A LEVEL ENGLISH LANGUAGEUNIT 4 SECTION A

Resources

Sara Thorne October 2019Kristina Hill

KEY CONSIDERATIONSSUMMARY

Candidates had generally been well prepared, and they often showed a good understanding of the assessment objectives and of what was required in Section A. Most responses were accurately written, and it was good to see that more candidates were structuring their responses using an individual approach rather than adopting a formulaic structure.

In preparation for next year’s Unit 4 examination, centres may find it useful to think about the following areas:

Teaching and learning candidates need to practise close reading of transcripts grammar teaching should be an integral part of every lesson to prepare candidates

for using a range of terms to support their textual analysis.

Examination technique candidates must focus on both transcripts

this will help them to balance their responses candidates must apply spoken theory rather than recount it

this will help them to use theory to support their responses rather than lead them

candidates should use the contextual information provided on the paper this will give them opportunities to explore how the context shapes the

language and style of the interactions candidates should use linguistic terminology to underpin their analysis of the

transcripts this will help them to avoid feature-spotting.

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EXAMINATION FEEDBACKOVERVIEW

There was evidence that candidates had been generally well prepared for Unit 4 and most responses demonstrated:

familiarity with the genre (documentaries) a range of spoken language knowledge a reasonable grasp of word classes.

For Section A, successful responses:

used a range of terminology precisely referenced the question frequently and relevantly focused on key areas of interest linked theoretical concepts directly to examples from the transcripts analysed the effects created in detail.

In less successful responses:

candidates used only spoken concepts with no linguistic terminology to support their analysis

they used terms to label features with little consideration of meaning or effects they adopted a narrative rather than an analytical approach, explaining what

happened in the transcripts they spent too long focusing on minor details rather than exploring the heart of the

conversations and the relationships between participants they recounted theoretical approaches instead of applying them.

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FRAMING THE QUESTION 2017WalesDrawing on your knowledge of the levels of language, analyse the spoken language of these texts as examples of comedy. Your focus should be on how the performers use language to create comedy, engage the audience and express their attitudes.

EDUQASDrawing on your knowledge of the different language levels, analyse the spoken language of these texts as examples of television competition programmes.

2018WalesDrawing on your knowledge of the levels of language, analyse the spoken language of these texts as examples of interviews on live television chat shows. Your main focus should be on the interactions between the participants, the tenor and the linguistic choices.

EDUQASAnalyse the ways in which language is used by the participants to entertain their audiences in Text A and Text B.

2019WalesAnalyse the different ways participants in these documentaries use spoken language to interact when dealing with difficult situations.

EDUQASAnalyse the spoken language of these texts as examples of interviews with politicians.

LG4: REFRAMED QUESTIONS2013Analyse the commentators’ use of spoken language to engage the audience in television commentaries of royal events.

2015Analyse how the participants in these conversations use spoken language to interact and to entertain their audiences when talking about parties.

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USING WJEC RESOURCESThe table below records the different genres which have been covered in spoken language papers. These papers are all available on the WJEC secure site.

DATE OF PAPER

PAPER NAME

GENRE CONTENT

June 2009 ELang 6 television talk shows (conversations)

Michael Parkinson/David Beckham (ITV)

Jonathan Ross/Tom Hanks (BBC)January 2010 ELang6 adults and children

(conversations)adult and a 3-year-old

mother/two children (aged 5 and 6) June 2010 LG4 sports commentaries

(2008)Olympic rowing (BBC1)

FA Cup final (BBC1)January 2011 LG4 Antiques Road

Show (BBC1)Flog It! (BBC2)

antiques(experts/owners)

June 2011 LG4 political interviews Alan Titchmarsh/David Cameron (ITV)Jane Garvey/Gordon Brown (Radio 4)

January 2012 LG4 adults and children grandparents and a 5-year-old mother and her 6-year-old son

June 2012 LG4 parliamentary question time

PMQs (House of Commons)First Minister’s Question Time

(National Assembly)January 2013 LG4 conversations about

films/actingMark Lawson/Rowan Atkinson

(Radio 4 Extra)Claudia Winkleman/Danny Leigh

(Film 2012, BBC1)June 2013 LG4 commentaries on

royal eventsCoronation of Elizabeth II (1953, BBC)

Prince William’s wedding (2011, BBC1)

January 2014 LG4 radio news Newsbeat (Radio 1)Today (Radio 4)

June 2014 LG4 conversations between family

members

John Barnes and his mother (Who Do You Think You Are?, BBC1)

a 9-year-old and her great uncleJune 2015 LG4 conversations about

partiesDon’t Tell the Bride (BBC3)

Today (Radio 4)June 2016 LG4 BBC television

commentaries for formal state occasions

Queen’s Diamond Jubilee Pageant (2012)

State Opening of Parliament (2013)

June 2017 LG4programmes about

cookery

Jamie and Jimmy’s Friday Night feast (C4)

Mary Berry’s Foolproof Cooking (BBC2)

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DATE OF PAPER

PAPER NAME

GENRE CONTENT

June 2017

U4: Spoken Texts &

Creative Re-casting

(Wales)

comedy routines

Sarah Millican (Royal Variety Show)Michael McIntyre (Live at the Apollo)

David Mitchell/Robert Webb (That Mitchell and Webb Look)

C1: Language Concepts and

Issues (EDUQAS)

BBC television competition shows (judges’ comments)

Strictly Come DancingThe Voice

June 2018

U4: Spoken Texts &

Creative Re-casting

(Wales)

interviews on live chat shows

Alex Jones/Richard Hammond and James May (The One Show, BBC1)

Phillip Schofield and Amanda Holden/Thomas Chipperfield

(This Morning, ITV)C1: Language Concepts and

Issues (EDUQAS)

documentaries about war

The World at War (1973)Twentieth Century Battlefields

(1982)

June 2019

U4: Spoken Texts &

Creative Re-casting

(Wales)

television documentaries

(conversations in difficult situations)

Educating Greater Manchester (C4 Valley Cops (BBC Wales)

C1: Language Concepts and

Issues (EDUQAS)

television interviews(political)

Eddie Mair/Boris Johnson (British television)

Sean Hannity/Donald Trump (American television)

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COMPARING PARAGRAPHSRead the following extracts taken from responses to Section A.

