Английская Википедия:Glasgow dialect

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Шаблон:Short description Шаблон:Infobox language Шаблон:Use dmy dates Шаблон:Use British English The Glasgow dialect, also called Glaswegian, varies from Scottish English at one end of a bipolar linguistic continuum to the local dialect of West Central Scots at the other.[1][2] Therefore, the speech of many Glaswegians can draw on a "continuum between fully localised and fully standardised".[3] Additionally, the Glasgow dialect has Highland English and Hiberno-English influences[4] owing to the speech of Highlanders and Irish people who migrated in large numbers to the Glasgow area in the 19th and early 20th centuries.[5] While being named for Glasgow, the accent is typical for natives across the full Greater Glasgow area and associated counties such as Lanarkshire, Renfrewshire, Dunbartonshire and parts of Ayrshire, which formerly came under the single authority of Strathclyde. It is most common in working class people, which can lead to stigma from members of other classes or those outside Glasgow.

As with other dialects, it is subject to dialect levelling where particularly Scots vocabulary is replaced by Standard English words and, in particular, words largely from colloquial English.[6] However, Glaswegians continue to create new euphemisms and nicknames for well-known local figures and buildings. (Some of the supposed nicknames, such as the ‘Clockwork Orange’ for the Underground or ‘Fort Weetabix’ for the Museum of Religious Life & Art, are pseudo-folksy, invented by journalists, but never used by locals.)

Literature

The Glasgow vernacular has also established itself in Scottish literature.[7] Many authors spell some of the Scots elements phonetically, often coinciding with common spelling errors,[8] rather than using the prestigious Modern Scots conventions. The general effect of that, particularly its comic forms, is to exaggerate the unintelligibility of Glasgow speech to outsiders.[8] The resulting orthographic representation of the vernacular gives the overall impression of an anti-standard rather than a local standard.[8]

Michael Munro wrote a guide to Glaswegian entitled The Patter, first published in 1985. With illustrations by David Neilson, and later by the Paisley-born artist and playwright John Byrne, the book became very popular in Glasgow. It was followed by The Patter – Another Blast in 1988, with The Complete Patter, an updated compendium of the first and second books, being published in 1996.

James Kelman's 1994 novel How Late It Was, How Late is written largely in Glaswegian dialect from the point of view of Sammy Samuels, a 38-year-old ex-convict who wakes up blind after a drinking binge and a fight with police. The novel won the 1994 Booker Prize.

Jamie Stuart, a Church of Scotland elder from the High Carntyne Church, produced "A Glasgow Bible" in 1997, relating some biblical tales in the Glaswegian vernacular. More recently, in 2014 Alice's Adventures in Wonderland was translated into Glaswegian Scots by Thomas Clark as Alice's Adventirs in Wunnerlaun.

A 2020 Graeme Armstrong novel, The Young Team, narrated by a gang member in the local dialect, focuses on the 'ned culture' of the region in the early 21st century (albeit set in Airdrie, North Lanarkshire a few miles east of Glasgow rather than in the city itself).[9][10] Armstrong, who had been inspired by the style used by Irvine Welsh for Trainspotting – written in the similar but distinct accent of Edinburgh[11] – struggled to have his novel published and was advised to mitigate the use of the dialect to appeal to a wider audience, but refused to compromise the authenticity of the characters' voices.[12]

Phonology

Jane Stuart-Smith contributed a chapter to the 1999 book Urban Voices entitled "Glasgow: accent and voice quality". She defined two varieties for descriptive purposes:

  • Glasgow Standard English (GSE), the Glaswegian form of Scottish Standard English, spoken by most middle-class speakers
  • Glasgow vernacular (GV), the dialect of many working-class speakers, which is historically based on West-Central Scots, but which shows strong influences from Irish English, its own distinctive slang and increased levelling towards GSE[13]

Differences between the two systems are mostly in lexical incidence.[14] Many working-class speakers use the SSE system when reading aloud, albeit with different qualities for the vowels.[15] The table below shows the vowels used in both variants, as given in Table 11.1 of Stuart-Smith's work.[16]

Lexical set GSE GV
KIT ɪ ɪ̈ ~ i
DRESS ɛ ɛ
HEAD ɛ i
NEVER ɛ ~ ɛ̈ ɪ̈
TRAP a̠ a̠
STAND a̠ ɔ
LOT ɔ o
STRUT ʌ̈ ʌ̈
FOOT ʉ ɪ̈ ~ ɪ
BATH a̠ a̠
AFTER a̠ ɛ
CLOTH ɔ o
OFF ɔ a̠
NURSE ʌ̈ ʌ̈ ~ ɪ
FLEECE ï ~ i̠ i ~ i̠
FACE e e
STAY e e ~ ʌi
PALM a̠ a̠
THOUGHT ɔ o
GOAT o o
MORE o e
GOOSE ʉ ʉ
DO ʉ e
PRICE ʌi ʌi
PRIZE ae ae
CHOICE ɔe ɔe
MOUTH ʌʉ ʉ
NEAR i i
SQUARE e ɛ ~ e
START a̠ e
BIRTH ɪ ɪ̈ ~ ʌ̈
BERTH ɛ ɛ ~ ɪ
NORTH ɔ o
FORCE o o
CURE jʉ jʉ
happY e e ~ ɪ̈
lettER ɪ̈ ~ ʌ̈ ʌ̈
horsES ɪ ɪ̈ ~ ʌ̈
commA ʌ̈ ʌ̈

