An auditory, acoustic, articulatory and sociophonetic study of Swedish Viby-i

The study investigates the acoustic, articulatory and sociophonetic properties of the Swedish /iː/ variant known as 'Viby-i' in 13 speakers of Central Swedish from Stockholm, Gothenburg, Varberg, Jönköping and Katrineholm. The vowel is described in terms of its auditory quality, its acoustic F1 and F2 values, and its tongue configuration. A brief, qualitative description of lip position is also included. Variation in /iː/ production is mapped against five sociolinguistic factors: city, dialectal region, metropolitan vs. urban location, sex and socioeconomic rating. Articulatory data is collected using ultrasound tongue imaging (UTI), for which the study proposes and evaluates a methodology. The study shows that Viby-i varies in auditory strength between speakers, and that strong instances of the vowel are associated with a high F1 and low F2, a trend which becomes more pronounced as the strength of Viby-i increases. The articulation of Viby-i is characterised by a lowered and backed tongue body, sometimes accompanied by a double-bunched tongue shape. The relationship between tongue position and acoustic results appears to be non-linear, suggesting either a measurement error or the influence of additional articulatory factors. Preliminary images of the lips show that Viby-i is produced with a spread but lax lip posture. The lip data also reveals parts of the tongue, which in many speakers appears to be extremely fronted and braced against the lower teeth, or sometimes protruded, when producing Viby-i. No sociophonetic difference is found between speakers from different cities or dialect regions. Metropolitan speakers are found to have an auditorily and acoustically stronger Viby-i than urban speakers, but this pattern is not matched in tongue backing or lowering. Overall the data shows a weak trend towards higher-class females having stronger Viby-i, but these results are tentative due to the limited size and stratification of the sample. Further research is needed to fully explore the sociophonetic properties of Viby-i.

The standardisation of Scottish Gaelic orthography 1750-2007: a corpus approach

This thesis investigates the standardisation of Modern Scottish Gaelic orthography from the mid-eighteenth century to the twenty-first. It presents the results of the first corpus-based analysis of Modern Scottish Gaelic orthographic development combined with an analytic approach that places orthographic choices in their sociolinguistic context. The theoretical framework behind the analysis centres on discussion of how the language ideologies of the phonographic ideal, historicism, autonomy, vernacularism and the ideology of the standard itself have shaped orthographic conventions and debates. It argues that current spelling norms reflect an orthography that is the result of compromise, historical factors and pragmatic function. The research uses a digital corpus to examine how three particular features have been used over time: the dialect variation between <eu> and <ia>; variation in s + stop consonant clusters (sd/st, sg/sc, sb/sp); and the use of the grave and acute accents. Evidence is drawn from the Corpas na Gàidhlig electronic corpus created at the University of Glasgow: the sub-corpus used in this study includes 117 published texts representing a period of over 250 years from 1750 to 2007, and a total size of over four and a quarter million words. The results confirm a key period of reform between 1750 and the early nineteenth century, and thereafter a settled norm being established in the early nineteenth century. Since then, some variation has been acceptable although changes and reform of some features have centred on increasing uniformity and regularisation.

Subtitling Chinese cinema: a case study of Zhang Yimou’s films

In recent years, more and more Chinese films have been exported abroad. This thesis intends to explore the subtitling of Chinese cinema into English, with Zhang Yimou’s films as a case study. Zhang Yimou is arguably the most critically and internationally acclaimed Chinese filmmaker, who has experimented with a variety of genres of films. I argue that in the subtitling of his films, there is an obvious adoption of the domestication translation strategy that reduces or even omits Chinese cultural references. I try to discover what cultural categories or perspectives of China are prone to the domestication of translation and have formulated five categories: humour, politeness, dialect, history and songs and the Peking Opera. My methodology is that I compare the source Chinese dialogue lines with the existing English subtitles by providing literal translations of the source lines, and I will also give my alternative translations that tend to retain the source cultural references better. I also speculate that the domestication strategy is frequently employed by subtitlers possibly because the subtitlers assume the source cultural references are difficult for target language subtitle readers to comprehend, even if they are translated into a target language. However, subtitle readers are very likely to understand more than what the dialogue lines and the target language subtitles express, because films are multimodal entities and verbal information is not the only source of information for subtitle readers. The image and the sound are also significant sources of information for subtitle readers who are constantly involved in a dynamic film-watching experience. They are also expected to grasp visual and acoustic information. The complete omission or domestication of source cultural references might also affect their interpretation of the non-verbal cues. I also contemplate that the translation, which frequently domesticates the source culture carried out by a translator who is also a native speaker of the source language, is ‘submissive translation’.