Rank order the three examples from top to bottom based on your assessment of the successful and the less successful characteristics in each case.

Characteristics of a successful response: clear understanding of spoken language features critical engagement with relevant concepts and issues well-chosen, concise textual references that support points precisely clear appreciation that contextual factors shape the content, language and

grammatical structures intelligent interpretation of the transcripts based on close reading well-informed analysis consistently and purposefully tied to meaning assured evaluation providing details on findings and implications intelligent conclusions drawn in the light of the question focus a range of terminology used to underpin discussion carefully structured discussion that drives on the argument.

Characteristics of a less successful response:

references to general features of spoken language with few links to the question/transcripts

broad overviews of theory inconsistent use of textual references (only about half of the points made are

appropriately and accurately supported), or overly long quotations lack of engagement with detail resulting in a somewhat superficial view of the

transcripts underdeveloped close analysis narrow range of linguistic knowledge (and it may not always be accurate) labelling of terms (feature spotting) a limited number of points losing sight of what is being asked by the question a reliance on describing and/or summarising content.

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Extract 1 In Text A the head of year, Miss Bland, holds power over the two pupils due to her vocation within a school environment. This allows her to take control of the flow of conversation. Due to this elevated position, Bland issues the majority of the dialogue. She is able to control the direction of the discourse by using interrogatives such as “Do you know what self-destruct means?”. Furthermore, as the boys have displayed negative behaviours, she holds a moral highground and is able to use more harsh and disciplinary lexis such as the abrupt idiomatic expression “I couldn’t give a fiddler’s”. However, any taboo originally incorporated into that phrase has been omitted. This is firstly due to the fact she must maintain a professional face. Furthermore this programme is shown to a wide audience, so taboo language is not permitted as it might shock or offend leading to repercussions for the broadcasters. In Text B vocational power is held by Rhino and Johnny, as they are both policemen. They use this to control the conversation, such as when the post office worker digresses over his liability for the robbery. Rhino issues the simple clause “let’s not worry about that” to keep the worker focused on the necessary information. Rhino is also able to use overlap in // /jeə/, which prompts the post office worker to finish speaking through back channel support. This could be due to the run time of the show needing to be cut to only contain relevant sections so it remains entertaining for the general audience. It could also be because the police are working to a time limit and need to speed up the investigation.

Extract 2 The two texts A and B are both about documentaries so both texts are about real life situations so therefore will not contain any pre-planned or scripted notes the participants may have read from. However, as the participants know they are being filmed by a camera they may think more about what they have to say, so therefore the conversations may not be as spontaneous. Also, both texts are about how the participants access of disruptive behaviour. In Text A, the conversation is between a teacher and students so there is an asymmetrical power relationship here. This is clearly represented in the transcript as the teachers utterances are much longer than the students. The teachers utterances are far longer due to the fact that she is trying to understand and help the students. Firstly, Miss Bland listens to the student and then gives her feedback, “there is a bit of you (2) its like a button like this self-destruct”. In this utterance Miss Bland uses simple words in order for the student to understand her and also uses the similie “like a button like this self-destruct” as the student will most likely understand her comparison of him and the button making it easier for the teacher to interact with the student. The teacher says “I /bɪn/ here sixteen years Billy”, using the enumerator “sixteen” to pre-modify the common noun “years” to imply to the student that she is very experienced and will know what will happen to him as she then starts by using the modal verb of certainty “have to” with the dynamic verb “change” and proper noun “Billy” to state to the student that this is aimed at him and she is serious as she uses the prolonged speech in the dynamic verb “cha:::nge.”

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Extract 3 Miss Bland’s use of active voice in the declarative “I’m /gʌnə/ put you on report” with the first person singular pronoun “I” shows her plan of action and her certainty in the “going to” future verb. There is elision of the present participle verb and the preposition in the verb phrase /gʌnə/. This use of authority will scare the pupils into improving as it highlights the gravity of the situation, but the informal pronunciation makes her relatable The teacher uses the relative clause “who might not be as bright as you” where the modal verb of possibility “might” and the positive evaluative adjective “bright” creates positive face work to support the positive face of the pupils and mitigates her criticism. This highlights to them that they are smart and have the potential to achieve. This use of face work in a difficult situation shows the underhand persuasive techniques the teacher is using to get the boys onside. The female teacher aligns with Fishman, Tanner and Coates’ theories on women’s language. Where a male teacher may reprimand harshly, she uses a range of strategies which she changes to suit the best needs of the pupils. She uses tag questions like “haven’t /jə/” and speaks emphatically to draw attention to important lexical items such as the non-finite verb “to escalate”, the negated modal verb of ability “can’t” and the cardinal enumerator “sixteen”. This means she can emphasise her experience and the negative potential if the boys don’t change their attitudes. She also uses fillers such as “/jə/ know” and hedges such as the adverbial of degree “a bit” (l.23) to mitigate her criticisms. Another feature is positive back channelling “mmm” which shows her interest and attention. All these features combine to convey a strong yet caring message to the young people involved.

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RANK ORDER (TOP FIRST) AO1 AO2 AO3

Extract 3

Miss Bland’s use of active voice in the declarative “I’m /gʌnə/ put you on report” with the first - person singular pronoun “I” shows her plan of action and her certainty in the “going to” future verb. There is elision of the present participle verb and the preposition in the verb phrase /gʌnə/. This use of authority will scare the pupils into improving as it highlights the gravity of the situation , but the informal pronunciation makes her relatable. The teacher uses the relative clause “who might not be as bright as you” where the modal verb of possibility “might” and the positive evaluative adjective “bright” creates positive face work to support the positive face of the pupils and mitigates her criticism. This highlights to them that they are smart and have the potential to achieve. This use of face work in a difficult situation shows the underhand persuasive techniques the teacher is using to get the boys onside. The female teacher aligns with Fishman, Tanner and Coates’ theories on women’s language. Where a male teacher may reprimand harshly, she uses a range of strategies which she changes to suit the best needs of the pupils. She uses tag questions like “haven’t /jə/” and speaks emphatically to draw attention to important lexical items such as the non-finite verb “to escalate”, the negated modal verb of ability “can’t” and the cardinal enumerator “sixteen”. This means she can emphasise her experience and the negative potential if the boys don’t change their attitudes. She also uses fillers such as “/jə/ know” and hedges such as the adverbial of degree “a bit” (l.23) to mitigate her criticisms. Another feature is positive back channeling “mmm” which shows her interest and attention. All these features combine to convey a strong yet caring message to the young people involved.

