Diglossia and its practice in multilingual Fiji

The aim of this paper is to explore the notion of diglossia in the three main languages, Bauan Fijian, Shudh Hindi and English, of Fiji. The discussion focuses on situating the languages both historically and socially in a multilingual context. The linguistic complexity of the country is also described and discussed in relation to the three languages. In this paper Bauan Fijian is that variety of the Fijian language,1 as opposed to the other Fijian dialects, which has been standardised. Shudh Hindi is the name given to the standard Hindi language in Fiji, which follows the syntax and grammar of Hindi, one of the national languages of India. This is contrasted with Fiji Hindi, which is considered to be a koine of the Indian languages in Fiji. English as implemented into schools by the colonial British administration is discussed with its sub-standard variety, Fiji English. The paper is divided into several parts. Background and historical relevance with a lead to the present sociolinguistic environment are discussed. The H and L varieties of the three languages are outlined and an analysis provided as to how the languages function within the framework of diglossia.

The site of 'becoming' - music and adolescence as liminal spaces in a selection of young adult fictions

Both the experience of music (Boyce-Tillman 2009, DeChaine 2002) and that of adolescence (Bettis and Adams 2005, Bradford 2013, Meyer and Land 2005) have been described as "liminal spaces" - that is, spaces in which transformation of those involved can occur. This paper will examine three texts with an implied young adult audience - Marion's Angels (K. M. Peyton, 1979, later republished as Falling Angels), The Bamboo Flute (Gary Disher, 1992), and The Carbon Diaries 2017 (Saci Lloyd, 2009) - to demonstrate how engagement with music assists the young adult protagonist with negotiating certain necessary developmental tasks of adolescence.