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Dear All



I hope you can help me.  I am (stil!!) busy with my English-Afrikaans CS
study.  My data is from the Sunday Times, a South African newspaper.  I am
going to use Irvin & Gal's (2000) notions of *iconisity*, *fractal
recursivity* and *erasure* to analyze the date.  My study is a semiotic one
which investigates the meaning of Afrikaans, i.e. I am doing a Language
Ideology study.



My problem is that I do not know HOW to write the methodology section for my
proposal.  How does one describe in precise terms how you one is going to
look for certain patters and associations in your data?  Can anyone on the
list refer me to a sociolinguistic study in which the methodology for
analysing newspaper articles are set out?



Pleas help!  Tearing my hear out!



[Non-text portions of this message have been removed]

Hi leonie ,
Well, I am used to work on respondents speech but i think the methodology should
be the same for written data  . First , you have to select which methodology :
qualitative , quantitaive or a combination of the both .
second, you should mention the equipement used to collect data , in oral , we
have book note and recorder , questionnaires .
Third , the procedures used in collecting data ( time, duration)
fourth , the limitations and the problems encountered while  collecting data .
 
Hope this helps and perhaps other professionals may add useful ideas .
 
good luck
Dr Mostari

--- On Fri, 11/19/10, Leonie Kotze <leoni@...> wrote:


From: Leonie Kotze <leoni@...>
Subject: [code-switching] Methodology please help!
To: code-switching@yahoogroups.com
Date: Friday, November 19, 2010, 8:30 AM


 



Dear All

I hope you can help me. I am (stil!!) busy with my English-Afrikaans CS
study. My data is from the Sunday Times, a South African newspaper. I am
going to use Irvin & Gal's (2000) notions of *iconisity*, *fractal
recursivity* and *erasure* to analyze the date. My study is a semiotic one
which investigates the meaning of Afrikaans, i.e. I am doing a Language
Ideology study.

My problem is that I do not know HOW to write the methodology section for my
proposal. How does one describe in precise terms how you one is going to
look for certain patters and associations in your data? Can anyone on the
list refer me to a sociolinguistic study in which the methodology for
analysing newspaper articles are set out?

Pleas help! Tearing my hear out!

[Non-text portions of this message have been removed]











[Non-text portions of this message have been removed]

First of all I am a a new graduate student with two degrees, Music Composition
and Spanish.  I am getting my grad degree in Hispanic Studies emphasizing in
Linguistics.  I firgured I would try to use my talents to help the field.

I have noticed there is someone else that is interested in the same area
combining the studies of song with code-switching.  Basically, I have a rough
draft of the research paper I am doing with propositions of how the driving
forces of rhythm and rhyme supercede over the governing rules that arent
universally accepted in code-switching.  My only problem is the lack of sources
to find to help support my arguments.  I have extensive access to any book that
i can find the title for being at A&M but it seems that there is nothing in
existence.  Also the availability to actually find these songs is interestingly
difficult even though i have had some luck finding several groups and singers
that have intrasentential code-switching, but the more the merrier.

What I am asking is if anyone knows of articles, books, dissertations, etc.
and/or musical groups, I would greatly appreciate your collaboration, as my
professor says that this subject is worthy of a dissertation subject.

Thank you for you time.
-Ray

Dear Ray ,
I am among those who showed their interest in music rythm and CS in Rai music
between the colloquial arabic and Fr  in Algeria , but like you , i have very
few references .
If you find something , please let me know .
 
good luck
Dr Mostari
Algeria

--- On Wed, 11/24/10, wowseller7 <wowseller7@...> wrote:


From: wowseller7 <wowseller7@...>
Subject: [code-switching] Code-Switching in Latina Song
To: code-switching@yahoogroups.com
Date: Wednesday, November 24, 2010, 6:15 AM


 



First of all I am a a new graduate student with two degrees, Music Composition
and Spanish. I am getting my grad degree in Hispanic Studies emphasizing in
Linguistics. I firgured I would try to use my talents to help the field.

I have noticed there is someone else that is interested in the same area
combining the studies of song with code-switching. Basically, I have a rough
draft of the research paper I am doing with propositions of how the driving
forces of rhythm and rhyme supercede over the governing rules that arent
universally accepted in code-switching. My only problem is the lack of sources
to find to help support my arguments. I have extensive access to any book that i
can find the title for being at A&M but it seems that there is nothing in
existence. Also the availability to actually find these songs is interestingly
difficult even though i have had some luck finding several groups and singers
that have intrasentential code-switching, but the more the merrier.

What I am asking is if anyone knows of articles, books, dissertations, etc.
and/or musical groups, I would greatly appreciate your collaboration, as my
professor says that this subject is worthy of a dissertation subject.

Thank you for you time.
-Ray











[Non-text portions of this message have been removed]

I followed the earlier discussion on CS and music with interest, actually
starting (I think) with a question on CS in songs. The relationship between
music and language goes beyond my competence, but I would like to add a new,
historical, dimension to the topic. I suggest work dealing with CS in old sung
genres in the past. I dealt with CS in Catalan Jewish practices in Medieval
Ages, i.e. Catalan/Hebrew CS (and further issues).

Profs. Davies and Bentahila, from Tangier, have been working for long on
Arabic/French CS in modern Morocco. In a recent article they dealt with CS in
rai lyrics and currently they work on the parallels between old Romance
(Mozarabic)/Semitic (Hispano-Arabic) CS in the old Medieval kharjas and
contemporary African rai and rap lyrics.

These analyses are based on the old texts left behind by Semitic communities in
the Iberian Peninsula, not on old musical scores.

References:

Joan A. Argenter (2001) “Code-switching and dialogism: Verbal practices among
Catalan Jews in the Middle Ages”. Language in Society 30(3): 377-402.
Eirlys E. Davies & Abdelali Bentahila (2008) “Code-switching as a poetic device:
Examples from rai lyrics”. Language & Communication 28: 1-20.
Eirlys E. Davies & Abdelali Bentahila (not yet published) “Code switching
ancient and modern: From the medieval kharjas to contemporary songs".