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Extract 3: features of B4/5

Well written with a clear focus on the question. Mostly developed discussion with embedded analysis.

AO1

accurate and coherent style logical organisation (though topic sentences would be better focused on

interpretation rather than on a specific linguistic feature) confident use of terms

AO2

clear sense of status: power relationship/authority perceptive comments re. facework and gender well-chosen, precise textual support

AO3

clear appreciation of context and how this shapes language choices engaging with meaning – intelligent interpretation (‘scaring’ the pupils into

improvement; ‘persuasive techniques’; adapting strategies ‘to suit the best needs of the pupils’)

embedded evaluation – could be more wide ranging (‘relatable’, ‘underhand’, ‘strong yet caring).

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Extract 1

In Text A the head of year, Miss Bland, holds power over the two pupils due to her vocation within a school environment. This allows her to take control of the flow of conversation. Due to this elevated position, Bland issues the majority of the dialogue. She is able to control the direction of the discourse by using interrogatives such as “Do you know what self-destruct means?”. Furthermore, as the boys have displayed negative behaviours, she holds a moral highground and is able to use more harsh and disciplinary lexis such as the abrupt idiomatic expression “I couldn’t give a fiddler’s”. However, any taboo originally incorporated into that phrase has been omitted. This is firstly due to the fact she must maintain a professional face. Furthermore this programme is shown to a wide audience, so taboo language is not permitted as it might shock or offend leading to repercussions for the broadcasters. In Text B vocational power is held by Rhino and Johnny, as they are both policemen. They use this to control the conversation, such as when the post office worker digresses over his liability for the robbery. Rhino issues the simple clause “let’s not worry about that” to keep the worker focused on the necessary information. Rhino is also able to use overlap in // /jeə/, which prompts the post office worker to finish speaking through back channel support. This could be due to the run time of the show needing to be cut to only contain relevant sections so it remains entertaining for the general audience. It could also be because the police are working to a time limit and need to speed up the investigation.

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Extract 1: features of B3 (mid)

Sensible approach with a sound focus on the question. Style can occasionally lack polish.

AO1

sensible approach and mostly accurate expression clear organisation (moves between texts) some sound use of terminology to support points but not consistent – lacks

range

AO2

sensible on audience (re. ‘taboo’ language and ‘repercussions for the broadcasters’), purpose (‘entertaining’) and genre (‘run time’)

sound comments re. spoken language (power, ‘professional face’; control the conversation; overlap, backchannel) – linked explicitly to transcript

appropriate textual support

AO3

context (vocational – school/police) and difficult situations (‘negative behaviours’; robbery referenced briefly)

engaging with meaning – relevant interpretation, but could go further (‘moral highground’; ‘finish speaking … support’; ‘liability’)

sensible evaluation (‘more harsh and disciplinary lexis’, ‘shock or offend’, ‘digresses … necessary information’).

Extract 2 13

The two texts A and B are both about documentaries so both texts are about real life situations so therefore will not contain any pre-planned or scripted notes the participants may have read from. However, as the participants know they are being filmed by a camera they may think more about what they have to say, so therefore the conversations may not be as spontaneous. Also, both texts are about how the participants access of disruptive behaviour. In Text A, the conversation is between a teacher and students so there is an asymmetrical power relationship here. This is clearly represented in the transcript as the teacher’s utterances are much longer than the students. The teachers utterances are far longer due to the fact that she is trying to understand and help the students. Firstly, Miss Bland listens to the student and then gives her feedback, “there is a bit of you (2) its like a button like this self-destruct”. In this utterance Miss Bland uses simple words in order for the student to understand her and also uses the similie “like a button like this self-destruct” as the student will most likely understand her comparison of him and the button making it easier for the teacher to interact with the student. The teacher says “I /bɪn/ here sixteen years Billy”, using the enumerator “sixteen” to pre-modify the common noun “years” to imply to the student that she is very experienced and will know what will happen to him as she then starts by using the modal verb of certainty “have to” with the dynamic verb “change” and proper noun “Billy” to state to the student that this is aimed at him and she is serious as she uses the prolonged speech in the dynamic verb “cha:::nge.”

Extract 2: features of B2 (top)

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Clear attempt to focus on question. Discursive rather than analytical at times.

AO1

valid approach and reasonably clear, accurate style clear attempt to organise some accurate use of terminology to label – not always linked explicitly to

point being made

AO2

some valid basic points re. genre: ‘real life situations’; not pre-planned or scripted, but not spontaneous

moving towards sensible comments re. spoken features (‘asymmetrical power relationship’; turn-taking; feedback; prolonged speech)

valid textual support – can be a little long with words/phrases repeated

AO3

straightforward comments re. effect of filming on participants – can be descriptive rather than analytical

broad sense of meaning (‘trying to understand and help’; ‘very experienced’; ‘will know what will happen’) – discussion lacks development

moving towards valid evaluation (‘easier for the teacher to interact’; ‘serious’, ‘aimed at him’) – discussion lacks development.

AO3Analyse and evaluate how contextual factors and language features are associated with the construction of meaning.

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analyse

explore the transcripts

evaluate

make judgements

contextual factors

interrogate the situation of production and reception (when? where? who? why?)

language features

interrogate the language choices and their impact

the construction of meaning

engage with details and interpret the transcripts.

READING AND APPLYING THE CONTEXTUAL INFORMATION 1

The transcript below is taken from a documentary about a school.

Read the contextual information in the box and make a list of the key factors.

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As you read the transcript, find evidence to show how the contextual factors you have listed shape the language choices. Explain the effects created in each case using appropriate terminology.

VO: with Tiger and Billy’s behaviour deteriorating (1) Miss Bland has come up with a new strategy (2)

MB: accel right in we go (3) let’s sit /jɜːselvs/ down (2) so ba:::sically (.) it's /jɜː/ beha:::viour (.) and then (.) /jə/ know (.) and /jɜː/ attitude (1) you’ve got a bit of a thing Billy haven’t /jə/ (.) you’ve got one of these buttons that gets (.) and you’ve got an ↑it’s unfair↑ button (1) you got a massive one of them (1) /æv/ you got /wɒnə/ them buttons?

