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robertogreco : dialect   11

Language and Linguistics on Trial: Hearing Rachel Jeantel (and Other Vernacular Speakers) in the Courtroom and Beyond, by John Rickford and Sharese King [.pdf]
"Rachel Jeantel was the leading prosecution witness when George Zimmerman was tried for killing Trayvon Martin, but she spoke in African American Vernacular English (AAVE) and her crucial testimony was dismissed as incomprehensible and not credible. The disregard for her speech in court and the media is familiar to vernacular speakers and puts Linguistics itself on trial: following Saussure, how do we dispel such ‘prejudices’ and ‘fictions’? We show that Jeantel speaks a highly systematic AAVE, with possible Caribbean influence. We also discuss voice quality and other factors that bedeviled her testimony, including dialect unfamiliarity and institutionalized racism. Finally, we suggest strategies for linguists to help vernacular speakers be better heard in courtrooms and beyond.*"
johnrickford  shareseking  2016  trayvonmartin  georgezimmerman  racheljeantel  aave  english  bias  law  legal  justice  race  racism  dialect  literacy  intelligence  linguistics  sociolinguistics 
january 2019 by robertogreco
Justice for Jeantel (and Trayvon): Fighting Dialect Prejudice in Courtrooms and Beyond - CornellCast
"When George Zimmerman was tried for the homicide of Trayvon Martin, the testimony of Rachel Jeantel was critical to the prosecution’s case – but was ignored by the jury. According to linguist John Rickford this happened because Jeantel speaks African-American Vernacular English. On Sept. 15, 2016, Rickford presented a University Lecture discussing the potentially devastating consequences caused by mishearings and misjudgments of dialect speakers in courtrooms, police encounters, job interviews and elsewhere."
johnrickford  2016  trayvonmartin  georgezimmerman  racheljeantel  aave  english  bias  law  legal  justice  race  racism  dialect  literacy  intelligence  linguistics  sociolinguistics 
january 2019 by robertogreco
John Rickford, Sharese King: Full Interview on "Race, Dialect Prejudice, and Literacy in the Zimmerman Trial and Beyond" | Stanford Center for Opportunity Policy in Education
"The testimony of Rachel Jeantel, close friend of Trayvon Martin and the prosecution's star witness in the trial of George Zimmerman, was the subject of considerable public commentary in the summer of 2013. Social media pilloried her for her "slurred" or "ungrammatical" speech and described her as stupid and ignorant.

But as Stanford professor John Rickford and second-year linguistics graduate student Sharese King show from analyses of her use of zero copula, absence of third singular present, possessive, and plural --s, and other features, she follows the systematic grammar of African American Vernacular English (AAVE) quite faithfully.

Rickford and King discuss the evidence of Jeantel's limited literacy that emerged during the trial, and the poor reading performance of African American students at her school, Miami Norland, which did not come to public attention. They ask about the extent to which speakers of African American Vernacular English and other dialects are misunderstood, disbelieved, or otherwise unfairly evaluated in courts, schools, and other settings.

This interview followed the SCOPE Brown Bag Lecture: "Race, Dialect Prejudice, and Literacy in the Zimmerman Trial and Beyond" on February 10, 2014."

[Direct link to video: https://www.youtube.com/watch?v=qH-vshQf2g0 ]
johnrickford  shareseking  2014  trayvonmartin  georgezimmerman  racheljeantel  aave  english  bias  law  legal  justice  race  racism  dialect  literacy  intelligence  linguistics  sociolinguistics 
january 2019 by robertogreco
Is "Show Don't Tell" a Universal Truth or a Colonial Relic? | Literary Hub
"In his essay “The Storyteller” (1936), cultural critic Walter Benjamin mourns the death of oral and communal storytelling, taken over in modern history by the novel, the “birthplace of the solitary reader,” and information technology with a rise in capitalism. Yet, what Benjamin posits as the organic evolution of oral, communal practices of storytelling into modern modes of storytelling, consumed by a reader in “privacy,” is in fact, the understanding of a Western history of storytelling as a universal one. As Maggie Awadalla and Paul March-Russell suggest in the introduction to their anthology The Postcolonial Short Story (2012), many non-Western countries did not transition “organically” from oral to written storytelling with a rise in capitalism. For many formerly or currently colonized spaces like South Asia, Africa, Caribbean, American South and Native America, there has always existed a rich, vibrant tradition of oral storytelling, one that was marginalized, often violently, through an imposition of an allegedly modern, white Western language and culture. In their study, Postcolonial Studies: The Key Concepts (1998), Bill Ashcroft, Gareth Griffiths and Helen Tiffin defend “orality” not as a cultural precondition that morphed into a more advanced written culture, but orality as a counterpart to writing, where both co-exist, complement and transform each other constantly. This coexistence of oral and written modes of storytelling continues to thrive in postcolonial spaces, including those of Asia and Africa.