Other articles deal with current days songs, with no reference to historical
material:

A. Bentahila & E E Davies (2002) Language mixing in rai music:  Localisation or
globalisation ?  Language and Communication 22, 187-207.
E E Davies & A Bentahila (2006) Code switching and the globalisation of popular
music: The case of North African rai and rap.  Multilingua  25. 367-392.
E E Davies & A Bentahila (2008) Translation and code switching in the lyrics of
bilingual popular songs.  The Translator 14(2): 247-272

Good luck.
Joan A. Argenter



----- Missatge original -----
De: mostari hind <hmostari@...>
Data: Dimecres, Novembre 24, 2010 2:57 pm
Assumpte: Re: [code-switching] Code-Switching in Latina Song

> Dear Ray ,
> I am among those who showed their interest in music rythm and CS
> in Rai music between the colloquial arabic and Fr  in Algeria ,
> but like you , i have very few references .
> If you find something , please let me know .
>  
> good luck
> Dr Mostari
> Algeria
>
> --- On Wed, 11/24/10, wowseller7 <wowseller7@...> wrote:
>
>
> From: wowseller7 <wowseller7@...>
> Subject: [code-switching] Code-Switching in Latina Song
> To: code-switching@yahoogroups.com
> Date: Wednesday, November 24, 2010, 6:15 AM
>
>
>  
>
>
>
> First of all I am a a new graduate student with two degrees, Music
> Composition and Spanish. I am getting my grad degree in Hispanic
> Studies emphasizing in Linguistics. I firgured I would try to use
> my talents to help the field.
>
> I have noticed there is someone else that is interested in the
> same area combining the studies of song with code-switching.
> Basically, I have a rough draft of the research paper I am doing
> with propositions of how the driving forces of rhythm and rhyme
> supercede over the governing rules that arent universally accepted
> in code-switching. My only problem is the lack of sources to find
> to help support my arguments. I have extensive access to any book
> that i can find the title for being at A&M but it seems that there
> is nothing in existence. Also the availability to actually find
> these songs is interestingly difficult even though i have had some
> luck finding several groups and singers that have intrasentential
> code-switching, but the more the merrier.
>
> What I am asking is if anyone knows of articles, books,
> dissertations, etc. and/or musical groups, I would greatly
> appreciate your collaboration, as my professor says that this
> subject is worthy of a dissertation subject.
>
> Thank you for you time.
> -Ray
>
>
>
>
>
>
>
>
>
>
>
> [Non-text portions of this message have been removed]
>
>

Hi

I am afraid I can't think of any easy sources for you (one reason why your
supervisor probably realises this is a good dissertation topic), however: if you
have some musical sources (go to the bands' gigs and talk to them/get their cds)
I would start with a transcription of a set of songs involving code switching,
making sure you include in your transcription notation the kind of musical
characteristics of the context (eg. Rhythm, melodic tone) that you intuitively
feel may be significant.
Devising this transcription/coding scheme will be where you music training will
be especially useful.
I imagine your project will then approach the transcripts as texts, attempting
to use existing cs theory to explain all the language behaviour. If you can
demonstrate that the musical context explains/motivates some particular
switching better than existing theories/models in the literature, and so confirm
your intuition and proove your hypothesis, then you'll have done some great
science!
Cs in music and poetry is an established topic (see other threads on this
forum), so good luck!

All the best.

Peace and Love

Adam Blaxter Paliwala


On 25 Nov 2010, at 08:57, code-switching@yahoogroups.com wrote:

> The Code-Switching Forum
> Messages In This Digest (2 Messages)
> 1a.
> Code-Switching in Latina Song From: wowseller7
> 1b.
> Re: Code-Switching in Latina Song From: mostari hind
> View All Topics | Create New Topic         Messages
> 1a.
> Code-Switching in Latina Song
> Posted by: "wowseller7" wowseller7@...   wowseller7
> Wed Nov 24, 2010 4:20 am (PST)
>
>
>
> First of all I am a a new graduate student with two degrees, Music Composition
and Spanish. I am getting my grad degree in Hispanic Studies emphasizing in
Linguistics. I firgured I would try to use my talents to help the field.
>
> I have noticed there is someone else that is interested in the same area
combining the studies of song with code-switching. Basically, I have a rough
draft of the research paper I am doing with propositions of how the driving
forces of rhythm and rhyme supercede over the governing rules that arent
universally accepted in code-switching. My only problem is the lack of sources
to find to help support my arguments. I have extensive access to any book that i
can find the title for being at A&M but it seems that there is nothing in
existence. Also the availability to actually find these songs is interestingly
difficult even though i have had some luck finding several groups and singers
that have intrasentential code-switching, but the more the merrier.
>
> What I am asking is if anyone knows of articles, books, dissertations, etc.
and/or musical groups, I would greatly appreciate your collaboration, as my
professor says that this subject is worthy of a dissertation subject.
>
> Thank you for you time.
> -Ray
>
> Back to top               Reply to sender | Reply to group | Reply via web
post
> Messages in this topic (2)
> 1b.
> Re: Code-Switching in Latina Song
> Posted by: "mostari hind" hmostari@...   hmostari
> Wed Nov 24, 2010 8:49 pm (PST)
>
>
>
> Dear Ray ,
> I am among those who showed their interest in music rythm and CS in Rai music
between the colloquial arabic and Fr  in Algeria , but like you , i have very
few references .
> If you find something , please let me know .
> Â
> good luck
> Dr Mostari
> Algeria
>
> --- On Wed, 11/24/10, wowseller7 <wowseller7@...> wrote:
>
> From: wowseller7 <wowseller7@...>
> Subject: [code-switching] Code-Switching in Latina Song
> To: code-switching@yahoogroups.com
> Date: Wednesday, November 24, 2010, 6:15 AM
>
> Â
>
> First of all I am a a new graduate student with two degrees, Music Composition
and Spanish. I am getting my grad degree in Hispanic Studies emphasizing in
Linguistics. I firgured I would try to use my talents to help the field.
>
> I have noticed there is someone else that is interested in the same area
combining the studies of song with code-switching. Basically, I have a rough
draft of the research paper I am doing with propositions of how the driving
forces of rhythm and rhyme supercede over the governing rules that arent
universally accepted in code-switching. My only problem is the lack of sources
to find to help support my arguments. I have extensive access to any book that i
can find the title for being at A&M but it seems that there is nothing in
existence. Also the availability to actually find these songs is interestingly
difficult even though i have had some luck finding several groups and singers
that have intrasentential code-switching, but the more the merrier.
>
> What I am asking is if anyone knows of articles, books, dissertations, etc.
and/or musical groups, I would greatly appreciate your collaboration, as my
professor says that this subject is worthy of a dissertation subject.
>
> Thank you for you time.
> -Ray
>
> [Non-text portions of this message have been removed]
>
> Back to top               Reply to sender | Reply to group | Reply via web
post
> Messages in this topic (2)
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[Non-text portions of this message have been removed]