T: I got like a funny buttonMB: we can’t have this boys (1) so (.) I’m /gʌnə/ put you on report (.) so

it’s in /jɜː/ interests to work /aːd/ (.) to get good comments (2) so /waɪdʒə/ think (1) I’m /bɒðrɪn/ (.) with these reports at this stage =

B: = so we don’t get worseMB: exactly (.) we don’t want that (.) where’ll we be when /jɜː/ in year

eight (.) or even in another six months by the end of /jɜː/ in year seven? (1) we don’t want things to escalate (.) it’s not /sʌmθɪn/ we can ignore because what’s it ↑/əfektɪn/↑? =

T/B: = our edu // ca:::tionMB: // mmm and (.) another thing that’s likely to /æpən/ (.) you’ll

get dropped down (1) you’ll get dropped down sets because (.h) there’ll be people in the set below you (.) who were /wɜːkɪn/ really

really /aːd/ who might not be as bright as you on paper with their

levels and things (.) but because they’re /wɜːkɪn/ really really /aːd/ (1) they’ll get moved up (2) because they deserve it

READING AND APPLYING THE CONTEXTUAL INFORMATION 1

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Text A is taken from Educating Greater Manchester, a Channel 4 documentary about a secondary school in Salford. It focuses on interactions between misbehaving Year 7 students Billy and Tiger, and the Head of Year 7 Miss Bland.

Text A is taken from Educating Greater Manchester, a Channel 4 documentary about a

secondary school in Salford. It focuses on interactions between misbehaving

Year 7 students Billy and Tiger, and the Head of Year 7 Miss Bland.

Evidence documentary voice-over: foregrounded prepositional phrase frames discourse

and marks new topic (crisis point) subject specific language (education): focus of documentary (e.g.

prepositional phrases on report, in year eight, in year seven; nouns comments, reports, sets, levels

phonemic representations of regional accent (Salford, north-west England): MB is relatable; social distance closed between authority figure/pupils

o absent initial /h/ e.g. /æv/, /aːd/, /æpən/o /ɪŋ/ suffix for present participle verbs reduced to /ɪn/ e.g. /əfektɪn/,

/wɜːkɪn/o diphthong /ɪə/ replaced by pure vowel /ɜː/ e.g. /jɜː/ (year) vs RP /jɪə/o vowel replacement e.g. /wɒn/ (one) vs RP /wʌn/

informal pronunciation (not seen in MB’s’ direct to camera’ turn): teacher is adapting her speech to close the distance between participants (accommodation – convergence)

o vowel replacement – /jɔː/ becomes /jɜː/ (your) o reduction – /ɒv/ becomes /ə/ e.g. /wɒnə/ (one of); /uː/ becomes /ə/

e.g. /jə/, /gʌnə/ (you, to); /əʊ/ becomes /ʌ/ e.g. /gʌnə/ (going to)o assimilation – /d/ followed by /j/ becomes /dʒ/ e.g. /waɪdʒə/ (why do

you) MB’s dominant role as Head of Year 7: discourse markers direct conversation

(right, so); polite command (suggestion) to mitigate situation (let’s sit /jɜːselvs/ down); sentence adverb focuses the boys’ attention (basically); abstract nouns establish the topic (behaviour, attitude)

analogy (button) – making problem behaviours understandable interrogatives engage pupils (/waɪdʒə/ think …; what’s it ↑/əfektɪn/↑?) –

interactive discourse rather than ‘lecture’(complete adjacency pairs – latch-ons perhaps suggest habitual answers i.e. the boys have heard this all before)

different personalities: T replaces the teacher’s serious comment (addressed to B) with a comedic one by changing the noun phrase modifier (unfair → funny); B engages with the issue of bad behaviour (adverbial purpose clause so Ø we don’t get worse – the comparative adjective shows understanding).

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Sample analysis

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VO: with Tiger and Billy’s behaviour deteriorating (1) Miss Bland has come up with a new strategy (2)

MB: right in we go (3) let’s sit /jɜːselvs/ down (2) so ba:::sically (.) it’s /jɜː/ beha:::viour (.) and then (.) /jə/ know (.) and /jɜː/ attitude (1) you’ve got a bit

of a thing Billy haven’t /jə/ (.) you’ve got one of these buttons that gets (.) and you’ve got an ↑it’s unfair↑ button (1) you got a massive one of them (1) /æv/ you got /wɒnə/ them buttons?

T: I got like a funny buttonMB: we can’t have this boys (1) so (.) I’m /gʌnə/ put you on report (.) so it’s in /jɜː/ interests to work /aːd/ (.) to get good comments (2) so /waɪdʒə/ think (1)

increase in pace marks business-like approach of MB (authority –

longer turns)

foregrounded adverbial to

establish focus

polite command (engaging pupils – ‘suggesting’ rather

than ‘insisting’)

sentence adverb emphasises specific topic; extended vowel marks hedging (delaying ‘lecture’) or perhaps getting their attention

analogy to make point clear for Year 7 pupil – each NP elaborates through

modifiers

non-standard use of pronoun (object

pronoun them used instead of demonstrative

determiner those)exclusive 1st

person plural pronoun

(institutional reference)

hedging (vague language); vocative directs tag question

(MB seeking affirmation from B)

polysyndeton (Ø so) maintains turn – 3 main clauses i.e. refusal to accept behaviour (emphatic negative modal verb is authoritative); strategy (verb implies intention i.e. decision already made); advice (prepositional phrase with non-finite

post-modifying clauses to work /aːd/, to get good comments)

latch-on marks B’s engagement (rote answer – they’ve heard

this before OR genuine response)

Sample analysis

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MB: exactly (.) we don’t want that (.) where’ll we be when /jɜː/ in year eight (.) or even in another six months by the end of /jɜː/ in year seven? (1) we don’t want things to escalate (.) it’s not /sʌmθɪn/ we can ignore because what’s it ↑/əfektɪn/↑? =

