The Dialects of British English in Fictional Texts (Routledge Research in Language and Communication)

"This collection brings together perspectives on regional and social varieties of British English in fictional dialogue across works spanning various literary genres, showcasing authorial and translation innovation while also reflecting on their impact on the representation of sociolinguistic polarities. The volume explores the ways in which different varieties of British English, including Welsh, Scots, and Received Pronunciation, are portrayed across a range of texts, including novels, films, newspapers, television series, and plays. Building on metadiscourse which highlighted the growing importance of accent as an emblem of social stance in the eighteenth and nineteenth centuries, the chapters in this book examine how popular textual forms create and reinforce links between accent and social persona and accent and individual idiolect. A look at these themes, as explored through the lens of audiovisual translation and the challenges of dubbing, sheds further light on the creative resources authors and translators draw on in representing sociolinguistic realities through accent. This book will be of particular interest to students and scholars in dialectology, audiovisual translation, literary translation, and media studies"-- Provided by publisher This collection brings together perspectives on regional and social varieties of British English in fictional dialogue across works spanning various literary genres.This book will be of particular interest to students and scholars in dialectology, audiovisual translation, literary translation, and media studies. Cover 1 Half Title 2 Series Page 3 Title Page 4 Copyright Page 5 Table of Contents 6 List of Contributors 8 Introduction: The Dialects of British English in Fictional Texts: Style, Translation and Ideology 12 References 18 Part I: Voices on Page 20 Chapter 1: Scots as the Language of the Uncanny: The Case of Nineteenth-Century Gothic Narratives 22 1.1 Introduction 22 1.2 Scots and Scots-English Code-Mixing in Popular Culture 23 1.3 The Case of Late Modern Scottish Literature 25 1.3.1 Robert Fergusson’s The Ghaists 26 1.3.2 Robert Burns: Or, When Even Death Speaks Scots 27 1.3.3 Scots in Gothic Prose 30 1.4 Concluding Remarks 36 Notes 37 References 38 Primary sources 38 Secondary sources 38 Chapter 2: Enregistering Nationhood: Cornwall and “Cornu-English” in the Works of Alan M. Kent 41 2.1 Cornwall 41 2.2 Cornish, Traditional Dialect and “Cornu-English” 43 2.3 Anglo-Cornish and Identity 45 2.4 Alan M. Kent and “Cornu-English” 48 2.5 Concluding Remarks 54 Notes 54 References 55 Chapter 3: An Analysis of the Use of Vernacular in Sebastian Barry’s Days Without End and Its Spanish and Italian Translations 58 3.1 Introduction 58 3.2 Non-Standard Language in Literature 59 3.3 Dialect Translation 60 3.4 Sebastian Barry’s Days Without End (2016): An Overview 62 3.5 The Function of Vernacular in Days Without End 63 3.6 Non-Standard Language in the Spanish and Italian Translations of Days Without End 68 3.6.1 Días Sin Fin 68 3.6.2 Giorni Senza Fine 71 3.7 Concluding Remarks 73 Notes 74 References 74 Part II: Voices on Stage 78 Chapter 4: Shakespeare’s Multilingual Classrooms: Style, Stylisation and Linguistic Authority 80 4.1 Introduction 80 4.2 Stylisation and Historical Dialogue Analysis 82 4.3 “King’s English” and Multilingualism 84 4.4 The Merry Wives of Windsor : sermo patrius and Mother Tongues 86 4.5 Henry V : The Nation, the Classroom, the Playhouse 90 4.6 Concluding Remarks 95 Notes 96 References 98 Chapter 5: “Peden bras vidne whee bis cregas”: Cornish on the Early Modern Stage 102 5.1 Introduction 102 5.2 Cornish in the Early Modern Period 103 5.3 Cornish and the Early Modern Stage 105 Notes 113 References 115 Chapter 6: “Aw’m Lancashire, owd cock, and gradely hearty”: Enregistered Lancashire Voices in the Nineteenth-Century Theatre 119 6.1 Introduction 119 6.2 Enregisterment, Stylisation, and the Performance of Dialect 121 6.3 Staging Lancashire 124 6.4 Analysis 128 6.4.1 Methodological Remarks 128 6.5 Data and Analysis 129 6.6 Concluding Remarks 134 Notes 135 References 136 Part III: Voices on Screen 142 Chapter 7: Some Observations on British Accent Stereotypes in Hollywood-Style Films 144 7.1 Introduction 144 7.2 Observations on Particular Samples 147 7.3 Concluding Remarks 157 References 159 Audiovisual References 160 Chapter 8: The Accented Voice in Audiovisual Shakespeare 161 8.1 Introduction 161 8.2 Audiovisual Shakespeare 162 8.3 The Function of Dialects 164 8.4 Cockney Comic Reliefs 166 8.5 The Function of American Accents in a RP Context 167 8.6 The Accent of the Outsider in a World of Chaos 171 8.7 Indigenisation Through Translation 173 8.8 Concluding Remarks 174 Notes 175 References 175 Filmography 178 Chapter 9: Bastard from the North or Kingg in th’ Nohrth?: /ˈbɑː.stəd/ /frɒm/ /ðə/ /nɔːθ/ or /kɪŋg/ /ɪn/ /ðə/ /nɒːθ/ 179 9.1 Introduction: Memes and Dialectal Memes 179 9.2 Northern- and Southern-English Dialectal Memes 181 9.3 Spanish Memes 184 9.4 Game of Thrones : A Game of Memes 187 9.5 The North 188 9.6 The South 191 9.7 Translation: Juego de tronos 193 9.8 Memetic Translation 197 9.9 Bastard from the North or Kingg in th’ Nohrth? 199 9.10 Concluding Remarks 200 Notes 201 References 201 Filmography 204 Chapter 10: “Why is he making a funny noise?”: The RP Speaker as an Outcast 205 10.1 Introduction 205 10.2 Received Pronunciation: Is it Actually “Received”? 206 10.3 Regional Accents in British Television 207 10.4 Standard English in Northern Ireland 210 10.5 Derry Girls : The “Otherness” of the RP Speaker 212 10.6 Concluding Remarks 218 Notes 219 References 219 Filmography 221 Index 222 The,Dialects,of,British,English,in,Fictional,Texts;,Donatella,Montini;,Irene,Ranzato;,nineteenth-century,Gothic,narratives;,language,of,the,uncanny;,Scots;,Nationhood;,Cornu-English;,Alan,M.,Kent;,vernacular,in,Sebastian,Barry’s,Days,without,End;,Days,without,End;,Shakespeare’s,multilingual,classrooms;,linguistic,authority;,Cornish,and,the,early,modern,stage;,Lancashire,and,nineteenth-century,theatre;,British,accent,stereotypes;,British,accent,stereotypes,in,Hollywood-style,films;,audiovisual,Shakespeare;,accented,voice;,Game,of,memes;,bastard,of,the,North;,RP,speaker;,RP,speaker,as,an,outcast;,British,dialects The Dialects of British English in Fictional Texts,Donatella Montini,Irene Ranzato,nineteenth-century Gothic narratives,language of the uncanny,Scots,Nationhood,Cornu-English,Alan M. Kent,vernacular in Sebastian Barry’s Days without End,Days without End,Shakespeare’s multilingual classrooms,linguistic authority,Cornish and the early modern stage,Lancashire and nineteenth-century theatre,British accent stereotypes,British accent stereotypes in Hollywood-style films,audiovisual Shakespeare,accented voice,Game of memes,bastard of the North,RP speaker,RP speaker as an outcast,British dialects