This diploma thesis follows my bachelor thesis in which the mother slang was described. This diploma thesis is aimed at the performance of the mother speech research, i.e. the use of specific expressions and language resources used by mothers of small children in Internet discussions in relevant forums or web pages. The diploma thesis aims at creating a questionnaire and establishing five hypotheses. The first part of the thesis describes the methodology of this research, in the following part there are presented the data obtained by the questionnaire survey. The hypotheses are verified in the following section, and the hypothesis testing procedure is described here. The appendix includes the questionnaire and a table of critical values that specifies the data that are needed for verifying hypotheses.

La large utilisation du sleng (сленг) est l’une des évolutions les plus notables du russe contemporain. Son emploi sur Internet est d’autant plus remarquable qu’il permet de traiter de thèmes actuels, qui ne sont pas forcément intégrés dans la langue standard. À ce titre il devient impératif d’étudier le sleng en tant qu’élément constitutif de la langue russe. N’ayant pas de définition claire du sleng, nous analysons ce terme, en mettant en évidence sa place spécifique, notamment, par rapport au žargon, à l’argo et au dialekt. La particularité essentielle du sleng réside dans sa diffusion généralisée à de larges ensembles russophones, indépendamment de leur niveau socio-culturel. L’examen du contexte de l’utilisation du sleng sur Internet, selon la vision de Catherine Kerbrat-Orecchioni du schéma des fonctions de Roman Jakobson, démontre que le locuteur du sleng est un internaute russophone moyen qui en fait un usage quotidien. Enfin, la typologie du sleng selon le schéma des fonctions de Jakobson nous permet de structurer les éléments selon le rôle qu’ils jouent dans la communication en ligne et nous donne une vision globale de la place du sleng sur Internet et dans le russe contemporain en général. Nous constatons que les fonctions référentielle, expressive et poétique témoignent d’un niveau de la richesse du contenu élevé, tandis que d’autres fonctions sont présentées de façon moindre. Ce fait prouve que le sleng s’appuie sur la langue standard et l’enrichit sans vraiment s’y opposer ou chercher de la recréer.La présente thèse a ainsi l’ambition de poser quelques jalons théoriques permettant, par la suite, d’aborder d’autres problématiques liées au sleng russe. / The large usage of sleng (transliteration from сленг) is one of the important characteristics of modern Russian. Its employment is even more evident on the Internet, as it allows to describe the subjects of the modern life that are not covered by the standard language. It is thus essential to study sleng as an important element of Russian language.As the clear definition of sleng does not yet exist, we analyse this term, showing its specific role in comparison to other terms, such as žargon, argo and dialekt. The main particularity of sleng is its general usage by wide ranges of Russian speakers without distinction of their social or cultural level.The study of the context of the sleng usage on the Internet, according to the vision of Catherine Kerbrat-Orecchioni of the Jakobson's functions of language, shows that a sleng speaker is a standard Russian Internet user, who uses sleng on a daily basis.Finally, the typology of sleng based on the Jakobson's functions of language allows us to structure elements following the role they play in Internet communication and offers us the global vision of the place that takes sleng on the Internet and more generally in modern Russian. We establish that referential, emotive and poetic functions are highly represented in sleng, whereas other functions attest just a minimal content volume in sleng. This fact proves that the sleng relies on the standard language and enriches it without opposing to it or trying to recreate it.The goal of the present thesis is to create a theoretical basis that will help future studies of other subjects related to the Russian sleng.

Social identity between interlocutors s is an indispensable factor in the formation of a community (i e. a social unit whose members are held together by an international network and who share certain interests, beliefs, views and attitudes) In this regard, language is known to be an influential symbol of identity, an important clue to social group membership. As Einer Haugen states, language is at once `a social institution, like the laws, the religion, or the economy of a community, and a social instrument which accompanies and makes possible all other institutions. As an institution it may become a symbol of the community` (1956:8 7).

Traditional Soviet conceptualisation of slang, argot and obscenities as ‘substandard’ is argued to have strong ideological underpinnings. Despite such lexis gaining increased visibility in public speech starting from Perestroika times, sociolinguistic research into their use is still scarce and often tainted by the same judgemental approach. Rejecting the association of slang, argot and obscenities with speakers’ insufficient linguistic competency, this study shifts attention to their identity construction values. Drawing largely on constructionist sociolinguistics, this thesis examines the use of slang, argot and obscenities in the scripts of six post-Soviet Russian films released in the period 1993-2005. It investigates how indexical connections between language and society were exploited, negotiated and, at times, reinterpreted in the films. Lexical variation is conceived here as a stylistic resource, and its functions in cinematic discourse are analysed in terms of statics (engagement with stereotypes) and dynamics (identity work) of characterisation. With regards to the former, the focused and economic conditions of film production determine that stereotypes are often drawn on to provide quick identification, especially in construction of minor characters. Stereotypes of criminals, youth and uneducated male adults were analysed, revealing that cinema does not only exploit direct associations between lexical varieties and social groups, but also engages with such stereotypes agentively, bringing to viewers’ attention their arbitrary nature and rigidity of boundaries, established by social categories. Language variation can also represent dynamics of characters’ identity work, which was analysed on two levels – interpersonal and ideational. The analysis revealed a multitude of functions, which on the interpersonal level drew on associations with familiarity, power and catharsis, yet defying stable connections between lexical varieties and structural elements. On the ideational level slang, argot and obscenities were shown to render characters’ orientation towards social structure and discourses, prevalent in the contemporary Russian society. This thesis thus shows that slang, argot and obscenities are a versatile meaning-making resource, employed in cinematic discourse for a variety of purposes. Focusing on the way character identities are styled through the use of lexical variation enabled this project to account for both the local instances of identity construction and the macro-level attempts of the filmmakers to critically engage with the social structures, exploring, questioning and reinterpreting them.