T/B: = our edu // ca:::tionMB: // mmm and (.) another thing that’s likely to /æpən/ (.) you’ll get dropped down (1) you’ll get dropped down sets because (.h) there’ll be people in the set below you (.) who were /wɜːkɪn/ really really /aːd/ who might not be as bright as you on paper

discourse marker – emphatic response

(agreement)

exclusive 1st person

plural pronoun

predictable response – latch-on suggests

efficiency (no thinking time needed - they know

what’s expected); lengthened pronunciation

suggests it’s ‘chanted’

emphatic stress on negative periphrastic do and

contracted adverb not – assertive simple utterance

repetition of main clause with modal verb of certainty – second time with an adverbial clause of reason so

MB can reinforce her point(loosely structured compound-complex utterance with

lots of embedded SCls as MB builds her case i.e. who … who … because … because)

formal, polysyllabic non-finite

verb

adverbials – prepositional phrase time references to

underpin warning

backchannel affirmation (perhaps recognising their lack of

commitment – level of threat increased by following post-

modified NP

inclusive 1st person plural pronoun

1VO: with Tiger and Billy’s behaviour deteriorating (1) Miss Bland has come up with a new

strategy (2) 2 3 4

MB: right in we go (3) let’s sit /jɜːselvs/ down (2) so ba:::sically (.) it’s /jɜː/ beha:::viour (.) and 5

then (.) /jə/ know (.) and /jɜː/ attitude (1) you’ve got a bit of a thing Billy haven’t /jə/ (.) 6 6

you’ve got one of these buttons that gets (.) and you’ve got an ↑it’s unfair↑ button (1) you 6 7

got a massive one of them (1) /æv/ you got /wɒnə/ them buttons?

T: I got like a funny button 8 9 9 9 9 9

MB: we can’t have this boys (1) so (.) I’m /gʌnə/ put you on report (.) so it’s in /jɜː/ interests to work /aːd/ (.) to get good comments (2) so /waɪdʒə/ think (1) I’m/bɒθrɪn/ (.) with these

reports at this stage = 10

B: = so we don’t get worse 11 12 13 12 14 14

MB: exactly (.) we don’t want that (.) where’ll we be when /jɜː/ in year eight (.) or even in another 14 8 15

six months by the end of /jɜː/ in year seven? (1) we don’t want things to escalate (.) it’s not 8

/sʌmθɪn/ we can ignore because what’s it ↑/əfektɪn/↑? = 16

T/B:

= our edu // ca:::tion

17 17 18MB: // mmm and (.) another thing that’s likely to /æpən/ (.) you’ll get

dropped 18down (1) you’ll get dropped down sets because (.h) there’ll be people in the set below you

(.) who were /wɜːkɪn/ really really /aːd/ who might not be as bright as you on paper with

their levels and things (.) but because they’re /wɜːkɪn/ really really /aːd/ (1) they’ll get

moved up (2) because they deserve it

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1VO: with Tiger and Billy’s behaviour deteriorating (1) Miss Bland has come up with a new

strategy (2) 2 3 4

MB: right in we go (3) let’s sit /jɜːselvs/ down (2) so ba:::sically (.) it’s /jɜː/ beha:::viour (.) and 5

then (.) /jə/ know (.) and /jɜː/ attitude (1) you’ve got a bit of a thing Billy haven’t /jə/ (.) 6 6

you’ve got one of these buttons that gets (.) and you’ve got an ↑it’s unfair↑ button (1) you 6 7

got a massive one of them (1) /æv/ you got /wɒnə/ them buttons?

T: I got like a funny button 8 9 9 9 9 9

MB: we can’t have this boys (1) so (.) I’m /gʌnə/ put you on report (.) so it’s in /jɜː/ interests to work /aːd/ (.) to get good comments (2) so /waɪdʒə/ think (1) I’m/bɒθrɪn/ (.) with these

reports at this stage = 10

B: = so we don’t get worse 11 12 13 12 14 14

MB: exactly (.) we don’t want that (.) where’ll we be when /jɜː/ in year eight (.) or even in another 14 8 15

six months by the end of /jɜː/ in year seven? (1) we don’t want things to escalate (.) it’s not 8

/sʌmθɪn/ we can ignore because what’s it ↑/əfektɪn/↑? = 16

T/B:

= our edu // ca:::tion

17 17 18MB: // mmm and (.) another thing that’s likely to /æpən/ (.) you’ll get

dropped 18

down (1) you’ll get dropped down sets because (.h) there’ll be people in the set below you

(.) who were /wɜːkɪn/ really really /aːd/ who might not be as bright as you on paper with

22

their levels and things (.) but because they’re /wɜːkɪn/ really really /aːd/ (1) they’ll get

moved up (2) because they deserve it

KEY:

1: foregrounded adverbial to establish focus

2: increase in pace marks business-like approach of MB (authority – longer turns)

3: polite command (engaging pupils – ‘suggesting’ rather than ‘insisting’)

4: sentence adverb emphasises specific topic; extended vowel marks hedging (delaying ‘lecture’) or

perhaps getting their attention

5: hedging (vague language); vocative directs tag question (MB seeking affirmation from B)

6: analogy to make point clear for Year 7 pupil – each NP elaborates through modifiers

7: non-standard use of pronoun (object pronoun “them” used instead of demonstrative determiner

those)

8: exclusive 1st person plural pronoun (institutional reference)

9: polysyndeton (Ø so) maintains turn – 3 main clauses i.e. refusal to accept behaviour (emphatic

negative modal verb is authoritative); strategy (verb implies intention i.e. decision already made);

advice (prepositional phrase with non-finite post-modifying clauses to work /aːd/, to get good

comments)

10: latch-on marks B’s engagement (rote answer – they’ve heard this before OR genuine response)

11: discourse marker – emphatic response (agreement)

12: inclusive 1st person plural pronoun

13: emphatic stress on negative periphrastic do and contracted adverb not – assertive simple

utterance

23

14: adverbials – prepositional phrase time references to underpin warning

15: formal, polysyllabic non-finite verb

16: predictable response – latch-on suggests efficiency (no thinking time needed - they know what’s

expected); lengthened pronunciation suggests it’s ‘chanted’

17: backchannel affirmation (perhaps recognising their lack of commitment – level of threat increased

by following post-modified NP

18: repetition of main clause with modal verb of certainty – second time with an adverbial clause of

reason so MB can reinforce her point (loosely structured compound-complex utterance with lots of

embedded SCls as MB builds her case i.e. who … who … because … because)

READING AND APPLYING CONTEXTUAL INFORMATION 2

The following example is an extract from Jamie and Jimmy’s Friday Night Feast (LG4, June 2017).