Hi,
 
i do totally agree with Mr Paliwala on the steps to be followed to realise such
kind of investigation , but here again, as any investigation Miss Ray should
follow an approach  as in the study of the syntax or the pragmatics of CS , so
here , after transcription of data ,is there any theory/approach that Ray can
follow in order to link between cases of CS to music and which ones ? Becuase I
believe Miss Ray cannot just build up her study on a series of personal
guessings .   so, what do you think MR Paliwala  and others ?
 
I welcome all reactions .
 
 
alll the best
Dr Mostari
Algeria

--- On Thu, 11/25/10, Adam Paliwala <adam.paliwala@...> wrote:


From: Adam Paliwala <adam.paliwala@...>
Subject: Re: [code-switching] Digest Number 741
To: "No Reply" <notify-dg-code-switching@yahoogroups.com>
Cc: "code-switching@yahoogroups.com" <code-switching@yahoogroups.com>
Date: Thursday, November 25, 2010, 3:40 PM


 



Hi

I am afraid I can't think of any easy sources for you (one reason why your
supervisor probably realises this is a good dissertation topic), however: if you
have some musical sources (go to the bands' gigs and talk to them/get their cds)
I would start with a transcription of a set of songs involving code switching,
making sure you include in your transcription notation the kind of musical
characteristics of the context (eg. Rhythm, melodic tone) that you intuitively
feel may be significant.
Devising this transcription/coding scheme will be where you music training will
be especially useful.
I imagine your project will then approach the transcripts as texts, attempting
to use existing cs theory to explain all the language behaviour. If you can
demonstrate that the musical context explains/motivates some particular
switching better than existing theories/models in the literature, and so confirm
your intuition and proove your hypothesis, then you'll have done some great
science!
Cs in music and poetry is an established topic (see other threads on this
forum), so good luck!

All the best.

Peace and Love

Adam Blaxter Paliwala

On 25 Nov 2010, at 08:57, code-switching@yahoogroups.com wrote:

> The Code-Switching Forum
> Messages In This Digest (2 Messages)
> 1a.
> Code-Switching in Latina Song From: wowseller7
> 1b.
> Re: Code-Switching in Latina Song From: mostari hind
> View All Topics | Create New Topic Messages
> 1a.
> Code-Switching in Latina Song
> Posted by: "wowseller7" wowseller7@... wowseller7
> Wed Nov 24, 2010 4:20 am (PST)
>
>
>
> First of all I am a a new graduate student with two degrees, Music Composition
and Spanish. I am getting my grad degree in Hispanic Studies emphasizing in
Linguistics. I firgured I would try to use my talents to help the field.
>
> I have noticed there is someone else that is interested in the same area
combining the studies of song with code-switching. Basically, I have a rough
draft of the research paper I am doing with propositions of how the driving
forces of rhythm and rhyme supercede over the governing rules that arent
universally accepted in code-switching. My only problem is the lack of sources
to find to help support my arguments. I have extensive access to any book that i
can find the title for being at A&M but it seems that there is nothing in
existence. Also the availability to actually find these songs is interestingly
difficult even though i have had some luck finding several groups and singers
that have intrasentential code-switching, but the more the merrier.
>
> What I am asking is if anyone knows of articles, books, dissertations, etc.
and/or musical groups, I would greatly appreciate your collaboration, as my
professor says that this subject is worthy of a dissertation subject.
>
> Thank you for you time.
> -Ray
>
> Back to top Reply to sender | Reply to group | Reply via web post
> Messages in this topic (2)
> 1b.
> Re: Code-Switching in Latina Song
> Posted by: "mostari hind" hmostari@... hmostari
> Wed Nov 24, 2010 8:49 pm (PST)
>
>
>
> Dear Ray ,
> I am among those who showed their interest in music rythm and CS in Rai music
between the colloquial arabic and Fr in Algeria , but like you , i have very
few references .
> If you find something , please let me know .
> Â
> good luck
> Dr Mostari
> Algeria
>
> --- On Wed, 11/24/10, wowseller7 <wowseller7@...> wrote:
>
> From: wowseller7 <wowseller7@...>
> Subject: [code-switching] Code-Switching in Latina Song
> To: code-switching@yahoogroups.com
> Date: Wednesday, November 24, 2010, 6:15 AM
>
> Â
>
> First of all I am a a new graduate student with two degrees, Music Composition
and Spanish. I am getting my grad degree in Hispanic Studies emphasizing in
Linguistics. I firgured I would try to use my talents to help the field.
>
> I have noticed there is someone else that is interested in the same area
combining the studies of song with code-switching. Basically, I have a rough
draft of the research paper I am doing with propositions of how the driving
forces of rhythm and rhyme supercede over the governing rules that arent
universally accepted in code-switching. My only problem is the lack of sources
to find to help support my arguments. I have extensive access to any book that i
can find the title for being at A&M but it seems that there is nothing in
existence. Also the availability to actually find these songs is interestingly
difficult even though i have had some luck finding several groups and singers
that have intrasentential code-switching, but the more the merrier.
>
> What I am asking is if anyone knows of articles, books, dissertations, etc.
and/or musical groups, I would greatly appreciate your collaboration, as my
professor says that this subject is worthy of a dissertation subject.
>
> Thank you for you time.
> -Ray
>
> [Non-text portions of this message have been removed]
>
> Back to top Reply to sender | Reply to group | Reply via web post
> Messages in this topic (2)
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[Non-text portions of this message have been removed]