<p><p>The languages of the world are constantly changing and slang intrudes the vocabulary of many people all over the world. But what is slang and where does it come from? Are there differences in the slang that men and women use? And what is the point of using slang? It seems that the slang that was used by previous generations has either gone out of use or has now become a part of accepted standard language; basically, the youth of today reject the slang that their parents used. This would indicate that it is not “cool” to use the same slang as one’s parents did and to avoid this, new slang is invented to replace old slang aiding the youth of today to be able to be shocking or amusing by speaking in a certain way.</p></p><p><p><p>In this essay the focus lies on the slang of British English and this is investigated by an analysis of a contemporary film and a TV-show to see how common the use of slang is in these kinds of medias. The intention is also too see if slang differs according to gender and in what different areas slang is used.</p><p>The film “Football factory” and the TV-show “Little Britain” were closely watched and all slang was noted down and categorized in terms of users and areas of use. To make this easier and to make sure not to lose any parts of the dialogues scripts were found on the internet and used as aids when analyzing. “Football factory” is a movie about British football hooligans which is a very male-dominated world. “Little Britain” is a TV-show consisting of many small sketches with very different characters of both genders but mostly played by male actors.</p></p><p><p>The results were somewhat surprising as the expectation was to find some slang in the chosen material but the amount of slang use exceeded the expectations. Slang seems to besomething that people use in many different areas of use, such as, when talking about sex,drugs or other things that might be taboo. It seems that slang is a big part of the language thatboth men and women use. However, in the material used for this study, young men were theones who used slang the most.</p></p></p>

Analysis of translation of slang in Burgess's novel "Doing It". / Slengo vertimas iš anglų kalbos į lietuvių kalbą Burgess romane "Darant tai".

The thesis presents a general analysis of the semantic processes involved in the production of slang in Barranquilla and of its use, particularly in relation to popular culture, socio-economic class and education. The relationship between slang and other areas of language is studied and the corpus presents 282 words and phrases accompanied by a detailed analysis of each item. Slang is a part of the vernacular, which is the most systematic area of language (cf, Labov) and due to its rapidly-changing nature, processes of semantic change which occur throughout the language can be seen in action in slang (cf, Bendezi Neyra, Guamieri, Hildebrandt, Jespersen, Niceforo, Trejo, etc.). The most important mechanism of slang production (66%) is found to be metaphor, which is analysed in detail as a dynamic process, and it is suggested that literal language and metaphor are two extremes of the same continuous process. Within metaphor, function is seen to be the most frequent motivation (64%), the expression of relations, activities and abstract concepts in concrete terms being one of the major uses of slang. Examination of this phenomenon shows the deficit theory (cf. Bernstein and, for general resumé, Dittmar) to be probably unjustified, Notwithstanding, a relationship between slang, socio-economic class and education is established in that working class people, with least formal education, are found to be the greatest producers and users of slang. As specifically vernacular lexicon, slang is an expression of the vernacular culture and its value systems. Relations between slang and culture are analysed on the level of individual items in the corpus and also in a more general and abstract sense in the way in which slang is seen to fulfil in urban society some of the functions of myth (cf. Levi-Strauss, Rosaldo). At the other end of the linguistic scale, comparison and contrast are also drawn between slang and poetry. Throughout the first nine chapters, detailed and numerical evidence is drawn from corpus. The corpus itself presents the meaning of each item, an example of its use, cross-references to many dictionaries in order to provide comparison with the standard and with other regional and non-standard varieties of Spanish, and analysis of the semantic process involved, its motivation, its effects, the reference of tenor and vehicle where applicable and the social distribution of the item. The appendix provides brief discussion of the influence of the mass media.

Some youth in London speak a non-standard variety of English whose lexical items are difficult for non-speakers to understand. This study collected naturally produced speech samples from students of various ethnicities and class backgrounds who spoke this dialect. It also polled students about their identity, as well as about their use of particular slang words. The recordings were glossed to determine the kind of slang used, as well which populations were more or less likely to use slang. The surveys were analyzed to determine relevant background characteristics of those who used slang versus those who did not. This study concludes that one’s geographic background, as well as one’s class and peer group, impact the variety of English spoken. The idea of language as a method of counter culture is advanced, claiming that speakers are using this dialect as a way to signify resistance against the highly rigid class systems of the U.K.