1. Read the contextual information in the box below and make a list of the key factors.

2. Then read the transcript and try to summarise what it is about in no more than 100 words.

3. As you read the transcript for a second time, find evidence to show how the contextual factors you have listed shape the language choices. Explain the effects created in each case using appropriate terminology.

4. Identify any words where the spelling reflects informal pronunciation. Make a list of these and use phonemic symbols to transcribe them.

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Text A is from the Channel 4 food and lifestyle programme Jamie and Jimmy’s Friday Night Feast. Childhood friends Jamie Oliver and Jimmy Doherty present the programme from their café at the end of Southend Pier. Each week, a celebrity guest is taught to cook a dish that has a special meaning in their life. In this extract, the comedian Jack Whitehall learns how to make chocolate pizza.KEY TO TRANSCRIPTIONS

(.) micropause(2) pause (in seconds)// overlapping speech= latch on{laughs} paralinguistic features best emphatic stress↑ever↑ raised pitch rising intonation falling intonationye:::ah stretched or prolonged speech

O: Jamie Oliver VO: Jamie Oliver voice-over W: Jack Whitehall

O we (.) then started searching all of Naples for the person that’s now famous for the rall best chocolate pizza (.) and it’s this dude (2) Chef Enzo (.) one of Naple’s legendary

pizza chefs =VO = made with pizza dough and the very finest ingredients Chef Enzo’s pizza (1) is more of a calzone (.) it’s a mega-indulgent dish but as I’ve always said (.) it’s all about balance so once in a while (1) you can give yourself (.) an outrageous chocolate treat like this [text omitted]VO Jack fell for this mega-indulgent pizza pudding in Italy eighteen years ago aged (.) rall just ten (.) it’s a seriously decadent treat and it all starts (.) with the dough (2)O this is a generic dough that you can use (.) for any flatbread (.) any pizza (.) savoury or sweet (.) it’s really simple it’s lovely I’m gonna do the first batch then you’re gonna

do the second W sure okay we’ll go through the motions no-one ↑ever↑ makes their own doughO abso. {laughs} well you will todayVO in a bowl with Tipo 00 flour (1) this is an extra fine plain flour used in Italy (.) for pasta and breadsO we’re gonna add a pinch of salt darlin’ go for that (.) erm pinch of salt little bit moreW just Oliver thatO yeah just Oliver ↑that↑VO next we’re going to mix tepid water (1) with fresh yeast and a little sugar (1) and slowly add to the flourO accel so look what we go’ here (2) is a very (1) sticky (.) dough (.) in fact we want to ge’ that kinda gluey (1) sorta texture going (.) and then I’m just gonna add a little flour (.) to it (.) just to make it a bit more pliable five minutes of love //and then once youW // yeahO kinda (.) get it roughly together we can put that out (1) onto // a board and we’ll W // greatO give it a knead (2) can you see it sorta coming together now it’s kinda like (.) very gluey (2) stretchy (.) so the concept of kneading =

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KEY TO TRANSCRIPTIONS

(.) micropause(2) pause (in seconds)// overlapping speech= latch on{laughs} paralinguistic features best emphatic stress↑ever↑ raised pitch rising intonation falling intonationye:::ah stretched or prolonged speech

W = yeah = O = is to stretch roll stretch roll move it around slap it about there’s no real (.) right or wrong so just (1) give it movement [Jack struggles to knead dough] ye:::ahW {holds up hands covered with sticky dough} this is a disaster how has that happened? [text omitted]W I think I’m more the guy right at the end that just puts the toppings onO honestly (.) give me an hour with you you’re gonna be alright mate you’re gonna be alright (2) so we’ve got all the ingredients here (.) I would love you to continue 700 millilitres of water 1 kilo of flour (1) er a little 5 gram piece of yeast (1) a little sugar (1) some salt and a good ol’ knead up you alright with that?W accel yeah yeah great yeahO let me check you’ve got everythingW [to camera] I wasn’t listening to himO okay so over to you Jack (.) are you happy? = W = ↑yeah↑ [Jamie begins to leave the kitchen] you just gonna leave?

READING AND APPLYING CONTEXTUAL INFORMATION 2

Contextual factors1. The transcript is an extract from a Channel 4 food and lifestyle programme (subject

specific, but not too serious).

2. The two presenters are friends, and the programme is filmed in their seaside café (informal).

3. Each week a celebrity guest (the comedian Jack Whitehall) is taught how to cook a special dish (chocolate pizza).

SummaryAfter tracking down an Italian chef famous for his chocolate pizza, Oliver describes this dish and advises viewers that it’s fine to eat rich food occasionally as long as your diet is balanced. After making a link between the programme’s special dish and Whitehall, Oliver begins to explain how to make the dough. He interacts informally with Whitehall and more formally with the wider audience as he explains the ingredients and processes. Whitehall’s contributions are comedic and he ends up covered with dough. Oliver reassures him and repeats the ingredients, but Whitehall admits to camera that he hasn’t been listening.

EvidenceFood and lifestyle programme – genre conventions, lexis

field specific lexis defines the topic i.e. recipe for chocolate pizza e.g. calzone (noun, Italian borrowing);Tipo 00 flour, salt, yeast, sugar, (nouns – ingredients); add, mix, to stretch roll (verbs – process) and kneading (verbal noun); 700 millilitres of water, 1 kilo of flour, 5 gram piece of yeast (enumerators – precise quantity); a pinch of salt, a