[Non-text portions of this message have been removed]

Hi

Actually, I would start by following up the suggestions made in another thread
on this topic earlier this year:
http://tech.dir.groups.yahoo.com/group/code-switching/message/1904
esp. re prosodic features and tonal patterns. Though this is not my area, I
personally thought that Celso's comments on how code-switched sentences can
'fit' melodic and rhythmic patterns particularly insightful (see his example of
trilingual sentences in a two-beat trochaic rhythm found in Galazian music). As
these accord with Sergio's comments on the conflict between Italian throcaic
endings and musical styles with a strong back-beat, I would think that using
rhythm as a starting point would be a good idea.
Unfortunately, this really isn't my area, and I am afraid suggesting a
more-packaged theory to apply is beyond me at this point. However, this topic
has been discussed here before, and I am sure options will present themselves...
Good luck, Ray, with the very interesting work!
Peace and Love,
Adam.




[Non-text portions of this message have been removed]

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Carsten Otto
Marian Sloboda

dear all,

i am interesting in investigating plurilingual talk using the interactional
approach of conversation analysis. code choice and code-switching (inter-turn,
inter-sentential mainly)are obvious strategic resources plurilingual speakers
get recourse to to organise their interaction. sometimes, the two terms are
interchangeably used. still, there must be a difference between the two terms.
if you have any instructive comment, please, d'ont hesitate to send it to me. i
will be very
grateful.
thank you in advance

NK
MA candidate

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Hi all
I am lotfi abdelkader Benhattab. I am a senior lecturer in contact linguistics
at the university of Oran Algeria. I completed a doctorate in sociolinguistics
in february 2011. I have been working in the past 06 years on the Berber
minority groups of Algeria. These minority groups are characterized by their use
of Berber which is a language that is unintillegible with Algerian arabic(the
variety used by the majority in Algeria. My fields of intersts are the language
phenomena triggered by the contact between Berber, Algerian Arabic Standard
Arabic, and French in Oran that is an urban centre of Algeria, The maintenance
of Berber in the speech of the Berber minority groups of Oran, the
morphosyntactic analysis of code switching and related phenomena in the Berber
minority groups, the Analysis of bilingual conversations( through conversational
analysis procedures) i.e. the use of code switching as a conversational device
in Berber speakers, the attitudes of Berber speakers towards the languages that
make up their verbal repertoire, and the nature and the functionning of the
Berber minority social networks that are at work in the urban centres of Algeria
and in the Berber emigrants minority groups in europe.

I am cuurently conducting my post doctoral research on the same minority groups.
I have visited birkbeck college many times as i am working with Dr Gardner
Chloros on the conversational aspect of my research. I have also visited kings
college several times where i have been working in the centre for communication
and discourse with Pr Rampton.

I have heard about the forum from many colleagues from the university of Fes,
the Inalco of Paris and the Birkbeck college of London. I am so happy and so
excited to be a new member of the group. I hope that my new membership will
contribute to the group.

Looking forward to reading from all the members all the very soon

All the very best regards

LOtfi Abdelkader Benhattab
Senior lecturer of contact linguistics
Department of Anglo-Saxon Languages
Research fellow Dynamics linguistics and language Contact Laboratory
Oran university
Algeria

--- In code-switching@yahoogroups.com, code-switching@yahoogroups.com wrote:
>
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hglundahl = Hans-Georg Lundahl

I am a bit of a specimen of theme in my native language, Swedish: I switched
from contemporary Swedish written code (reforms 1906 about spelling and 1950
about grammar) to the newer modern Swedish code of 18th and 19th C.

It seems some Swedes I discuss with - far from all - claim this is pretentious
and hinders udnerstanding.

I compare this to the British and American standards of spelling.

Though, if the British standard had included compulsory use of "thou"-related
forms without them being used in speech, the comparison would have been better.

The form really fallen out of use is the plural form of verbs.

As in English, it coincides with the infinitive. In the present tense that is.
Past tense coincides with singular in weak verbs, but stands on its own in
strong ones, as in one present tense, äro=are. Some people have assumed when I
used the plural form that I was using infinitive for lack of conjugation skills.

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Hi everyone,

I am a teaching assistant at a Venezuelan university, and I'm currently guiding
a group of students making a research about Spanglish in TV shows. Specifically,
they are analyzing a well-known TV reality show produced in Spanish in Miami,
and although a number of participants have the usual language-interference
phenomena, the students decided to study just borrowings. I have doubts with
some sentences they included in the analysis as borrowings...

They included as examples sentences such as "Ya yo tengo 21, sorry" (I am
already 21, sorry) and "So, fui a la conferencia" (So, I went to the
conference), but I found that terms such as "so" and "sorry" (as well as
"anyway" or "all righth") are "tag-switching". Am I right?

