Words, words, words: Philology and Beyond: Festschrift for Andreas Fischer on the Occasion of his 65th Birthday

This Festschrift comprises a series of papers written in honour of the philologist Andreas Fischer, on the occasion of his sixty-fifth birthday. As in Andreas Fischer s own research, the main focus of the volume is on words: words in modern varieties, such as emergent conjunctions in Australian, American and British English; words in their cultural and historical context, such as English keywords in Old Norse literature; and words in a diachronic perspective, such as Romance suffixation in the history of English. Many contributions are anchored in the philological tradition that has informed much of Andreas Fischer s own scholarship, such as the study of verbal duelling in the late thirteenth-century romance Kyng Alisaunder. Others examine the construction ofdiscourses, such as those surrounding the Black Death. The volume, with its innovative studies,offers fascinating insights into words, discourses,and their contexts, both past and present.

Social Salience and the Sociolinguistic Monitor: a Case Study of ING and TH-fronting in Britain

This article examines the role of social salience, or the relative ability of a linguistic variable to evoke social meaning, in structuring listeners’ perceptions of quantitative sociolinguistic distributions. Building on the foundational work of Labov et al. (2006, 2011) on the “sociolinguistic monitor” (a proposed cognitive mechanism responsible for sociolinguistic perception), we examine whether listeners’ evaluative judgments of speech change as a function of the type of variable presented. We consider two variables in British English, ING and TH-fronting, which we argue differ in their relative social salience. Replicating the design of Labov et al.’s studies, we test 149 British listeners’ reactions to different quantitative distributions of these variables. Our experiments elicit a very different pattern of perceptual responses than those reported previously. In particular, our results suggest that a variable’s social salience determines both whether and how it is perceptually evaluated. We argue that this finding is crucial for understanding how sociolinguistic information is cognitively processed.

Three preludes : (founded on Welsh hymn tunes) : for the organ /

Bryn Calfaria / melody by W. Owen -- Rhosymedre (or "Lovely") / melody by J.D. Edwards -- Hyfrydol / melody by R.H. Prichard.

Silent noon /

For medium voice and piano (key of E♭).

Fantasia on a theme by Thomas Tallis.

Mode of access: Internet.

Fantasia on a theme by Thomas Tallis for double stringed orchestra (Curwen ed.)

Mode of access: Internet.

Four songs

For voice and piano; ed. for low voice.

Mass in G minor. [music] : for soli (S.A.T.B) and double chorus /

Mode of access: Internet.

Alla sarabanda : from Phantasy quintet for strings ; Antiphon : from Five mystical songs /

Publisher no.: 1.5076.

The Law reports of the Incorporated Council of Law Reporting. Courts of Probate, Divorce, and Admiralty, and on appeal therefrom in the Court of Appeal; ecclesiastical courts, and on appeal therefrom in the Privy Council.

Editor: 1891- A.P. Stone; 1895-1936, Frederick Pollock; 1936-1939, A.F. Topham; 1940, R.E.L. Vaughan Williams; 1941, Ralph Sutton.

Variation and change in the use of hesitation markers in Germanic languages

In this study, we investigate crosslinguistic patterns in the alternation between UM, a hesitation marker consisting of a neutral vowel followed by a final labial nasal, and UH, a hesitation marker consisting of a neutral vowel in an open syllable. Based on a quantitative analysis of a range of spoken and written corpora, we identify clear and consistent patterns of change in the use of these forms in various Germanic languages (English, Dutch, German, Norwegian, Danish, Faroese) and dialects (American English, British English), with the use of UM increasing over time relative to the use of UH. We also find that this pattern of change is generally led by women and more educated speakers. Finally, we propose a series of possible explanations for this surprising change in hesitation marker usage that is currently taking place across Germanic languages.

Who is in charge? An L2 Discourse Intonation Study on Four Prosodic Parameters to Exert the Pragmatic Function of Dominance and Control in the Context of L2 Non-specialist Public Speaking

This paper reports the findings from a study of the learning of English intonation by Spanish speakers within the discourse mode of L2 oral presentation. The purpose of this experiment is, firstly, to compare four prosodic parameters before and after an L2 discourse intonation training programme and, secondly, to confirm whether subjects, after the aforementioned L2 discourse intonation training, are able to match the form of these four prosodic parameters to the discourse-pragmatic function of dominance and control. The study designed the instructions and tasks to create the oral and written corpora and Brazil’s Pronunciation for Advanced Learners of English was adapted for the pedagogical aims of the present study. The learners’ pre- and post-tasks were acoustically analysed and a pre / post- questionnaire design was applied to interpret the acoustic analysis. Results indicate most of the subjects acquired a wider choice of the four prosodic parameters partly due to the prosodically-annotated transcripts that were developed throughout the L2 discourse intonation course. Conversely, qualitative and quantitative data reveal most subjects failed to match the forms to their appropriate pragmatic functions to express dominance and control in an L2 oral presentation.

NEGLECTED CELLO REPERTOIRE OF TWENTIETH CENTURY ENGLISH COMPOSERS

In the Twentieth Century, the proliferation of cellists and the exceptional development of cello techniques, combined with composers' acceptance of the challenges by these developments, led many British composers to contribute to the enrichment of the cello concert repertoire. A great number of compositions written for the cello in the Twentieth Century England have been long neglected. In comparison with their other works in the genres of concerto, symphony, and opera, works for cello by prominent Twentieth Century English composers Elgar, Walton, and Britten are relatively unknown, except for Elgar's cello concerto. There are also many lesser-known composers like Delius, Bax, Bridge, and Clarke, who flourished in the fmt half of the century, but eventually became disregarded. Some reasons for this neglect may be as follows: the reluctant attitude toward new trends in the English musical establishment around the turn of the century; a lack of readily available editions of these composers' compositions; an over-abundance of fine composers at one time; and lastly, an overly individualistic approach to the music restricting a general public appreciation and recognition. Encountering a recording of the Walton cello concerto prompted me to further study the neglected Twentieth Century English cello repertoire. Many works of the above-mentioned composers still have not been fully valued in the cello repertoire. For this reason, the purpose of this project was to inspire cellists to learn and broaden as well as to appreciate the beauty of the Twentieth Century cello literature. As part of the doctoral performance project, three recitals featuring the works by six English composers were performed. My collaborator in all three recitals was pianist Eunae KO. The fmt recital included the Sonata for cello and piano by Frank Bridge and the Concerto by William Walton. The second recital was comprised of relatively unknown cello works: Sonatina in D major by Arnold Bax, Romance by Frederick Delius, and the Sonata Op. 40 by Rebecca Clarke. The third recital consisted of Folk-Tale by Arnold Bax and the Symphony for Cello and Orchestra Op. 68 by Benjamin Britten.

An Absence of Ghosts: cultural and theatrical translation in the British Reception of The Mysteries-Yiimimangaliso

Mark Dornford-May’s widely-acclaimed adaptation of the medieval English Chester “mystery” plays, The Mysteries-Yiimimangaliso, reveal the extent to which theatrical translation, if it is to be intelligible to audiences, risks trading in cultural stereotypes belonging to both source and target cultures. As a South African production of a medieval English theatrical tradition which subsequently plays to an English audience, The Mysteries-Yiimimangaliso enacts a number of disorientating forms of cultural translation. Rather than facilitating the transmission of challenging literary and dramatic traditions, The Mysteries-Yiimimangaliso reveals the extent to which translation, as a politically correct - and thus politically anaemic - act, can become an end in itself in a globalised Anglophone theatrical culture.