The Social Meaning of Eh in Canadian English∗
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The Standardisation of African Languages Michel Lafon, Vic Webb
The Standardisation of African Languages Michel Lafon, Vic Webb To cite this version: Michel Lafon, Vic Webb. The Standardisation of African Languages. Michel Lafon; Vic Webb. IFAS, pp.141, 2008, Nouveaux Cahiers de l’Ifas, Aurelia Wa Kabwe Segatti. halshs-00449090 HAL Id: halshs-00449090 https://halshs.archives-ouvertes.fr/halshs-00449090 Submitted on 20 Jan 2010 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. The Standardisation of African Languages Language political realities CentRePoL and IFAS Proceedings of a CentRePoL workshop held at University of Pretoria on March 29, 2007, supported by the French Institute for Southern Africa Michel Lafon (LLACAN-CNRS) & Vic Webb (CentRePoL) Compilers/ Editors CentRePoL wishes to express its appreciation to the following: Dr. Aurelia Wa Kabwe-Segatti, Research Director, IFAS, Johannesburg, for her professional and material support; PanSALB, for their support over the past two years for CentRePoL’s standardisation project; The University of Pretoria, for the use of their facilities. Les Nouveaux Cahiers de l’IFAS/ IFAS Working Paper Series is a series of occasional working papers, dedicated to disseminating research in the social and human sciences on Southern Africa. -
'Ja-Nee. No, I'm Fine': a Note on YES and NO in South Africa 69
Stellenbosch Papers in Linguistics, Vol. 48, 2017, 67-86 doi: 10.5774/48-0-281 ‘Ja-nee. No, I'm fine’: A note on YES and NO in South Africa Theresa Biberauer Theoretical and Applied Linguistics, University of Cambridge, United Kingdom, and General Linguistics Department, Stellenbosch University, South Africa E-mail: [email protected] Marie-Louise van Heukelum General Linguistics Department, Stellenbosch University, South Africa Email: [email protected] Lalia Duke General Linguistics Department, Stellenbosch University, South Africa Email: [email protected] Abstract This paper considers some unusual uses of NO and YES observed in South African English (SAE) and other languages spoken in South Africa. Our objective is to highlight the fundamentally speaker-hearer-oriented nature of many of these elements, and to offer a formal perspective on their use. We also aim to highlight the value of pursuing more detailed investigations of these and other perspectival elements employed in SAE and other languages spoken in South Africa. Keywords: negation, affirmation, speaker-hearer perspective, clause structure, pragmaticalisation 1. Introduction1 Our point of departure in this note is the peculiarity of South African English (SAE) illustrated in (1): (1) A: How are you? 1 This paper had its origins in a lively discussion, in which Johan Oosthuizen also participated, during the first author's 2017 Honours Syntax seminar. We thank the participants in that class and also the audience at SAMWOP 6, held in Stellenbosch (30 November - 3 December 2017) for their comments and questions on a paper with partly similar content, in particular Alex Andrason, Robyn Berghoff, Kate Huddlestone, Bastian Persohn, Johan Oosthuizen, Erin Pretorius, Kristina Riedel, Andrew van der Spuy, Tarald Taraldsen and Jochen Zeller. -
Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-20-2012 12:00 AM Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century Sean C. Fitzpatrick The University of Western Ontario Supervisor Dr. Christopher E. Gittings The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Sean C. Fitzpatrick 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Fitzpatrick, Sean C., "Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century" (2012). Electronic Thesis and Dissertation Repository. 784. https://ir.lib.uwo.ca/etd/784 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. FIGHTING, SCREAMING, AND LAUGHING FOR AN AUDIENCE: STARS, GENRE, AND THE QUESTION OF CONSTRUCTING A POPULAR ANGLOPHONE CANADIAN CINEMA IN THE TWENTY-FIRST CENTURY (Spine title: Fighting, Screaming, and Laughing for an Audience) (Thesis format: Monograph OR Integrated-Article) by Sean Fitzpatrick Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Sean Fitzpatrick 2012 THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________ ______________________________ Dr. -
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. -
Asper Nation Other Books by Marc Edge
Asper Nation other books by marc edge Pacific Press: The Unauthorized Story of Vancouver’s Newspaper Monopoly Red Line, Blue Line, Bottom Line: How Push Came to Shove Between the National Hockey League and Its Players ASPER NATION Canada’s Most Dangerous Media Company Marc Edge NEW STAR BOOKS VANCOUVER 2007 new star books ltd. 107 — 3477 Commercial Street | Vancouver, bc v5n 4e8 | canada 1574 Gulf Rd., #1517 | Point Roberts, wa 98281 | usa www.NewStarBooks.com | [email protected] Copyright Marc Edge 2007. All rights reserved. No part of this work may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, without the prior written consent of the publisher or a licence from the Canadian Copyright Licensing Agency (access Copyright). Publication of this work is made possible by the support of the Canada Council, the Government of Canada through the Department of Cana- dian Heritage Book Publishing Industry Development Program, the British Columbia Arts Council, and the Province of British Columbia through the Book Publishing Tax Credit. Printed and bound in Canada by Marquis Printing, Cap-St-Ignace, QC First printing, October 2007 library and archives canada cataloguing in publication Edge, Marc, 1954– Asper nation : Canada’s most dangerous media company / Marc Edge. Includes bibliographical references and index. isbn 978-1-55420-032-0 1. CanWest Global Communications Corp. — History. 2. Asper, I.H., 1932–2003. I. Title. hd2810.12.c378d34 2007 384.5506'571 c2007–903983–9 For the Clarks – Lynda, Al, Laura, Spencer, and Chloe – and especially their hot tub, without which this book could never have been written. -