They also included sentences such as "Con esto que le estoy enseñando, un whiped
cream" (With this I'm showing to you, a whiped cream) y "Yo trabajaba en una
florería, house de flores" (I worked at a flower shop, a flower house) y "Yo me
reúno con él para verificar de que me ensure que el sonido está como debe ser"
(I met him to check, to ensure that sound is right). Are "whiped cream", "house"
and "ensure" examples of borrowing or code switching? (I found the concept of
"nonce borrowing", but I think it is not applicable to these cases, as the words
are not adapted whatsoever).

I cannot make up my mind! I just jump from one theory to another, one author to
another. I hope you can help me sort those phrases out...

Thanks a lot!

Patricia

Dear Patricia



It is quite difficult to categorize different words from different languages
into neat categories, such as 'borrowings', 'code switching', loan words
etc.  Different views are held by different linguists about this as well, as
you've pointed out.



Within the recent  post-structuralist view of language, language is no
longer regarded as an entity with clear boundaries.  I will try to get some
references for you in this regard.  This might be of some help to you and
your students.



To solve your problem for the moment, I suggest  you make your students
aware of the difficulties in deciding what counts as borrowing at what not.
Present the different theories to them.   You don't have to make this too
difficult.  The difficulty with language boundaries and entities such as
'borrowing', 'loan words' etc, can then be discussed in your/their study
and/or you can decide which view you/they would like to maintain in
your/their study.  In my study of code swithing (between English and
Afrikaans), I stated that I will not distinguis between  loan words,
borrowing, code swithing, code mixing etc, but that  I will regard any
instance of Afrikaans within the English texts (those in my data, of course)
as 'code swithing.'  This does not mean that I do not see the value of
different categories for code swithing.



I hope this helps and I hope I make sense.



[Non-text portions of this message have been removed]

HI Patricia

Like Leonie, I prefer to treat all examples of additional-language (L2) material
in texts in a main language of communication (L1) as code-switches, rather than
borrowings.

You may already have read Romaine's 'Bilingualism'  (1989, chapter 4.6) and
Myers-Scotton's article 'Comparing Codeswitching and Borrowing'  (1992, Journal
of Multilingual and Multicultural Development, Vol 13: 1&2, 1992, Carol M
Eastman (ed). Special Issue Codeswitching) on the difference between borrowing
and code-switching. Many linguists view borrowing and code-switching as forming
a continuum of behaviour, with code-switching behaviour providing the means by
which new words are introduced into a language. Jeffrey Heath provided an
account of this in Moroccan Arabic (Code-Switching to Borrowing: foreign and
diglossic mixing in Moroccan Arabic, 1989, Kegan Paul International: London and
New York. Library of Arabic Lingusitics Monograph no.9).

In general, I think it is fair to say that 'borrowings' can only be
distinguished from 'code-switches' on the basis of, monolingual, community
standards: Gardener-Chloros discusses  'French' words in Alsace German and
points out that her bilingual informants varied a great deal in their opinion
about whether particular words were borrowings or code-switches (see eg. her
chapter in Milroy and Muysken's 'One Speaker, Two languages', 1995).

So, on this basis alone you can have an interesting discussion with your class
about the standards they might apply in distinguishing between a 'borrowing'
into Spanish from English and a 'code-switch' from English. One important
criteria might well be if they though a Spanish speaker with no knowledge of
English (if such a person exists in the community) would understand the
language. Another might be if they thought the English words fit well into the
Spanish language around them (integration). Yet another might be if their
meaning or usage has changed somehow, and/or if they replace Spanish words with
the same meaning (semantics).

Looking at your examples, I would agree that the first group are
'tag-switching'.

The switching of discourse-tags, however, is something that is seen to be a
characteristic features of 'mixed languages' by several linguists (see, eg.
Maschler, and Oesch Serra in Auer's 'Code-Switching in Conversation: Language,
interactions, and identity', 1998). If they are commonplace in the language of
your tv shows, then they have probably been borrowed. Are they now discourse
markers of the 'mixed code' of Spanglish?

Perhaps your students could focus on whether the English tags they observe are
used exactly as they are in English, and consider whether they are replacing
Spanish tags and whether there has been any change in meaning as a result.

Looking at your three other examples, in the first the construction 'un whiped
cream' would seem to be a case of a mixed constituent NP featuring what
Myers-Scotton (see eg. Contact Linguistics: Bilingual Encounter and Grammatical
Outcomes, Carol Myers-Scotton, 2002, Oxford: Oxford university Press) terms an
'EL Island'. The English AdjP 'whipped cream' is well-formed in terms of English
grammar, and has been integrated into the Spanish grammar by the use of the
determiner 'un' (English does not require a determiner here eg. *a whipped
cream). Ask your students what they think 'whipped cream' is in Spanglish: the
semantics seem to have changed, indicating that it has been borrowed.

However, I think the questions you raise about whether these examples are
actually 'borrowings' is very valid.

It seems to me that in with the introduction in "Con esto que le estoy
enseñando, un whiped cream" the speaker flags the English AdjP as a label for
something they are pointing to. Perhaps ask the students: 'if 'whiped cream' was
a borrowing, and presumably known by all the Spanish-speaking audiences of the
TV shows) would it need to be highlighted in this way?'.

I think the other two examples are even stronger examples of the same behaviour:
'house de flores' is actually an explanatory repetition of 'florería', and
'ensure' doubles the meaning of 'verificar'. To me (and I am outside of the
language community, so this is just an impression), these examples lthese
examples look less like borrowings, and more like using code-switches to
introduce English-language alternative vocabulary for Spanish words.

Re. your reference to 'nonce loans' : I am not entirely sure that the examples
you give show no signs of integration with Spanish: 'un whiped cream' seems to
fit Spanish rules for forming NPs, as does 'house de flores', and 'ensure' fits
well into the structure of the sentence where it is used as though it is a
Spanish verb. Depending on the pronunciation, these may fit descriptions of
'nonce loans', though I do prefer to consider 'nonce loans' as code-switching
anyway, as discussed above.

