This split of narrative allows the author to depict a vivid picture of the décor, but it also add a voice which anchors the entire novel without denaturing the vernacular dialogs of Janie’s story with elements of context or details. The alternation between Standard Written English and Black Vernacular English reflects one of the novel’s central themes: the importance of controlling language. The scene of the pear tree is a concise example of this oscillation: from barren brown stems to glistening leaf-buds; from the leaf-buds to snowy virginity of bloom. It stirred her tremendously. How?
and others (1981:95) also used such technique, additionally applying ‘high and low lexical diversity’ to the South Welsh and RP accent, with high lexical diversity referring to frequent use of regional specific lexis. In my study, the participant will conduct both Scouse and RP lexical diversity to a high degree, using Scouse features such as lenition; defined by Honeybone (2007:18) as ‘underlying plosives realized as affricates and fricatives, for example, expect is articulated [exspɛxt] and stop is articulated [stɒɸ]’. Distinctive Scouse features such as the long vowel [u:] that replaces Standard English (spoken by the RP speaker) [ʊ] in ‘book’ and ‘look’ (Watson, 2007:358) will be employed by both Scouse speakers. Lexical features that the high-diversity speaker will employ in the passage include objective singular ‘me’ in replacement for the standard possessive determiner ‘my’, for example: ‘that’s me book’, ‘me mam’ (Britain, 2007: 96). It is also important to note variability in RP, with Hughes and Trudgill (1997:37) commenting ‘members of the upper social class are likely to have open final vowels in words like University, close to cardinal [ɛ].’ This will be accounted for in the high-diversity recording of the RP speaker.
In this article, Anna Wiezbicka shows her interests for the influences of languages, for the way that people from different countries have some specifics forms to adressing and these specifics form transmits some special feeling. Like the author say ″The theme of this special issue/ multilingualism and emotions /″. With personal example, she talk about the relationship between language, culture and self. Every nation has its own way for expressing and there are few examples witch can make this point right. Anna said a pertinent example for this issue: he said that Polish has no word for ″grief″ and the same, in english exists no words to explain something that in Polish its so important.I am right with this point and I think that the words, in general, have a strong emotioal impact on us It depend to the culture and religion to understand exactly a word and to feel the emotion for a expression like a native.
The T sound at the end of a word is sometimes replaced with a weak H sound, for example that. 3. The word book can be pronounced differently, for example as bewk, while other words like took or look are often pronounced as tuck and luck; To give you an insight on how the Cockney accent is spoken: 1. The TH sound is often replaced by a F sound, For example, if you would count it will go like one, two, free. Think will become Fink
This condition interests us because of well-known fact that in the chimpanzee, and all inferior Primates, a considerable portion of this muscle…” Finally, Parks highlights the difference in the language that the play is written. When African people, The Chorus of the 8 or Venus Hottentot, speak there is a distortion in the language. For instance, The Chorus of the 8 Human Wonders say: “When I was birthed intuh this World.” Here the distortion is represented by “uh” sound. However, when the characters of white people speak there is no distortion of
(2015) suggested that there was a link between the lexical tone and the stuttering loci in Mandarin, which was similar to the stress effect found in English and German. Stress effect, according to Chou et al. (2015), means that stuttering is more likely to occur in stressed syllables rather than unstressed syllables. In order to test this, the researchers recruited 20 children who stutter and analyzed their frequency and types of stutters, and the lexical tone associated with them. All the children were administered the standardized assessments in the research, including the Peabody Picture Vocabulary Test (PPVT) and the Assessment for Language Disorders for Preschool-Age Children.
Firstly, an important feature is the neutralization of the /θ/ and /s/ phonemic opposition, found in standard Castilian, where speakers “contrast these two sounds for the letters z, c + e, i and s,x respectively”, a phenomenon that is also known as ‘distinción’ (Dalbor 5). Two dialectal features that can be observed in Andalusia are ‘seseo’ and ‘ceceo’ (Dalbor 5). Seseo speakers generally do not contrast these two sounds, and pronounce both z,c + e, i and s, x with /s/ and ceceo speakers with /θ/ (Dalbor 5). In general, seseo speakers can be found in urban areas in Andalusia, whilst ceceo speakers are predominantly present in the Andalusian rural areas (Hernández-Campoy and Villena-Ponsoda 190). Secondly, there is a deletion of codas, which occurs when the last consonant of a syllable is dropped (Hernández-Campoy and Villena-Ponsoda 190).
Thus, the Southern Welsh accent might be attempted to be represented there. For example, the position of the lips is usually held a little bit forward which leads to the words being pronounced in a pursed manner, as in the sentence I wonder where fat is /ˈaɪ ˈwʌn.də weə ˈfæt ˌɪz/ (13:35). Additionally, the musicality of the speech is quite intensive there with the voice pitch varying from a low to the high one very often. In the last example, the stress in the sentence is put on the next-to-last word /ˈfæt/ and this word is pronounced with an emphasis and the rising tone, with the pitch moving from low to high position, as in ↗fæt. Even more, the same intonation is seen in a such example as I was planning on going to see one of Graham’s talks tonight /ˈaɪ wəz ˈplæn.ɪŋ ˌɒn ˈgəʊ.ɪŋ tə ˈsiː wʌn əv ˈɡreɪəmz ↗‘tɔːks təˈnaɪt/
The tale of Aladdin is, thanks to Disney, a story that is well known outside the world/culture from which it originated. Of course, the entire anthology of 1001 Nights owes much of its modern publicity to outside voices who found the tales to be something worth translating and putting to paper. This type of treatment has resulted in a unique reproduction of an ancient text, which, as we have it now, is rife with depictions of the so-called “Orient.” The multitude of cultures must have looked, to the eyes of the translators, like a large jigsaw puzzle; they then attempted to put it together, using their own perspectives, lenses, and sense of understanding. Now, to an extent, this is similar to the process by which the famous historians of East
For example, French does not have the English affricates (like in “much” and “jog”) and thus, it is more likely that French speakers will be capable of producing these sounds because they are making a conscious effort (Markey, 1998, p. 2). According to Markey (1998), the sounds that the L2 has but that the L1 lacks are the most difficult ones to pronounce. The example she used is the sounds for French speakers because these sounds do not exist in French, which is why French speakers find it challenging to pronounce words such as “think” and “this” (p.3). Another difficulty that leads to a negative influence that Markey mentions is the abundance of differences between French and American English phonological rules. For instance, French has the same voiceless stops /p t k/ as English, however, in English these stops become aspirated at the start of a word or a stressed syllable while in French, these stops are unaspirated in the same situations (p.3).