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Among several current approaches to morphology, Natural Morphology is characterized by three general assumptions. First, linguistic signs are based on a general semiotic understanding of language as a cognitive tool specific to human beings. This is couched within C. S. Peirce’s conception of signs as organized according to their constructional properties and manners of referring to their interpretation as diagrams, indexes, and symbols. Second, this semiotic basis provides the heuristic means to assess the naturalness of morphological coding in terms of, among others, diagrammaticity and indexicality. Third, by referring to a semiotically defined morphological naturalness, one can assess the normalcy of a historically given linguistic system as a result of dynamic and partially conflicting systemic and extra-systemic forces (external evidence coming from such areas as language history, acquisition, pathology, or sociolinguistics. This complex picture grasps the speakers’ natural behavior as semiotic animals producing and interpreting complex signs, and at the same time, the impact of the linguistic systems reflecting different interacting and conflicting forces.
This article proposes a framework for considering recorded sounds in electroacoustic music, focusing specifically on their physical connection to real-world sources. This is achieved through an intermedial model, whereby ontological discussions from the field of photography are transposed to the sonic arts. It analyses the concepts of indexicality and the trace – fundamental to the writings of photographic theorists including Bazin, Barthes and Gunning – and applies them to the medium of recorded sound. The discussion establishes a means of considering source sounds primarily based on physical causality rather than resemblance and metaphor. By framing the recording process as a direct indexical link to the source equivalent to the photographic image, the article offers a novel way to analyse and compose abstract electroacoustic works that retain a tangible connection to reality.
En este artículo me propongo abordar Advertencias de uso para una máquina de coser (2017), de Eugenia Prado Bassi; y El clan Braniff (2018), de Matías Celedón, como textos chilenos contemporáneos que utilizan la noción de archivo para crear ficciones documentales. La materialidad de la escritura es el resultado de operaciones que involucran máquinas (fotográfica, fotocopiadora, de coser) y la técnica de montaje o collage, cuyo uso convierte al libro en un dispositivo visual que —como en las vanguardias históricas— rompe con la linealidad de la escritura y al mismo tiempo la vinculan con un referente exterior a ella misma, generando tensiones, negociaciones y ambigüedades en torno a la noción de indexicalidad y de virtualidad.
The idea of social class is complicated by the multidimensional nature of culture. North American sociolinguistics began the quantitative turn in the study of language variation. Labov used a number of classes and styles to observe linguistic variation in cities. Every social group has its own characteristics of speech, as predicted by the complex systems model, and groups follow the logic of scale dependency. Sociolinguistic study can be improved by complexity science.
The structural focus of linguistics has led to a static and modular treatment of meaning. Viewing language as practice allows us to transcend the boundaries of subdisciplines that deal with meaning and to integrate the social indexicality of variation into this larger system. This article presents the expression of social meaning as a continuum of decreasing reference and increasing performativity, with sociolinguistic variation at the performative extreme. The meaning potential of sociolinguistic variables in turn is based in their form and their social source, constituting a cline of ‘interiority’ from variables that index public social facts about the speaker to more internal, personal affective states.
Indexicality and enregisterment are terms introduced by Silverstein (1976, 2003) and Agha (2003, 2007) as part of an ideological approach to linguistic variation and change. This chapter explains these terms, discusses how they have been used in research into the historical sociolinguistics of English, and evaluates the potential of this approach for further research in the history of English. The chapter begins with an explanation of the terminology and the research contexts in which it has been used. It then goes on to note the difficulties of applying an approach which was first used in ethnographic research to historical contexts. Three types of historical evidence are identified as providing evidence for historical indexicality and enregisterment: metalinguistic and metapragmatic comments; dialect literature and literary dialect; and ego-documents. For each of these, a review of research in English historical linguistics using such data is provided.
This chapter explores the language of dialect writing in the history of English. It surveys the complexities underlying the social and linguistic interactions between (non-)standard varieties with examples of literary dialect and dialect literature written between 1500 and 1900 that are now available in the Salamanca Corpus. It is shown that such evidence provides useful insight into the history of forms that remain underexplored, while it vividly reflects changing ideologies about dialect variation. In this regard, this chapter draws on third-wave sociolinguistic models to illustrate that the combination of frameworks such as enregisterment and indexicality with quantitative analysis of dialect writing can prove beneficial in reconstructing linguistic ideas about dialects and ascertaining shifting indexicalities, while it informs our understanding of the social meaning of dialect variation in the past.
