Chapter 2. Pragmatic noise in Shakespeare’s plays

Culpeper, Jonathan; Oliver, Samuel J.

doi:10.1075/scl.97.02cul

Cited by 4 publications

(7 citation statements)

References 57 publications

(1 reference statement)

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“…As noted in Section 4.1, the emotion label is not the only keyword which is statistically relevant, when it comes to female characters. ‘Alas’, ‘Oh’, ‘O’ and ‘poor’ were also found to be key, in line with findings by Culpeper and Oliver (in press) that female characters tend to draw on pragmatic markers to express sorrow, as well as grief.…”

Section: Resultssupporting

confidence: 85%

“…Two particularly noteworthy findings, relating to the 23 positive key items, are that three keywords, in particular (‘alas’, ‘Oh’ and ‘O’), were representative of emotional states to do with sorrow or grief, and the most frequent collocate of ‘alas’ was ‘poor’ 15. These findings tie in with ongoing ESL project research into pragmatic noise by Culpeper and Oliver (in press). They have found, for example that, although both female and male characters tend to overuse pragmatic markers when each is compared to the other, they use them differently (Culpeper and Oliver, in press).…”

Section: Resultssupporting

confidence: 69%

“…These findings tie in with ongoing ESL project research into pragmatic noise by Culpeper and Oliver (in press). They have found, for example that, although both female and male characters tend to overuse pragmatic markers when each is compared to the other, they use them differently (Culpeper and Oliver, in press). Female characters tend to draw on pragmatic markers expressing grief or sorrow, as above.…”

Section: Resultssupporting

confidence: 69%

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Mapping the links between gender, status and genre in Shakespeare’s plays

Murphy

Archer

Demmen

2020

Language and Literature

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The Arts and Humanities Research Council-funded Encyclopaedia of Shakespeare’s Language project has produced a resource allowing users to explore Shakespeare’s plays in a variety of (semi-automatic) ways, via a web-based corpus query processor interface hosted by Lancaster University. It enables users, for example, to interrogate a corpus of Shakespeare’s plays using queries restricted by dramatic genre, gender and/or social status of characters, and to target and explore the language of the plays not only at the word level but also at the grammatical and semantic levels (by querying part of speech or semantic categories). Using keyword techniques, we examine how female and male language varies in general, by social status (high or low) and by genre (comedy, history and tragedy). Among our findings, we note differences in the use of pronouns and references to male authority (female overuse of ‘I’ and ‘husband’ and male overuse of ‘we’ and ‘king’). We also observe that high-status males in comedies (as opposed to histories and tragedies) are characterised by polite requests (‘please you’) and sharp-minded ‘wit’. Despite many similarities between female and male usage of gendered forms of language (‘woman’), male characters alone use terms such as ‘womanish’ in a disparaging way.

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Section: Resultssupporting

confidence: 85%

Section: Resultssupporting

confidence: 69%

Section: Resultssupporting

confidence: 69%

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Mapping the links between gender, status and genre in Shakespeare’s plays

Murphy

Archer

Demmen

2020

Language and Literature

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“…As a precedent, Culpeper and Oliver (2020) explore the social correlations between pragmatic noise and character demographics (e.g. sex, social status) in Shakespeare's plays.…”

Section: Interjections In Restoration Dramamentioning

confidence: 99%

Interjections and individual style: A study of restoration dramatic language

Evans

2023

Language and Literature: International Journal of Stylistics

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This paper examines the manifestation of individual style through the lens of a specific language category: the interjection. The analysis considers how interjections are used as a resource in the dramatic dialogue of three Restoration playwrights: Aphra Behn, John Dryden and Thomas D’Urfey, and how their preferences and practices of use compare to previously identified trends in the history of English. Using the concept of the repertoire as a frame for situated language use, the paper examines how genre, time, and characterisation shape the selection and frequency of interjections in the plays of each author. Corpus linguistic methods are used to provide a quantitative and qualitative overview of each author’s interjection repertoire. The results suggest that whilst genre, time, and characterisation are influential in shaping the selection and implementation of interjection forms, the choice of expressive language in dramatic contexts is also distinctive and coherent at an authorial level.

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“…Everyday interaction features thousands of sounds such as um, uh, oops, ouch, meh, tch, yum and ugh. A growing body of research shows that these sounds are applied in ways that are interactionally and socially meaningful (e.g., Wright, 2011;Ogden, 2013;Hoey, 2014Hoey, , 2020Culpeper and Oliver, 2020). In the current study we follow Reber (2012) and Reber and Couper-Kuhlen (2010) in referring to them as "sound objects" (Reber and Couper-Kuhlen, 2010;Reber, 2012), although they are also referred to by various other terms including "non-lexical vocalizations" (e.g., Keevallik, 2021), "vocal gestures" (following Mead, 1972;Dietrich et al, 2007;Harkness, 2011), and "pragmatic noise" (Culpeper and Kytö, 2010;Culpeper and Oliver, 2020).…”

Section: Introductionmentioning

confidence: 99%

Is It Polite to Hiss?: Nonverbal Sound Objects as Markers of (Im)politeness in Korean

2022

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This paper explores the politeness-related functions of an ingressive hissing-like sound that occurs frequently in Korean and which is typically transcribed as ssup. This nonverbal sound is produced by drawing air alongside the tongue or between the teeth and may appear either before the production of a turn, or during turn production. Previous studies have shown that Korean speakers produce more frequent hisses when addressing status superiors. This suggests a politeness-related function, particularly given the importance of marking social distance toward elders and superiors in Korean culture. In the current paper, we explore the pragmatic functions of these hisses in three distinct datasets (oral discourse completion task, dyad recordings, drama interactions). Our analysis shows that hisses perform four types of social actions: displaying delicacy, activity shift, word search, and conveying skepticism. Hisses occur at interactional or relational trouble spots to delay the progression of talk, while allowing the speaker to initiate or maintain their turn. They co-occur with other verbal and multimodal markers of hesitation. We thus see the underlying core meaning of hisses as being related to difficulty, uncertainty and hesitation, and the conveyance of reluctance to perform the problematic talk. The increased frequency of hisses and multimodal hesitation in interactions with status superiors shows us that speakers are trying to show more care and effort when interacting in situations where social distance exists. These results contribute toward our understanding of politeness as a multimodal and holistic phenomenon that is expressed across multiple verbal and nonverbal dimensions.

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Chapter 2. Pragmatic noise in Shakespeare’s plays

Cited by 4 publications

References 57 publications

Mapping the links between gender, status and genre in Shakespeare’s plays

Mapping the links between gender, status and genre in Shakespeare’s plays

Interjections and individual style: A study of restoration dramatic language

Is It Polite to Hiss?: Nonverbal Sound Objects as Markers of (Im)politeness in Korean

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