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little sugar, some salt (NPs – vague quantities); tepid, fresh, gluey (defining adjectives – with emphatic stress to highlight significance)

hyperbolic language engages viewers and promotes specific dish e.g. mega-indulgent, outrageous, seriously decadent (adjectives), and its chef e.g. the person that’s now famous for the best chocolate pizza (long NPs with emphatic use of a time adverbial and a superlative adjective), one of Naple’s legendary pizza chefs (adjective) – juxtaposed with informal simple NP this dude

distinctive language to entertain audience e.g. five minutes of love (informal NP, idiosyncratic approach to cooking); slap it about (to describe kneading dough)

the voice-over provides a more formal element to the show as a cookery programme:

o background information about the dish and its importance to JW (informal idiomatic verb fell for and the emotive adverbials e.g. in Italy (place – romantic), eighteen years ago aged just ten (time – endearing)

o advisory tone e.g. comment clause as I’ve always said introduces simple utterance about balance with fronted adverbial once in a while (time)

o definition of subject specific term e.g. l.15 (demonstrative pronoun + complement with stressed pre-modifying adjectives extra fine plain and post-modifying non-finite clause used in …)

o implicit instruction e.g. inclusive 1st person pronoun we and the contracted verb phrase ’re going to mix … add; sequence next (time adverb) and approach slowly (manner adverb – how)

the delivery is very fluent (typical of genre – hesitation is rare e.g. ll.1/17): some timed pauses in voice-overs (emphasising the name of the chef, ll.2/4 proper nouns; making the process clear, l.20), during the physical process of kneading (ll.28-9), and for clarity in the list of ingredients (ll.38-39)

grammatical mood reflects purpose (entertainment with implicit instruction): surprisingly few imperatives – approach is more conversational than instructive e.g. go for, Oliver, give ll.32/36; interrogatives make the programme interactive (entertainment value) e.g. how has that happened?, are you happy?

Informal tenor – relationship between participants JO and JW speak directly to each other, with little sense of the wider viewing

audience – more like an informal conversation than a scripted piece

informal naming with familiar vocatives to mark the close relationship between JO/KW (darlin’, mate, Jack); informal pronunciations throughout the interaction

turn-taking reflects the programme’s structure i.e. expert (JO) instructing celebrity (JW): JO dominates with longer turns; JW often uses backchannel affirmation to confirm his engagement; JW’s longer utterances provide comic feedback

complete adjacency pairs e.g. ll.11-13 (sure okay: interjections marking agreement); ll.32-6 (honestly: disjunct reflecting JO’s certainty that he can improve JW’s technique); ll.43-4 (yeah: mock agreement marked by raised pitch and interrogative)

mirroring reflects close relationship e.g. just Oliver that/yeah just Oliver that(adopting neologism – verb).

Celebrity guest (comedian) – humour (entertainment value) humour in JW’s lexical choices e.g. neologism Oliver (eponymous verb i.e.

characteristic way of sprinkling in salt)

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use of the idiom go through the motions implies the process of making dough is a pretence – reinforced by raised pitch ↑ever↑ (adverb) and negative pronoun no-one; the incomplete interjection abso. and the paralinguistic laughs suggests JO was about to agree and then realised what JW had said – his repair places emphatic stress on the modal of certainty will to challenge JW

latch-on l.30 suggests JW’s comic lack of commitment

hyperbole of the simple utterance this is a disaster (l.33)

humour in NP reference to the guy right at the end that just puts the toppings on (adverb just implies an easier process)

complete adjacency pair ll.43-4, but raised pitch on informal response token yeah implies JW is not ‘happy’ – reinforced by the elliptical interrogative as JO leaves

references to JW’s dough-covered hands ll.33 (visual comedy); piece to camera l.42 (engaging with viewers – using 3rd person pronoun him suggesting distance from JO).

PHONEMIC TRANSCRIPTIONSThe following words use spelling to reflect informal pronunciation. These examples all occur in the interaction between JO and JW. Since JO uses standard pronunciation in the voice-overs, this indicates that the pronunciation is another marker of the conversational tone of the programme, and the speakers’ friendly interaction.

PHONEMIC TRANSCRIPTIONSgonna /gʌnə/

darlin’ /daːlɪn/

erm /ɜːm/

yeah /jeə/

go’ /gɒʔ/

ge’ /geʔ/

kinda /kaɪndə/

sorta /sɔːtə/

28

er /ɜː/ol’ /əʊl/

ASSESSING AO3

29

The following extracts are discussing Miss Bland’s conversation with Tiger and Billy about their behaviour (Text A, Unit 4, 2019).

1. Read each example and identify where there is discussion of relevant contextual factors.

2. Highlight any accurate use of terminology and where textual support is provided.

3. Use the table below to decide whether each response fulfils the criteria for AO3. Write notes on your findings and remember to provide evidence to support your decisions.

4. Can you see ways to improve each response?

AO3ANALYSE explore the transcriptEVALUATE make judgements

CONTEXTUAL FACTORS

interrogate the situation of production and reception (when? where? who? why?)

LANGUAGE FEATURES

interrogate the language choices and their impact

CONSTRUCTION OF MEANING engage with details and

interpret the transcript

Extract 1

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Text A is taken from a television show on an extremely popular UK channel. The fact that the conversation is being recorded, however, does not change the tone or purpose as the recording is taken from a place of work in Text A a school. This means that Miss Bland must maintain a level of professionalism in the conversation despite them being filmed. In Text A ellision is used frequently. For example, MB says “they’re on a negative spiral otherwise and that’s not what you want.” This sentence contains two cases of ellision, “they’re” and “that’s”, where two words are formed together to make one. Ellision is often seen in spoken language as it improves the efficiency and flow of the conversation, however it does add informality to the tone because of this. In Text A many first person pronouns can be seen. The use of “I” is particularly frequent as all of the participants in the conversation are stating opinions or attempting to explain their own actions. The pronoun “we” is also used frequently by MB for example when she says “we don’t want things to escalate” this is because she is not only speaking on behalf of herself, but for the school as a whole also, and so MB is saying that the school “don’t want things to escalate”. The use of the voiceover is a common feature of television documentaries, In text A the voice over is used to provide context and also to show the progression of time and that the previous conversation is being continued.