Regional variation and change in the history of English strong verbs

This thesis investigates how the strong verb system inherited from Old English evolved in the regional dialects of Middle English (ca. 1100-1500). Old English texts preserve a relatively complex system of strong verbs, in which traditionally seven different ablaut classes are distinguished. This system becomes seriously disrupted from the Late Old English and Early Middle English periods onwards. As a result, many strong verbs die out, or have their ablaut patterns affected by sound change and morphological analogy, or transfer to the weak conjugation. In my thesis, I study the beginnings of two of these developments in two strong verb classes to find out what the evidence from Middle English regional dialects can tell us about their origins and diffusion. Chapter 2 concentrates on the strong-to-weak shift in Class III verbs, and investigates to what extent strong, mixed and weak past tense and participle forms vary in Middle English dialects, and whether the variation is more pronounced in the paradigms of specific verbs or sub-classes. Chapter 3 analyses the regional distribution of ablaut levelling in strong Class IV verbs throughout the Middle English period. The Class III and IV data for the Early Middle English period are drawn from A Linguistic Atlas of Early Middle English, and the data for the Late Middle English period from a sub-corpus of files from The Penn-Helsinki Parsed Corpus of Middle English and The Middle English Grammar Corpus. Furthermore, The English Dialect Dictionary and Grammar are consulted as an additional reference point to find out to what extent the Middle English developments are reflected in Late Modern English dialects. Finally, referring to modern insights into language variation and change and linguistic interference, Chapter 4 discusses to what extent intra- and extra-linguistc factors, such as token and type frequency, stem structure and language contact, might correlate with the strong-to-weak shift and ablaut levelling in Class III and IV verbs in the Middle English period. The thesis is accompanied by six appendices that contain further information about my distinction of Middle English dialect areas (Appendix A), historical Class III and IV verbs (B and C) and the text samples and linguistic data from the Middle English text corpora (D, E and F).

The subjunctive mood in Late Middle English adverbial clauses: the interaction of form and function

This thesis focuses on the history of the inflexional subjunctive and its functional substitutes in Late Middle English. To explore why and how the inflexional subjunctive declined in the history of English language, I analysed 2653 examples of three adverbial clauses introduced by if (1882 examples), though (305 examples) and lest (466 examples). Using a corpus-based approach, this thesis argues that linguistic change in subjunctive constructions did not happen suddenly but rather gradually, and the way it changed was varied , and that different constructions changed at different speeds in different environments. It is well known that the inflexional subjunctive declined in the history of English, mainly because of inflexional loss. Strangely however this topic has been comparatively neglected in the scholarly literature, especially with regard to the Middle English period, probably due to the limitations of data and also because study of this development requires very cumbersome textual research. This thesis has derived and analysed the data from three large corpora in the public domain: the Middle English Grammar Corpus (MEG-C for short), the Innsbruck Computer Archive of Machine-Readable English Texts (ICAMET for short), and some selected texts from The Corpus of Middle English Prose and Verse, part of the Middle English Compendium that also includes the Middle English Dictionary. The data were analysed from three perspectives: 1) clausal type, 2) dialect, and 3) textual genre. The basic methodology for the research was to analyse the examples one by one, with special attention being paid to the peculiarities of each text. In addition, this thesis draw on some complementary – indeed overlapping -- linguistic theories for further discussion: 1) Biber’s multi-dimensional theory, 2) Ogura and Wang’s (1994) S-curve or ‘diffusion’ theory, 3) Kretzchmar’s (2009) linguistics of speech, and 4) Halliday’s (1987) notion of language as a dynamic open system. To summarise the outcomes of this thesis: 1) On variation between clausal types, it was shown that the distributional tendencies of verb types (sub, ind, mod) are different between the three adverbial clauses under consideration. 2) On variation between dialects, it has been shown that the northern area, i.e. the so-called Great Scandinavian Belt, displays an especially high comparative ratio of the inflexional subjunctive construction compared to the other areas. This thesis suggests that this result was caused by the influence of Norse, relating the finding to the argument of Samuels (1989) that the present tense -es ending in the northern dialect was introduced by the influence of the Scandinavians. 3) On variation between genres, those labelled Science, Documents and Religion display relatively high ratio of the inflexional subjunctive, while Letter, Romance and History show relatively low ratio of the inflexional subjunctive. This results are explained by Biber’s multi-dimensional theory, which shows that the inflexional subjunctive can be related to the factors ‘informational’, ‘non-narrative’, ‘persuasive’ and ‘abstract’. 4) Lastly, on the inflexional subjunctive in Late Middle English, this thesis concludes that 1) the change did not happen suddenly but gradually, and 2) the way language changes varies. Thus the inflexional subjunctive did not disappear suddenly from England, and there was a time lag among the clausal types, dialects and genres, which can be related to Ogura and Wang’s S-curve (“diffusion”) theory and Kretzchmars’s view of “linguistic continuum”. This thesis has shown that the issues with regard to the inflexional subjunctive are quite complex, so that research in this area requires not only textual analysis but also theoretical analysis, considering both intra- and extra- linguistic factors.