The languages of the world are constantly changing and slang intrudes the vocabulary of many people all over the world. But what is slang and where does it come from? Are there differences in the slang that men and women use? And what is the point of using slang? It seems that the slang that was used by previous generations has either gone out of use or has now become a part of accepted standard language; basically, the youth of today reject the slang that their parents used. This would indicate that it is not “cool” to use the same slang as one’s parents did and to avoid this, new slang is invented to replace old slang aiding the youth of today to be able to be shocking or amusing by speaking in a certain way. In this essay the focus lies on the slang of British English and this is investigated by an analysis of a contemporary film and a TV-show to see how common the use of slang is in these kinds of medias. The intention is also too see if slang differs according to gender and in what different areas slang is used. The film “Football factory” and the TV-show “Little Britain” were closely watched and all slang was noted down and categorized in terms of users and areas of use. To make this easier and to make sure not to lose any parts of the dialogues scripts were found on the internet and used as aids when analyzing. “Football factory” is a movie about British football hooligans which is a very male-dominated world. “Little Britain” is a TV-show consisting of many small sketches with very different characters of both genders but mostly played by male actors. The results were somewhat surprising as the expectation was to find some slang in the chosen material but the amount of slang use exceeded the expectations. Slang seems to besomething that people use in many different areas of use, such as, when talking about sex,drugs or other things that might be taboo. It seems that slang is a big part of the language thatboth men and women use. However, in the material used for this study, young men were theones who used slang the most.

Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico / Nesta pesquisa, analisamos a construÃÃo do ethos gay masculino no blog katylene.com, considerando os recursos multimodais mobilizados pelos usuÃrios do blog e a manifestaÃÃo de gÃrias gays que revelam traÃos orais da fala dos gays masculinos. Para alcanÃar nosso objetivo, desenvolvemos uma discussÃo alicerÃada no conceito de Ethos Discursivo, tomando-se como base os estudos de Maingueneau (1993; 1998; 2005; 2008) e Amossy (2005). Em seguida, discutimos sobre a teoria multimodal desenvolvida por Kress e Van Leeuwen (2006) e sobre o conceito de gÃria, realizado por Castro (1938), GuÃrios (1979), Preti (1982; 1983; 1984; 2000; 2001) e AraÃjo (2008). Quanto à elaboraÃÃo do corpus, partimos para a seleÃÃo de 22 posts coletados nas onze categorias de postagens presentes na primeira pÃgina do blog katylene.com. Na anÃlise dos dados, utilizamos o modelo trÃptico de dimensÃes do espaÃo visual, proposto por Kress e van Leeuwen (2006). Com base nesse modelo, foi possÃvel verificar que os dados extraÃdos do blog revelam uma alternÃncia de saliÃncia dos elementos multimodais que caracterizam cada um dos ethà formadores do ethos gay masculino. AlÃm disso, devido Ãs caracterÃsticas composicionais do blog, os dados apontaram para a necessidade da reconfiguraÃÃo do modelo trÃptico proposto por Kress e van Leuween (2006). Por sua vez, ao direcionarmos nossa lupa para composiÃÃo das gÃrias gays apresentadas no blog, verificamos que as estratÃgias de escrita fonÃtica nÃo evidenciam uma oposiÃÃo entre os ethà formadores do ethos gay masculino, visto que figuram em cada um dos ethÃ, conspirando a favor da construÃÃo desse ethos. / In this research, we analyze the construction of the male gay ethos in the blog katylene.com, considering the multimodal resources used by the blog user and the manifestations of gay slangs, which show elements of orality from male gays. To achieve our objective, we develop a discussion based on the concept of Discursive Ethos, grounded on studies as Maingueneau (1993; 1998; 2005; 2008) and Amossy (2005). In the sequence, we discuss Kress and van Leeuwenâs (2006) multimodal theory about the concept of slang, used by Castro (1938), GuÃrios (1979), Preti (1982; 1983; 1984; 2000; 2001) and AraÃjo (2008). Concerning the corpus collection, we selected 22 posts collected in the eleven post categories from the blog homepage katylene.com. In the data analysis, we make use of the triptych model of visual space dimensions, proposed by Kress and van Leeuwen (2006). Based on this model, it was possible to verify that data extracted from the blog show an salience interchange of the multimodal elements that characterize each one of the ethà that compose the male gay ethos. Besides that, due to the compositional characteristics of the blog, the data pointed out that the triptych model proposed by Kress and van Leeuwen (2006) should be redesigned. When we proceed to the analysis of gay slangs composition presented in the blog, we verified that the strategies of phonetic writing are not an evidence of an opposition between the ethà that compose the male gay ethos. On the other hand, they are present in each one of the ethÃ, in favor of the construction of this ethos.