Studying mixed language always involves us in exactly these issues, and opinions
diverge strongly. I've listed some linguists whose ideas I have found useful,
and given my reading of your examples, which I hope is useful, but bear in mind,
for example, that Suzanne Poplack's work on Spanish and English code-switching
made very strong distinctions between borrowing and code-switching, and
introduced the term 'nonce loan', and Poplack and Meechan together (in Milory
and Muysken, above) have shown statistically significant differences between
French borrowings and code-switches in Wolof and Fongbe communities, so this
whole area remains fairly active!

I can see why you have highlighted the examples you presented as potentially
'not-borrowings', and I think you have a good opportunity to use them to make
some important points about the other types of language mixing your students may
not have chosen to focus on.

I hope this has been of some help.

Very best regards,
Peace and love

Adam Blaxter Paliwala



--- In code-switching@yahoogroups.com, "patriciatorres_traductologia"
<patritorres@...> wrote:
>
> Hi everyone,
>
> I am a teaching assistant at a Venezuelan university, and I'm currently
guiding a group of students making a research about Spanglish in TV shows.
Specifically, they are analyzing a well-known TV reality show produced in
Spanish in Miami, and although a number of participants have the usual
language-interference phenomena, the students decided to study just borrowings.
I have doubts with some sentences they included in the analysis as borrowings...
>
> They included as examples sentences such as "Ya yo tengo 21, sorry" (I am
already 21, sorry) and "So, fui a la conferencia" (So, I went to the
conference), but I found that terms such as "so" and "sorry" (as well as
"anyway" or "all righth") are "tag-switching". Am I right?
>
> They also included sentences such as "Con esto que le estoy enseñando, un
whiped cream" (With this I'm showing to you, a whiped cream) y "Yo trabajaba en
una florería, house de flores" (I worked at a flower shop, a flower house) y "Yo
me reúno con él para verificar de que me ensure que el sonido está como debe
ser" (I met him to check, to ensure that sound is right). Are "whiped cream",
"house" and "ensure" examples of borrowing or code switching? (I found the
concept of "nonce borrowing", but I think it is not applicable to these cases,
as the words are not adapted whatsoever).
>
> I cannot make up my mind! I just jump from one theory to another, one author
to another. I hope you can help me sort those phrases out...
>
> Thanks a lot!
>
> Patricia
>

Leonie, Adam, thanks a lot for your comments! I deeply appretiate your
views, and I'm sure they will be useful for the debate -which, by the way,
is increasingly strident, as students get confused (they are overwhelmed by
the quantity of concepts, trends, names, and studies, but please notice this
is just an introductory course!). And it will get more and more interesting,
as their final goal is to assess whether Spanglish is extending beyond the
US, specifically to Latin America, through the media.

Best regards,

Patricia


[Non-text portions of this message have been removed]

Dear Adam



Thank you for your answer.  It makes for very interesting reading!
Patricia, I would appreciate it if you keep us updated as to how your
students treated these mixed language occurences.



Leoni



[Non-text portions of this message have been removed]

Hola Patricia

En cuanto  a los ejemplos que te presentan tus estudiantes. Es necesario
delimitar  la noción de Borrowing,  términos completamente integrados al
español  y que han sufrido transformaciones a algún nivel lingüístico.  No
clasificaría estos términos como préstamos al menos que utilice la
definición de
(Carol Myers-Scotton (1981), Poplack et Meechan (1995)) de préstamos de
circunstancias que permiten  una negociación social. Si he entendido  el
objetivo  de tus estudiantes es identificar las alternacias de códigos versus
los Borrowing.

Si se analiza el tipo de alternacia de códigos y su estructura sistématica, he
de afirmar que en los ejemplos encontramos principalement tag switching o single
switching.

Ahora,  un aspecto interesante en estos  ejemplos según es analizar la función
comunicativa de los marqueurs discursifs (Callahan 2004, p.70-75):
so,sorry,anyway, all right,

Hasta pronto

SALAUN Atencio  Karina

  Et ne m'en veux pas si je te tutoie
Je dis tu a tous ceux que j'aime
Même si je ne les ai vus qu'une seule fois
Je dis tu a tous ceux qui s'aiment
Même si je ne les connais pas

(Barbara, Jacques Prévert)





________________________________
From: patriciatorres_traductologia <patritorres@...>
To: code-switching@yahoogroups.com
Sent: Sun, June 5, 2011 6:54:11 AM
Subject: [code-switching] Code switching and borrowing... again


Hi everyone,

I am a teaching assistant at a Venezuelan university, and I'm currently guiding
a group of students making a research about Spanglish in TV shows. Specifically,
they are analyzing a well-known TV reality show produced in Spanish in Miami,
and although a number of participants have the usual language-interference
phenomena, the students decided to study just borrowings. I have doubts with
some sentences they included in the analysis as borrowings...


They included as examples sentences such as "Ya yo tengo 21, sorry" (I am
already 21, sorry) and "So, fui a la conferencia" (So, I went to the
conference), but I found that terms such as "so" and "sorry" (as well as
"anyway" or "all righth") are "tag-switching". Am I right?

They also included sentences such as "Con esto que le estoy enseñando, un
whiped
cream" (With this I'm showing to you, a whiped cream) y "Yo trabajaba en una
florería, house de flores" (I worked at a flower shop, a flower house) y "Yo me
reúno con él para verificar de que me ensure que el sonido está como debe
ser"
(I met him to check, to ensure that sound is right). Are "whiped cream", "house"
and "ensure" examples of borrowing or code switching? (I found the concept of
"nonce borrowing", but I think it is not applicable to these cases, as the words
are not adapted whatsoever).

I cannot make up my mind! I just jump from one theory to another, one author to
another. I hope you can help me sort those phrases out...


Thanks a lot!

