmore, ^ Assassin, only the required by the administration. Mitchell hopes to refund the University of Michigan, and the University of Indiana." restraint of the officers about 40 cents of each dollar originally paid by the game's As originally developed, the game involves a game master kept anything from assigning a "target" to be "killed" by using a dart gun happening. An officer equipped with suction-tipped darts or by direct contact. If the has just a few seconds "kill" is successful, the "assassin" goes after the victim's own to make a decision, and "target" and the game eventually leaves only one "survivor", it is difficult to tell a toy who receives a prize. Mitchell planned to computerize the from a real weapon at a entire process of "kill" credits and "target" assignments. distance. Therefore 1 Mitchell posted advertisements last semester which was very disturbed attracted 199 people to the game that was to begin this when 1 heard about this semester.