Running Head: POPULAR PEDAGOGY in CANADIAN TELEVISION
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Brock University Digital Repository Running head: POPULAR PEDAGOGY IN CANADIAN TELEVISION Popular Pedagogy in Canadian Television: A Feminist Critical Discourse Analysis of Trailer Park Boys Andrew Haddow, B.A. (Hons.) Department of Graduate Studies in Education Submitted in partial fulfillment of the requirements for the degree of Master of Education Faculty of Education, Brock University St. Catharines, Ontario © Andrew Haddow, 2017 POPULAR PEDAGOGY IN CANADIAN TELEVISION Abstract This major research paper studied the representations of masculinity in the Canadian television program Trailer Park Boys from the perspective of public pedagogy and education. Motivated by a desire to expose how patriarchal discourses are learned through everyday practices and texts, a methodology of feminist Critical Discourse Analysis (CDA) was formulated. Trailer Park Boys is a long-running mockumentary series set in a fictional trailer park near Halifax, Nova Scotia. It focuses on a cast of male characters with exaggerated personalities, and is satirical in tone. Prior to the main analysis of this paper, a collection of relevant literature was conducted and an opportunity to address a lack of gender-focused studies of Canadian television, including Trailer Park Boys, was noted. This study used the feminist CDA method to analyze what masculinities were reinforced as normal or abnormal in Seasons 3 and 9 of the program, based on the understanding that popular culture is a site of everyday learning. After the data was collected episode-by-episode, it became apparent that the themes of family, authority, and sexuality were helpful in understanding what relationship Trailer Park Boys had with traditional representations of heteronormative masculinity. -
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. -
Celebrating Five Years of GMU's I/ON Newsletter
Volume 6.1 March 2002 Department of Psychology I/ON: The Official Newsletter of the I/O Program http://www.gmu.edu/org/iopsa Celebrating Five Years of Comprehending GMU’s I/ON Newsletter: A Comprehensive Exams: Look Back A Survey of I/O Psychology By W. Benjamin Porr Programs’ Comprehensive Exam Sitting down for the IOPSA Procedures & Practices meeting on graduate student By Lisa Boyce, Tara Carpenter, and Kara Incalcaterra orientation day was an uncomfortable feeling. I am How knowledgeable are you of other I/O programs’ not a sociable person when I comprehensive exam procedures? am placed in unfamiliar settings. I sat patiently and If you answered “not very”, you are not alone. Nearly half of all anxiously listening to every I/O psychologists graduating from an I/O psychology graduate word about the I/O program. Then a topic came up that piqued program in the U.S. are required to successfully complete my interest. As described to me, the I/ON newsletter was a tool comprehensive exams (SIOP, 2000). Yet, nearly 50 percent of in which George Mason University’s I/O program communicated the academicians, practitioners, and students surveyed last year with present and past students, while informing the business and indicated that they had no knowledge of comprehensive exam academic world of the developments of the program. It was procedures in programs in which they have no affiliation. As a remarkable, most of the incoming class at that orientation signed result, there appears to be a strong need within the general I/O up to volunteer for the newsletter. -
New Cambridge History of the English Language
New Cambridge History of the English Language Volume V: English in North America and the Caribbean Editors: Natalie Schilling (Georgetown), Derek Denis (Toronto), Raymond Hickey (Essen) I The United States 1. Language change and the history of American English (Walt Wolfram) 2. The dialectology of Anglo-American English (Natalie Schilling) 3. The roots and development of New England English (James N. Stanford) 4. The history of the Midland-Northern boundary (Matthew J. Gordon) 5. The spread of English westwards (Valerie Fridland and Tyler Kendall) 6. American English in the city (Barbara Johnstone) 7. English in the southern United States (Becky Childs and Paul E. Reed) 8. Contact forms of American English (Cristopher Font-Santiago and Joseph Salmons) African American English 9. The roots of African American English (Tracey L. Weldon) 10. The Great Migration and regional variation in the speech of African Americans (Charlie Farrington) 11. Urban African American English (Nicole Holliday) 12. A longitudinal panel survey of African American English (Patricia Cukor-Avila) Latinx English 13. Puerto Rican English in Puerto Rico and in the continental United States (Rosa E. Guzzardo Tamargo) 14. The English of Americans of Mexican and Central American heritage (Erik R. Thomas) II Canada 15. Anglophone settlement and the creation of Canadian English (Charles Boberg) NewCHEL Vol 5: English in North America and the Caribbean Page 2 of 2 16. The open-class lexis of Canadian English: History, structure, and social correlations (Stefan Dollinger) 17. Ontario English: Loyalists and beyond (Derek Denis, Bridget Jankowski and Sali A. Tagliamonte) 18. The Prairies and the West of Canada (Alex D’Arcy and Nicole Rosen) 19. -
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