Patricia




[Non-text portions of this message have been removed]

Hi, All (Hola a todos),

I'm very surprised that really no one seems to have mentioned the
phonological aspects in this discussion of borrowings vs. code switching.
The discussion has matured a bit since the topic was raised, oh, in the
1990s, if memory serves, but many of the same points have been raised.

Specifically, consider the English word Bach (the composer). Anyone
minimally 'culto' (American, which means pretty minimally ;-)> ) pronounces
the name [bax] (NB: the [x] is virtually identical to the Mexican Spanish
<j>), and this is true whether or not they have the slightest knowledge of
German. Now, in earlier discussions, various persons maintained that this
was 'code-switching', but the facts presented in this paragraph indicate
that that position is an absurdity, since (1) not all who have that
pronunciation even know German and (2) German [x] is never the pure velar
like the Mexican voiceless velar fricative, but is either further back
(almost postvelar, as in [ba>x]) or almost palatal (prevelar, as in [iç]
<ich> 'I'), depending on the preceding vowel. In the same vein, I would
query how the putatively English word 'so' is pronounced in the example
given. If it is [sow], then there could be a decent case that it is a case
of  code switching. BUT if it pronounced [so] as in the expression 'so pena
de …', then it is a bona fide borrowing into Spanish. I have no doubt that
there could be intermediate cases, as in the early stages of borrowing, as
well.

Just a couple of thoughts on the subject.

Jim

--
James L. Fidelholtz
Posgrado en Ciencias del Lenguaje
Instituto de Ciencias Sociales y Humanidades
Benemérita Universidad Autónoma de Puebla, MÉXICO


[Non-text portions of this message have been removed]

Karina, Jim, thanks a lot for adding new approaches to the debate.

Jim, I'm glad you mentioned the phonological aspect. Several students listed
"Chicago" as a borrowing and other wrote "spaghetti" when typing the audios
(instead of Spanish "espagueti") because "it is pronounced in English",
students said.

Having said that, I cannot check now, but I am almost certain that in the
corpus (the TV show in Spanish but produced in Miami), tag phrases such as
"anyway" and "sorry" are pronounced following the phonological rules of
English -at the beginning or the end of a phrase in Spanish. Young people
here (Venezuela) from time to time use such tag phrases, but  they pronounce
them using Spanish phonemes (most evidently in the double 'r' in 'sorry').
Interesting, for their follow-up (try to determine whether Spanglish is
spreading to Latin America).

Karina, none of the student has added a communicative dimension to the
debate. I'm going to mention it... to see what new ideas they propose.

Best,

Patricia

On Tue, Jun 7, 2011 at 2:51 PM, Jim Fidelholtz <fidelholtz@...> wrote:

> Hi, All (Hola a todos),
>
> I'm very surprised that really no one seems to have mentioned the
> phonological aspects in this discussion of borrowings vs. code switching.
> The discussion has matured a bit since the topic was raised, oh, in the
> 1990s, if memory serves, but many of the same points have been raised.
>
> Specifically, consider the English word Bach (the composer). Anyone
> minimally 'culto' (American, which means pretty minimally ;-)> ) pronounces
> the name [bax] (NB: the [x] is virtually identical to the Mexican Spanish
> <j>), and this is true whether or not they have the slightest knowledge of
> German. Now, in earlier discussions, various persons maintained that this
> was 'code-switching', but the facts presented in this paragraph indicate
> that that position is an absurdity, since (1) not all who have that
> pronunciation even know German and (2) German [x] is never the pure velar
> like the Mexican voiceless velar fricative, but is either further back
> (almost postvelar, as in [ba>x]) or almost palatal (prevelar, as in [iç]
> <ich> 'I'), depending on the preceding vowel. In the same vein, I would
> query how the putatively English word 'so' is pronounced in the example
> given. If it is [sow], then there could be a decent case that it is a case
> of  code switching. BUT if it pronounced [so] as in the expression 'so pena
> de …', then it is a bona fide borrowing into Spanish. I have no doubt that
> there could be intermediate cases, as in the early stages of borrowing, as
> well.
>
> Just a couple of thoughts on the subject.
>
> Jim
>
> --
> James L. Fidelholtz
> Posgrado en Ciencias del Lenguaje
> Instituto de Ciencias Sociales y Humanidades
> Benemérita Universidad Autónoma de Puebla, MÉXICO
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> To Post a message: code-switching @ yahoogroups.com
> To Unsubscribe, send a blank message to:
> code-switching-unsubscribe @ yahoogroups.com
> Web page: http//groups.yahoo.com/group/code-switchingYahoo! Groups Links
>
>
>
>


[Non-text portions of this message have been removed]

Dear  Patricia (and others)



In my first reply I mentioned the current notion in the linguistic field
which regard language NOT as abound entity, but as a more fluid eh .
phenomenon, for lack of a better word at the moment.  I said in my email
that I would try to get more detail about this.  Here it is:  The notion is
called * METROLINGUALISM and has been coined by Otsuji and Pennycook in 2010
in an article in the International Journal of Multilingualism. Patricia,
this might complicate matters even further, but on the other hand, I think
it could prove very helpful with all the confusion and disagreement around
various terms for different occurences in mixed languages.



I must admit that I have not read the article myself, but metrolinguilism
was briefly discussed in a meeting between myself, another M student and
both our supervisors.



*With thanks to my supervisor, Prof Tommaso Milani who provided me with the
terms and the reference.