This chapter introduces the study of language ideologies and the relationship between language, social belonging, and social order, particularly in the context of late modernity. It approaches linguistic categories as discursively constructed rather than naturally occurring. This frames language as a key lens for understanding human social organisation, emphasising that ideas about language reflect and co-construct broader social and political ideologies. Through a discussion of sociolinguistic and linguistic anthropological theories, the chapter critiques essentialist views of language. It introduces concepts such as social indexicality, standard language, prestige, and centring institutions to explore how language acquires social meaning and status. The chapter also examines the material dimensions of language, including the role of writing, sound, and tangible artefacts such as grammars and dictionaries in shaping linguistic ideologies and language categories. It lays the foundations for understanding languages as dynamic, constructed phenomena embedded in specific historical, cultural, and material contexts.
In this chapter we will disco≠≠≠ver that language variation is a normal characteristic of speech on all language levels: in the sounds of accents, words, in grammar but also in discourse. When speaking, we always face alternative choices, and these are determined by our regional and social backgrounds and by the context of situation. We will discuss the concept of the sociolinguistic variable in more detail and find that variation is rule-conditioned and systematic. We focus on all actors and factors involved: the social dimension of variation (individuals, groups, communities) and its social correlates (region, class, gender, ethnicity, education). Last but not least, we will look at the spread of innovative features and trace patterns of diffusion from individual speakers, the point of origin of change, throughout wider society (via processes such as actuation, diffusion, and embedding).
In this chapter we trace the development of the field from its beginnings to the present. Before the start of sociolinguistics proper in the early 1960s, regional dialectologists had already made considerable efforts to explore the spatial dimension of language variation, using different methodologies to collect data on regional dialects. The impact of the so-called sociolinguistic turn is discussed with reference to Labov’s early work (on the island of Martha’s Vineyard and in New York City), and some principal findings and methods of early work in the field are introduced. We will take a first look at the subsequent waves of variationist sociolinguistics, social network theory and communities of practice, which entail a focus on individual speakers and their social grouping and ordering as well as their orientation and affiliation with other speakers in indexical relationships. The chapter concludes with some recent developments and a presentation of current research themes.
The specificity of acts of reference emerges from their indexical nature, not from any fixed denotation inherent in referring expressions. Referential indeterminacy is generally not an issue or is easily corrected. But it can be taken advantage of when hierarchic relations are in play: people can deploy the semiotic potential of indeterminacy in ways that covertly index advantageous alignments based on shared values, while seeming to make the same acts of reference as participants in (apparently) the same discourse who are not angling for such alignments. The indexicality of such alignments provides ethnographic insight into the importance of these fields of discourse for those involved, how social actors exercise control or authority, for whose benefit, toward what desired outcome. To this end, I have coined strategically deployable shifter (SDS) as an analytic term for such discursive action, examining its use in higher education as linked to the financial and corporate spheres. I further explore how SDSs can figure into the processes of indexicality and rhematization (as proposed by Gal and Irvine) that are central to the modeling of those status-driven worlds.
This article examines some characteristics and functions of multiplex tactics in small storytelling. It uses a case-study based on three long informal interviews with a participant from the Gauteng, South Africa. Analysis and discussion raise questions of conversational resources and involvement, and thereby of a critical understanding of creativity and cooperation in interactional doing being. Multiplex tactics produce effects on several levels of interactional and discursive organisation simultaneously: signalling participative and narrative framing, footing and stance, whilst also effecting story entry and exit, or providing coherence between storied elements, for example. Multiplexity is a resource for accessing intersubjective meaning-making and narrative co-construction. Furthermore, it contributes to the vast body of work on indexicality and discourse marking. The article focuses on the creative, affective, and evolutive nature of involvement in interactional work.
Bollywood films, the highly commercial films by Indian producers for Indian audiences, have always been Hindi-dominant, and despite the increased incorporation of English over time, the speech of urban elite main characters remains Hindi matrix. This is at odds with the code-switching patterns of urban elites in other Indian media, such as chat shows, and spoken conversation, where switching among such speakers is often English dominant. Young urban elites may use English in isolation; their Bollywood equivalents sometimes do so also, but always with standard syntax. In this article we show how for Bollywood films, English without code-switching typically occurs in the speech of anglicised minorities such as Goan Catholics; furthermore, their English is indexed by the morphosyntactic features of Indian English. This contrasts with usage outside film, where Indian English features have been shown to be broadly distributed. This conservatism of Bollywood speech reflects conflicting attitudes towards an endonormative variety of English within India.