Stuart-Smith also gave the following summary of how consonants differ in the Glasgow patter from other dialects.[17]

In the media

Шаблон:Refimprove section In the 1970s, the Glasgow-born comedian Stanley Baxter parodied the patter on his television sketch show. "Parliamo Glasgow" was a spoof programme in which Baxter played a language coach and various scenarios using Glaswegian dialogue were played out for laughs.[18][19][20]

The 1998 film by Ken Loach, My Name is Joe, is one of the few films recorded [almost] entirely in Glasgow dialect. As a result, the film had to be given subtitles when released in the United States and even for audiences in England. The same situation occurred with another Loach film, 2002's Sweet Sixteen, based in the town of Greenock which has a local accent virtually identical to that of Glasgow,[21][22] and with the 2010 release Neds set in the city.[23]

Popular Scottish television comedies such as Rab C. Nesbitt, Chewin' the Fat, Still Game, Burnistoun and Limmy's Show also provide reference material, and have themselves contributed popular new expressions to the patter.[24]

Alleged influence from Cockney

Studies have indicated that working-class adolescents in areas such as Glasgow have begun to use certain aspects of Cockney and other Anglicisms in their speech,[25] infiltrating the traditional Glasgow speech.[26] For example, th-fronting is commonly found, and typical Scottish features such as the post-vocalic /r/ are reduced,[27] although this last feature is more likely to be a development of Central Belt Scots origin, unrelated to Anglo-English nonrhoticity.[28] Researches suggest the use of English speech characteristics is likely to be consequential on the influence of London and south east England accents which feature prominently on television.[29][30][31][32]

The linguist John C. Wells, a critic of the media reporting on Estuary English, has questioned whether Glasgow is being influenced by Cockney speech. He claimed that journalists had misrepresented the prevalence of th-fronting in Glasgow and that there is no evidence that th-fronting originated in London. He also wrote that all dialects change over time and that change does not mean that the Glasgow patter will disappear.[33]

References

Шаблон:Reflist

External links

Шаблон:English dialects by continent

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  1. ↑ Macafee C.I. (1983) ‘Glasgow’ in Varieties of English around the World. Amsterdam: Benjamins. p.7
  2. ↑ Stuart-Smith J. Scottish English: Phonology in Varieties of English: The British Isles, Kortman & Upton (Eds), Mouton de Gruyter, New York 2008. p.47
  3. ↑ Macafee C.I. (1983) ‘Glasgow’ in Varieties of English around the World. Amsterdam: Benjamins. p.31
  4. ↑ Шаблон:Citation
  5. ↑ Шаблон:Cite book
  6. ↑ Robert McColl Millar (2018) Modern Scots: An Analytical Survey, Edinburgh University Press, p. 135
  7. ↑ Hagan, Anette I. (2002) Urban Scots Dialect Writing. Bern: Lang.
  8. ↑ 8,0 8,1 8,2 Macafee C.I. (1983) ‘Glasgow’ in Varieties of English around the World. Amsterdam: Benjamins p.40
  9. ↑ Book review: The Young Team, by Graeme Armstrong, Stuart Kelly, The Scotsman, 5 March 2020
  10. ↑ The Young Team by Graeme Armstrong review – a swaggering, incendiary debut, Jude Cook, The Guardian, 13 March 2020
  11. ↑ Шаблон:Cite web
  12. ↑ Шаблон:Cite web
  13. ↑ Stuart-Smith, pp.203–4
  14. ↑ Stuart-Smith, p.205
  15. ↑ Stuart-Smith, p.205
  16. ↑ Stuart-Smith, p.206
  17. ↑ Stuart-Smith, pp.208–210
  18. ↑ Шаблон:Cite web
  19. ↑ Шаблон:Cite web
  20. ↑ Шаблон:Cite web
  21. ↑ Шаблон:Cite news
  22. ↑ Шаблон:Cite web
  23. ↑ Neds – Film Review The Hollywood Reporter, October 14, 2010
  24. ↑ Шаблон:Cite web
  25. ↑ Is TV a contributory factor in accent change in adolescents? – ESRC Society Today
  26. ↑ Cockney creep puts paid to the patter – Evening Times
  27. ↑ Шаблон:Cite journal
  28. ↑ Speitel, H. H. & Johnston, P. (1983). ESRC End of Grant Report "A Sociolinguistic Investigation of Edinburgh Speech."
  29. ↑ Шаблон:Cite web
  30. ↑ 'We fink, so we are from Glasgow' – Times Online
  31. ↑ Scots kids rabbitin' like Cockneys – Sunday Herald
  32. ↑ – Faculty of Arts, University of Glasgow Шаблон:Webarchive
  33. ↑ Шаблон:Cite web
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