Lekker dag aan almal (Nice day to all)  (smiley)

Leoni



[Non-text portions of this message have been removed]

Hi, Patricia,

Well, I think (in Spanish) that 'Chicago' (especially when pronounced
[tshikaGo] a la español) IS a borrowing (from English). Interestingly, in
English, it is pronounced [sh@kago], which (except for a nasal [a]) is
virtually identical to the Miami pronunciation of the word meaning roughly
'skunk place' (other Algonquianists derive it from 'skunk cabbage' or other
stuff; don't believe it!). Btw, the word 'skunk' is also derived from the
same Algonquian root. In English, Chicago is almost never pronounced with
[tsh] (a daughter of mine goes to school there--I'll ask her to be sure, but
none of *my* buddies pronounce it that way). It's a bit more problematic to
characterize the 'English' pronunciation of Chicago in the middle of a
sentence otherwise in Spanish (as a code switch or as a borrowing) in the
speech of a full bilingual. I can see reasons in some circumstances for
going either way, depending on the cognitive state of the speaker.

Jim

On Wed, Jun 8, 2011 at 11:36 AM, Patricia Torres
<patritorres@...>wrote:

> Karina, Jim, thanks a lot for adding new approaches to the debate.
>
> Jim, I'm glad you mentioned the phonological aspect. Several students
> listed
> "Chicago" as a borrowing and other wrote "spaghetti" when typing the audios
> (instead of Spanish "espagueti") because "it is pronounced in English",
> students said.
>
> Having said that, I cannot check now, but I am almost certain that in the
> corpus (the TV show in Spanish but produced in Miami), tag phrases such as
> "anyway" and "sorry" are pronounced following the phonological rules of
> English -at the beginning or the end of a phrase in Spanish. Young people
> here (Venezuela) from time to time use such tag phrases, but  they
> pronounce
> them using Spanish phonemes (most evidently in the double 'r' in 'sorry').
> Interesting, for their follow-up (try to determine whether Spanglish is
> spreading to Latin America).
>
> Karina, none of the student has added a communicative dimension to the
> debate. I'm going to mention it... to see what new ideas they propose.
>
> Best,
>
> Patricia
>
> On Tue, Jun 7, 2011 at 2:51 PM, Jim Fidelholtz <fidelholtz@...>
> wrote:
>
> > Hi, All (Hola a todos),
> >
> > I'm very surprised that really no one seems to have mentioned the
> > phonological aspects in this discussion of borrowings vs. code switching.
> > The discussion has matured a bit since the topic was raised, oh, in the
> > 1990s, if memory serves, but many of the same points have been raised.
> >
> > Specifically, consider the English word Bach (the composer). Anyone
> > minimally 'culto' (American, which means pretty minimally ;-)> )
> pronounces
> > the name [bax] (NB: the [x] is virtually identical to the Mexican Spanish
> > <j>), and this is true whether or not they have the slightest knowledge
> of
> > German. Now, in earlier discussions, various persons maintained that this
> > was 'code-switching', but the facts presented in this paragraph indicate
> > that that position is an absurdity, since (1) not all who have that
> > pronunciation even know German and (2) German [x] is never the pure velar
> > like the Mexican voiceless velar fricative, but is either further back
> > (almost postvelar, as in [ba>x]) or almost palatal (prevelar, as in [iç]
> > <ich> 'I'), depending on the preceding vowel. In the same vein, I would
> > query how the putatively English word 'so' is pronounced in the example
> > given. If it is [sow], then there could be a decent case that it is a
> case
> > of  code switching. BUT if it pronounced [so] as in the expression 'so
> pena
> > de …', then it is a bona fide borrowing into Spanish. I have no doubt
> that
> > there could be intermediate cases, as in the early stages of borrowing,
> as
> > well.
> >
> > Just a couple of thoughts on the subject.
> >
> > Jim
> >
> > --
> > James L. Fidelholtz
> > Posgrado en Ciencias del Lenguaje
> > Instituto de Ciencias Sociales y Humanidades
> > Benemérita Universidad Autónoma de Puebla, MÉXICO
> >
> >
> > [Non-text portions of this message have been removed]
> >
> >
> >
> > ------------------------------------
> >
> > To Post a message: code-switching @ yahoogroups.com
> > To Unsubscribe, send a blank message to:
> > code-switching-unsubscribe @ yahoogroups.com
> > Web page: http//groups.yahoo.com/group/code-switchingYahoo! Groups Links
> >
> >
> >
> >
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> To Post a message: code-switching @ yahoogroups.com
> To Unsubscribe, send a blank message to:
> code-switching-unsubscribe @ yahoogroups.com
> Web page: http//groups.yahoo.com/group/code-switchingYahoo! Groups Links
>
>
>
>


--
James L. Fidelholtz
Posgrado en Ciencias del Lenguaje
Instituto de Ciencias Sociales y Humanidades
Benemérita Universidad Autónoma de Puebla, MÉXICO


[Non-text portions of this message have been removed]

Thanks, Jim!

The debate is becoming heated, as students find new concepts related to the
topic (Leoni, thanks for "metrolingualism"!). They though the project would
be easy! Somehow, like sorting cards...

Patricia



On Tue, Jun 14, 2011 at 11:44 PM, Jim Fidelholtz <fidelholtz@...>wrote:

> Hi, Patricia,
>
> Well, I think (in Spanish) that 'Chicago' (especially when pronounced
> [tshikaGo] a la español) IS a borrowing (from English). Interestingly, in
> English, it is pronounced [sh@kago], which (except for a nasal [a]) is
> virtually identical to the Miami pronunciation of the word meaning roughly
> 'skunk place' (other Algonquianists derive it from 'skunk cabbage' or other
> stuff; don't believe it!). Btw, the word 'skunk' is also derived from the
> same Algonquian root. In English, Chicago is almost never pronounced with
> [tsh] (a daughter of mine goes to school there--I'll ask her to be sure,
> but
> none of *my* buddies pronounce it that way). It's a bit more problematic to
> characterize the 'English' pronunciation of Chicago in the middle of a
> sentence otherwise in Spanish (as a code switch or as a borrowing) in the
> speech of a full bilingual. I can see reasons in some circumstances for
> going either way, depending on the cognitive state of the speaker.
>
> Jim
>


[Non-text portions of this message have been removed]