American Perceptions of British Regional Dialects

Sociolinguists have discussed problematic language ideologies, such as Standard Language Ideology (Lippi-Green 1997) extensively and social perceptions of Standard English in the U.S and U.K are well documented. However, most work in this area has focused on perceptions of dialects within national contexts. This study makes a novel contribution to the study of language attitudes, investigating perceptions of British regional dialects within the U.S. A survey was created to gauge perceptions of five British regional dialects (Liverpool, Leeds, Birmingham, Newcastle, London). 49 survey participants listened to audio clips of British regional dialect speakers and then completed a mapping activity, answered perception questions, and ranked each speaker on specific qualities. Results showed that speaker region had a significant effect on perception of almost all variables at a statistically significant rate, despite unfamiliarity with all but the London dialect. Results suggest that although participants are largely unfamiliar with varieties of English in England outside of London, they assessed them by recruiting pre-existing stereotypes about vernacular dialects.

Revaloracion de la comedia de Pedro Munoz Seca: Un teatro menospreciado

The comedies of Pedro Muñoz Seca (1879-1936) received extraordinary public acclaim for over thirty years, yet critics rejected them. Although several experts have recently begun to study his plays in an objective manner, this author has generally either been underrated or omitted from theater histories. This study identifies the merit, contributions and relevance of Muñoz Seca's works so that the unwarranted void that now exists in Spanish theater annals is justly filled. Historical and biographical backgrounds and a brief sketch of the development of comedy in Spain serve to introduce the literary, political and social contexts in which the author develops the subgenre known as "astracán" and introduces the "fresco" character type. ^ This analysis illustrates Muñoz Seca's verbal comic techniques---the use of regional dialects and individuals' speech peculiarities, double entendres, incongruence, periphrasis, and ingenious plays on words. It also explores the author's profound theatrical sense manifested in inter-textual references and self-reflexivity within the content of his plays. In addition, it identifies the scenic creativity he displays through the use of cinematography, the removal of color from stage decor (or the elimination of scenery altogether), and the original application of music to create comic effect. Furthermore, this study comments the satirical tone projected in Muñoz Seca's characters' idiolect and barbarisms as socio-political conditions worsen. Finally, it brings forth the author's use of parody to criticize his society and to deride other theatrical genres in vogue during his time. ^ While the polarization between Muñoz Seca's popular success and the critics' rejection can be explained by esthetic and ideological prejudices, this dissertation ascertains that the true nature of the author's plays has not been properly identified. The "astracán" is a double parody; however, since it caricaturizes a comic subgenre that is already burlesque, its defining parodic features have been consistently misinterpreted as mere exaggerations and defects. What is more, as its critical content is not recognized, its renewing function goes unnoticed. Muñoz Seca's "astracán" illustrates an era of the Spanish comic stage and paves the way for the theater of the absurd. Its merit and relevance must be recognized. ^