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Seminar paper from the year 2005 in the subject English Language and Literature Studies - Linguistics, grade: 1-, University of Hamburg (Institut für Anglistik und Amerikanistik), course: Proseminar: English Dialects, language: English, abstract: “Emily Brontë’s only novel is considered to be one of the most powerful and enigmatic works in English literature.” (Alexander/Smith 2003: 553)Wuthering Heights(first published in 1847) is indeed a very powerful novel which is to its greatest part achieved by its setting in the Yorkshire moors and the realistic representation of the local transactions. Emily Jane Brontë was born in 1818; at the age of two she moved with her family to Ha-worth, West Riding of Yorkshire. Except for a few short journeys, Emily Brontë stayed in Yorkshire all her life and could thus vividly describe her Yorkshire surroundings as the setting of her novel. Furthermore, the Yorkshire dialect (based on Haworth dialect) in the speech of some of her characters adds to the completeness of the novel’s setting (Waddin gton-Feather 2004: 1). Most characters in the novel use a dialect word or phrase every now and then; Joseph, however, speaks Yorkshire dialect almost exclusively. Joseph is the old servant at Wuthering Heights (which is both, the name of the novel and that of the house). Joseph is very religious and loyal to whoever is his master at the time. Ac-cording to Ellen Dean, the housekeeper at Wuthering Heig hts, he is “the wearisomest, selfrighteous Pharisee that ever ransacked a Bible to rake the promises to himself and fling the curses on his neighbours.” (Brontë 1994: 48-49) Hence, Joseph is an ambiguous character in the mind of the reader: on the one hand, he is always grumpy, quite harsh and even mean at times; on the other hand, he is an old man who is always truthful and loyal ; it seems he is always as good a person as his respective master is. Joseph’s use of dia lect reflects the roughness of Wuthering Heights and its surroundings. The old man speaks an old dialect and lives in the old farmhouse. The house is habitable but not comfortable and it is always exposed to stormy weather. The same holds true for Joseph’s dialect: it is intelligible but not easy to understand and it is constantly looked down upon by the higher classes. Joseph’s dialect sounds quite rough although there is a certain beauty in it, just like the Yorkshire moors are said to be rough but beautiful. Finally, it suggests a lack of education if a speaker uses dialect solely, as Joseph does. Nonetheless, Joseph and his dialect resist all the storms which approach throughout the novel.

This dissertation, "The Use of Dialects in Nineteenth Century British Fiction With Particular Reference to the Novels of John Galt and Thomas Hardy" by Emma, Letley, was obtained from The University of Hong Kong (Pokfulam, Hong Kong) and is being sold pursuant to Creative Commons: Attribution 3.0 Hong Kong License. The content of this dissertation has not been altered in any way. We have altered the formatting in order to facilitate the ease of printing and reading of the dissertation. All rights not granted by the above license are retained by the author. DOI: 10.5353/th_b3120504 Subjects: English language - Dialects English fiction - 19th century

This is the definitive textual analysis of all of Hardy's collected short stories, tracing the development of each from manuscript, through newspaper serial versions, galley proofs and revises to collected editions in volume form. It is no surprise to discover that Hardy's capacity for inveterate revision is manifested in his tales as it was in his novels. Even those stories for which he professed little regard were meticulously and continuously revised, in some cases more than thirty years after their first publication. The alterations extend to the most minute details of plot, landscape, characterisation and style, as well as the restoration of bowdlerised passages which had been demanded by serial magazines. This study will play a major role in elevating the importance of this genre in Hardy's prolific output and will illuminate his textual practices - an area of considerable and growing interest to a large number of scholars and students.

Seminar paper from the year 2009 in the subject English Language and Literature Studies - Linguistics, grade: 1,7, University of Münster (Englisches Seminar), course: American English, language: English, abstract: This paper describes an analysis of the Eastern New England dialect with concentration on the features of non-rhoticity and broad a. It examines the results by comparing the speakers’ levels of non-rhoticity and broad a to the factor of their gender. On the one hand, I decided to examine the features of non-rhoticity and broad a, because these features are most prominent for this particular dialect of American English. “Two major New England shibboleths are the “dropping” of post-vocalic r(as in [ka:] car and [ba:n] barn) and the low central vowel [ɑː] in the BATH class, words like aunt and glass.” (Carver, 1987: 21) On the other hand, I have recognized that there is a lack of examination of the mentioned features especially with regard to the speakers’ gender and if these results would be conform with the sociolinguistic statement of women showing a stronger tendency towards standard or prestige variants in their speech communities. (Schönweitz, 2001: 2) As the basis of this analysis I decided to use speech data of the two main characters of the American television series Family Guy, which is known for being presented in the typical Eastern New England (ENE) dialect. The structure of my paper is divided into the following sections: an overview of the topic as well as the two features under examination, a description of the methodology used in this study and a section of the results which will take a look at my findings. Afterwards, a conclusion follows with implications on further research.