In her now-canonical essay “Characteristics of Negro Expression” (1934), Zora Neale Hurston makes a strong case for the use of vernacular—especially dialect and rhythm—in Black writing. In his story collection, Creole Folktales (1988) and equally canonical co-authored essay, “In Praise of Creoleness” (1989), Patrick Chamoiseau offers a manifesto for Caribbean storytelling that aims to free itself of French colonial gaze by transforming Martinican-French literature through a militant use of Creole. And while not through cultural theories or essays, contemporary writers like Salman Rushdie, Vikram Chandra, Roxane Gay, Junot Díaz, and Edwidge Danticat, among others, bring a strong, self-conscious vernacular in their stories. Their fiction questions not only an allegedly mainstream Euro-American storytelling marked by narrative brevity and an economy of words, as lauded by Edgar Allan Poe, John Barth and Francine Prose in their critical writing, but also the dominance of visuality in many fiction writing workshops with their show-don’t-tell credo, bolstered by our cinematic and digital age with its preference for images over sounds."



"James Baldwin, Toni Morrison, Alice Walker, Sandra Cisneros, Gish Jen, Tiphanie Yanique, ZZ Packer, Rajesh Parameswaran—the list of contemporary writing affirming oral and aural alternatives over a sight-based focus of storytelling is long. And I haven’t even gotten started with poetry-in-color, including an aesthetic legacy of rhythm in writing spawned by Papa Césaire and the Négritude movement. What I’ve explored above is a brief sampler on a multifaceted use of orality that challenges the boundaries of a more standard Euro-American literary English with its emphasis on brevity, clarity, and good grammar. In playing persistently with language, sounds and syntax, multiethnic fiction does not shy away from “writing in scenes,” however, it does dethrone the reign of eyesight to stress the importance of other senses in fiction, and hearing in particular.

That said, the use of vernacular or dialect is far from unique to non-Western writers writing within or outside the West. Time and again, major writers across the world have challenged the status quo of a hegemonic language by using the vernacular in different ways. I’m thinking here of Shakespeare and Louis-Ferdinand Celine’s linguistic innovation within English and French respectively, and of pioneering poets like Kabir who used the vernacular in Bhakti poetry to challenge the rule of Sanskrit in medieval South Asian literature.

And yet, the examples of multiethnic fiction I’ve shared above have all been published in the last couple of decades, following complex literary and historic changes that include mid-20th century’s wave of decolonization that swept the “third world,” the Civil Rights Movement in the US, the institutionalization of Ethnic Studies in the American Academy, and the literary canon wars that followed. This recent, layered, global history has led to a higher visibility of non-white, non-Western voices in the Western metropolitan publication scenes of New York, London and Paris. The content within contemporary multiethnic fiction often talks of identity, home and displacement; they ask questions like who has power and voice and who gets marginalized or silenced, these ideas fleshed out obsessively in stories through plot, theme, form, language, or a combination.

