The Dialects of British English in Fictional Texts

Cover
Half Title
Series Page
Title Page
Copyright Page
Table of Contents
List of Contributors
Introduction: The Dialects of British English in Fictional Texts: Style, Translation and Ideology
References
Part I: Voices on Page
Chapter 1: Scots as the Language of the Uncanny: The Case of Nineteenth-Century Gothic Narratives
1.1 Introduction
1.2 Scots and Scots-English Code-Mixing in Popular Culture
1.3 The Case of Late Modern Scottish Literature
1.3.1 Robert Fergusson’s The Ghaists
1.3.2 Robert Burns: Or, When Even Death Speaks Scots
1.3.3 Scots in Gothic Prose
1.4 Concluding Remarks
Notes
References
Primary sources
Secondary sources
Chapter 2: Enregistering Nationhood: Cornwall and “Cornu-English” in the Works of Alan M. Kent
2.1 Cornwall
2.2 Cornish, Traditional Dialect and “Cornu-English”
2.3 Anglo-Cornish and Identity
2.4 Alan M. Kent and “Cornu-English”
2.5 Concluding Remarks
Notes
References
Chapter 3: An Analysis of the Use of Vernacular in Sebastian Barry’s Days Without End and Its Spanish and Italian Translations
3.1 Introduction
3.2 Non-Standard Language in Literature
3.3 Dialect Translation
3.4 Sebastian Barry’s Days Without End (2016): An Overview
3.5 The Function of Vernacular in Days Without End
3.6 Non-Standard Language in the Spanish and Italian Translations of Days Without End
3.6.1 Días Sin Fin
3.6.2 Giorni Senza Fine
3.7 Concluding Remarks
Notes
References
Part II: Voices on Stage
Chapter 4: Shakespeare’s Multilingual Classrooms: Style, Stylisation and Linguistic Authority
4.1 Introduction
4.2 Stylisation and Historical Dialogue Analysis
4.3 “King’s English” and Multilingualism
4.4 The Merry Wives of Windsor : sermo patrius and Mother Tongues
4.5 Henry V : The Nation, the Classroom, the Playhouse
4.6 Concluding Remarks
Notes
References
Chapter 5: “Peden bras vidne whee bis cregas”: Cornish on the Early Modern Stage
5.1 Introduction
5.2 Cornish in the Early Modern Period
5.3 Cornish and the Early Modern Stage
Notes
References
Chapter 6: “Aw’m Lancashire, owd cock, and gradely hearty”: Enregistered Lancashire Voices in the Nineteenth-Century Theatre
6.1 Introduction
6.2 Enregisterment, Stylisation, and the Performance of Dialect
6.3 Staging Lancashire
6.4 Analysis
6.4.1 Methodological Remarks
6.5 Data and Analysis
6.6 Concluding Remarks
Notes
References
Part III: Voices on Screen
Chapter 7: Some Observations on British Accent Stereotypes in Hollywood-Style Films
7.1 Introduction
7.2 Observations on Particular Samples
7.3 Concluding Remarks
References
Audiovisual References
Chapter 8: The Accented Voice in Audiovisual Shakespeare
8.1 Introduction
8.2 Audiovisual Shakespeare
8.3 The Function of Dialects
8.4 Cockney Comic Reliefs
8.5 The Function of American Accents in a RP Context
8.6 The Accent of the Outsider in a World of Chaos
8.7 Indigenisation Through Translation
8.8 Concluding Remarks
Notes
References
Filmography
Chapter 9: Bastard from the North or Kingg in th’ Nohrth?: /ˈbɑː.stəd/ /frɒm/ /ðə/ /nɔːθ/ or /kɪŋg/ /ɪn/ /ðə/ /nɒːθ/
9.1 Introduction: Memes and Dialectal Memes
9.2 Northern- and Southern-English Dialectal Memes
9.3 Spanish Memes
9.4 Game of Thrones : A Game of Memes
9.5 The North
9.6 The South
9.7 Translation: Juego de tronos
9.8 Memetic Translation
9.9 Bastard from the North or Kingg in th’ Nohrth?
9.10 Concluding Remarks
Notes
References
Filmography
Chapter 10: “Why is he making a funny noise?”: The RP Speaker as an Outcast
10.1 Introduction
10.2 Received Pronunciation: Is it Actually “Received”?
10.3 Regional Accents in British Television
10.4 Standard English in Northern Ireland
10.5 Derry Girls : The “Otherness” of the RP Speaker
10.6 Concluding Remarks
Notes
References
Filmography
Index