The Catherine Tate Show (2004–7) is a rich source of instances of stereotyped language varieties as linked to various TV tropes, reflecting how speakers coming from specific regional areas in the British Isles are generally and stereotypically perceived within British society, thus contributing to their linguistic enregisterment. Building on previous works on dialects in the media and their stereotypical representations, this study gives an account of the various implications and functions of the linguistic phenomena that are specific to the Southeast of England and that are exploited for the creation of some of the fictional identities presented in the show. Specific phonological features that implicitly collocate Tate’s recurring characters both regionally and socially are identified and their functions discussed.
Many of the most popular comedy performances are rich in non-standard linguistic features of English. This article addresses how dialect contributes to the humor in comedy performances, and how humorous dialect performance leads to the enregisterment of a dialect. It applies enregisterment theory to online clips of three live comedy performances by Stephen Buchanan (‘How to survive Glasgow’), Ali G (‘Harvard Commencement Speech 2004’) and Riaad Moosa (‘I have a weird accent’), and one clip from the British sitcom PhoneShop (2009–13). All four dialectal performances showcase the metalinguistic activity central to enregisterment processes. However, in each performance, the dialect also fulfils a dedicated function in the construction of humor, ranging from building audience rapport to the subversion of a (linguistic) status quo. It is argued that just as dialect can help performers to be funnier, humor can help a dialect to become more enregistered.
This paper examines the poetics and cultural significance of fanfa youth band performances in the rural commune of Limonade in northern Haiti. Drawing on observations during fieldwork in 2010 and 2016, it analyzes how fanfa bands, directed by maestros, create complex sign systems through music, movement, and materialities. Utilizing Roman Jakobson’s semiotic theory and Linda Waugh’s expansion of poetic function, the study explores the interpretive relations between these components and their role in constituting a unique cultural soundscape. By examining the selection and combination of musical pieces, routes, and accompanying elements, the research highlights the dynamic interaction between fanfa bands and their social environment. This semiotic analysis offers insights into the broader implications of cultural landscapes and the poetics of performance in Haiti.
The chapter establishes the role of context in an analysis. This is done by defining context, presenting a context continuum that can be used to understand an object of study, and introducing the types of conditions that shape understandings of discourse. Six different approaches to studying context are discussed in this chapter: systemic functional linguistics, the SPEAKING model, frames, indexicality, contextualization cues, and next-turn proof procedure. After reading this chapter, readers will understand what context is and why it is important; be able to study context using different models and constructs; and know how discourse and context work together to create meaning.
This monograph examines the ways in which Caribbean content creators use elements of Caribbean Englishes and Creoles in their performances of identity in image macro memes and TikTok videos. It also examines the ideologies that underlie these performances. The data comprises memes from Trinidadian Facebook pages, as well as videos by Guyanese, Barbadian, and Trinidadian TikTokers, and was analysed using the multimodal method designed by Kress. For meme makers, identity is understood as a system of distinction between ingroups and outgroups, and language and other semiotic features, notably emojis, are used to distinguish Trinidadians from other nationalities, and groups of Trinidadians from one another. TikTokers establish their Caribbean identity primarily through knowledge of lexis, but this works in concert with other linguistic features to create authentic identities. Social media content is underpinned by the tension between the acceptance and rejection of standard language ideologies.
This chapter gives an overview of the relation between indexicality, deixis, and space in gesture from a semiotic and a linguistic point of view. Directive pointing gestures are not the only type of cospeech gestures that contributes to deixis. Iconic gestures that form part of the multimodal utterance may instantiate the targets to be pointed at and function as the deictic object of the deictic relation. In turn they may be interpreted as signs that stand for something else. A Peircean approach combined with a Bühlerian one, as suggested in this chapter, not only allows for a tertium comparationis with respect to the modality of the deictic and indexical signs under investigation. It also provides us with tools for representing semiotic processes like complex sign concatenation (e.g. deixis at signs vs. deixis at non-signs; deixis at metonymies or metaphors) as well as the collaborative creation of deictic space (sphere-like, map-like, screen-like; separated or shared) in multimodal interaction. The proposed schema of four semiotic subfields of space substantiates the view that space has to be thought of as a dynamic process of semiosis, not as a static entity.
This chapter reviews the study of variation in gesture and its theoretical underpinnings in the field of gesture studies. It questions the use of culture, language, or nationality as the default unit of analysis in studies of gesture variation. Drawing on theoretical developments in sociolinguistics and recent anthropologial analyses of gesture, it argues for the possibility that social factors and divisions other than linguistic/cultural boundaries may provide a more robust and comprehensive theoretical account for variation in gesture.