Orality within fiction that is deliberately engaging with power dynamics between the West and non-West—as evident in the title of Rushdie’s story collection East, West—thus becomes more than just a stylistic device or virtuosity with craft. The shift in sensory focus within multiethnic fiction from images to sounds holds a mirror to our contemporary, complex literary history, guiding the reader further to ways in which these stories maybe constructed, read, or deconstructed. Orality here becomes a political stance, an ideological move reminding the reader over and again that what we consume as universal in story craft, literary history, or aesthetic taste is anything but universal."
orality  oraltradition  visual  via:vruba  2018  storytelling  walterbenjamin  culture  tradition  namratapoddar  globalsouth  maggieawadalla  paulmarch-russell  billashcroft  garethgriffiths  helentiffin  vernacular  zoranealehurston  creole  creoleness  folktales  writing  salmanrushdie  vikramchandra  junotdíaz  edwidgedanticat  edgarallanpoe  johnbarth  fancineprose  criticalwriting  howwewrite  literacy  multiliteracies  dialect  rhythm  patrickchamoiseau  caribbean  africa  asia  colonialism  english  alicewalker  imperialism  gishjen  jamesbaldwin  tonimorrison  tiphanieyanique  zzpacker  showdon'ttell  sandracisneros  roxanegay  ajeshparameswaran  négritude  papacésaire  haiti  aural  oral  sight  brevity  clarity  grammar  fiction  aimécésaire  martinique  léopoldsédarsenghor  léondamas  postcolonialism  louis-ferdinandceline  latinamerica  indigenous  canon 
november 2018 by robertogreco
22 Maps That Show The Deepest Linguistic Conflicts In America - Business Insider
"Everyone knows that Americans don't exactly agree on pronunciations. 

Regional accents are a major part of what makes American English so interesting as a dialect.

Joshua Katz, a Ph. D student in statistics at North Carolina State University, just published a group of awesome visualizations of a linguistic survey that looked at how Americans pronounce words. (via) detsl on /r/Linguistics

His results were first published on Abstract, the N.C. State research blog. 

Joshua gave us permission to publish some of the coolest maps from his collection."

[More maps are here: http://spark-1590165977.us-west-2.elb.amazonaws.com/jkatz/SurveyMaps/ ]
language  us  english  words  pronunciation  2013  joshuakatz  dialects  dialect 
june 2013 by robertogreco
Sorry, there's no such thing as 'correct grammar' | Michael Rosen | Comment is free | guardian.co.uk
Many people yearn for correctness & this is expressed in the phrase "standard English". The honourable side to this is that it offers a common means of exchange. However, this leads many people to imagine that because it is called standard, it is run by rules & that these rules are fixed… In fact, there is no agreed list, a good deal of what we say and write keeps changing and nothing is enforceable. Instead, language is owned and controlled by everybody and what we do with it seems to be governed by various kinds of consent, operating through the social groups of our lives. Social groups in society don't swim about in some kind of harmonious melting pot. We rub against each other from very different and opposing positions, so why we should agree about language use and the means of describing it is beyond me.

…This is not a neutral activity. It is part of how a certain caste of people have staked a claim over literacy."
paradigmwars  society  elitism  power  colonization  colonialism  language  communication  standardization  rules  class  literacy  2012  michaelrosen  dialect  education  english  grammar  castes  via:litherland 
march 2012 by robertogreco
American English Dialects
As Michal Migurski puts it: "Completely ludicrous dialect superpage:"<br />
"This is just a little hobby of mine, that I thought might be interesting to a lot of people. Some people collect stamps. Others collect coins. I collect dialects. Please let me know what you think of this page. - Rick Aschmann (Last updated: December 27, 2010.)"
language  linguistics  metafilter  dialect  maps  mapping  english  northamerica  us  canada  hobbies  hardcorehobbyists  location  regional 
december 2010 by robertogreco
Yingzi: If English was written like Chinese
"The English spelling system is such a pain, we'd might as well switch to hanzi-- Chinese characters. How should we go about it?"
analogy  asia  china  chinese  culture  design  dialect  english  writing  languages  linguistics  symbols  tutorial  pictograms  humor  characters  words  radicals  reasoning  via:mattwebb 
january 2008 by robertogreco
YouTube - The State of Accents
commentary on brits and Americans imitating each other
language  accents  linguistics  acting  impersonations  dialect  uk  us  english 
october 2006 by robertogreco

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