Extract 2As Text A is an example of a situation between an authority figure and her inferiors, there appears to be a disproportionate power relationship which is made clear through Miss Bland’s position as the dominant speaker. She has most of the turns and directs the topic as

can be seen in the compound sentence “it’s /jɜː/ beha:::viour (.) and then … /jɜː/ attitude” with the abstract nouns behaviour and attitude, which tells the pupils what they’ve been called in for. Miss Bland begins the interaction very strongly; she repeats the pre-modified noun phrase “bad behaviour” as a way to reinforce her anger and frustration, and to make her message hit home. She also uses the rather formulaic pre-modified abstract noun phrase “negative spiral” when she speaks directly to the camera. The tenor is more formal in this turn, but it could be argued that her linguistic choices when speaking to Billy and Tiger are more hyperbolic and embellished for the purposes of the television documentary. This can be seen in her simile “like a button” and the elliptical prepositional phrase “like this self-destruct” and the onomatopoeic “boom” with raised pitch for dramatic effect to make the boys understand their behaviour and its triggers. Miss Bland does allow the boys to defend themselves, however. For instance, Billy uses the adverbial of time “When I get bored …” as justification for his misbehaviour and the audience could sympathise with him. Moreover, Billy uses distancing expressions such as “all that” most probably as a way to mitigate his linguistic choices in the simple reporting clause “I’m clever” and perhaps to placate the indignant Miss Bland.

ASSESSING EXTRACT 131

recognises context Text A is taken from a television show on an extremely popular UK channel. The fact that the recognises genreconversation is being recorded, however, does not change the tone or purpose as the specific context recording is taken from a place of work in Text A a school. This means that Miss Bland must

sensible, but lacks development/examplesmaintain a level of professionalism in the conversation despite them being filmed.

In Text A ellision is used frequently. For example, MB says “they’re on a negative spiral” lacks engagementotherwise and that’s not what you want.” This sentence contains two cases of ellision,

“they’re” and “that’s”, where two words are formed together to make one. Ellision is often basic observations – little sense of meaningseen in spoken language as it improves the efficiency and flow of the conversation, however no sense of meaningit does add informality to the tone because of this. observational In Text A many first person pronouns can be seen. The use of “I” is particularly frequent as valid broad pointall of the participants in the conversation are stating opinions or attempting to explain their no examplesown actions. The pronoun “we” is also used frequently by MB for example when she says “we don’t want things to escalate” this is because she is not only speaking on behalf of valid broad pointherself, but for the school as a whole also, and so MB is saying that the school “don’t want no sense of meaning/effectthings to escalate”. sensible, but discussion lacks development The use of the voiceover is a common feature of television documentaries, In text A the voice over is used to provide context and also to show the progression of time and that the basic comments – no specific examplesprevious conversation is being continued.

KEY

terminology

textual support

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COMMENTARY: Extract 1ANALYSE

(explore the transcripts)

little evidence of analysis – points tend to be observational

EVALUATE(make judgements)

broad – C4 (‘extremely popular’); elision in conversation (‘improves the efficiency and flow’); voice-over (‘common feature’)

CONTEXTUAL FACTORS (interrogate

the situation of production and

reception)

demonstrates valid awareness of broadcast platform (popular channel), work-place documentary (a school) and of genre (voice-over)

LANGUAGE FEATURES (interrogate the

language choices and their impact)

a few specific examples – references to elision/pronouns are broad; other textual support is not explored

CONSTRUCTION OF MEANING

(engage with details and interpret the

transcripts)

little sense of what the transcript is about – lacks close focus on the details

AREAS FOR IMPROVEMENT

explore the effects of the contextual factors

avoid generalisations by engaging more fully with specific details

address a wider range of points use topic sentences that focus on

meaning rather than a specific linguistic feature

use a wider range of appropriate terminology

33

ASSESSING EXTRACT 2 establishing context As Text A is an example of a situation between an authority figure and her inferiors, there contextappears to be an unequal power relationship which is made clear through Miss Bland’s position as the dominant speaker. She has most of the turns and directs the topic as

can be seen in the compound sentence “it’s /jɜː/ beha:::viour (.) and then … /jɜː/ attitude” engaging with topic secure sense of contextwith the abstract nouns behaviour and attitude, which tells the pupils (and the television audience) what they’ve been called in for. evaluating Miss Bland begins the interaction very strongly; she repeats the pre-modified noun phrase interpreting – could go further“bad behaviour” as a way to reinforce her anger and frustration, and to make her message evaluatinghit home. She also uses the rather formulaic pre-modified abstract noun phrase “negative evidence of close reading evaluatingspiral” when she speaks directly to the camera. The tenor is more formal in this turn, but it

could be argued that her linguistic choices when speaking to Billy and Tiger are more evaluating secure on contexthyperbolic and embellished for the purposes of the television documentary. This can be engaging with detailsseen in her simile “like a button” and the elliptical prepositional phrase “like this self-destruct” evaluatingand the onomatopoeic “boom” with raised pitch for dramatic effect to make the boys interpreting – could go furtherunderstand their behaviour and its triggers.

Miss Bland does allow the boys to defend themselves, however. For instance, Billy uses engaging with details interpretingthe adverbial of time “When I get bored …” as justification for his misbehaviour and the evaluatingaudience could sympathise with him. Moreover, Billy uses distancing expressions such as interpreting“all that” most probably as a way to mitigate his linguistic choices in the simple reporting interpretingclause “I’m clever” and perhaps to placate the indignant Miss Bland.

34

KEY

terminology

textual support

COMMENTARY: Extract 2ANALYSE

(explore the transcripts)

analysis is well developed – linguistic focus is productive

EVALUATE(make judgements)

some confident evaluation – MB’s initial utterances (‘very strongly’); her piece to camera (‘rather formulaic’, ‘more formal’); her interaction with B and T (‘hyperbolic and embellished’); her use of onomatopoeia and raised pitch (‘dramatic effect’); audience response (‘could sympathise’)

CONTEXTUAL FACTORS (interrogate

the situation of production and

reception)

uses the contextual information securely – establishes school-based power relationships; explores genre features; aware of wider audience

LANGUAGE FEATURES (interrogate the

language choices and their impact)

sustained focus on language features underpinned by apt textual support

CONSTRUCTION OF MEANING

(engage with details and interpret the

transcripts)

engaging with meaning and making intelligent points – MB’s ‘anger and frustration’; impact of the “button” analogy; B’s justification of his behaviour

AREAS FOR IMPROVEMENT

discussion could go further in places

35

SUBORDINATE CLAUSESThere are six main types of subordinate clause:

Subordinate clauses

Finite(the verb is

tensed)

relative(who, which, whose,

that)[The people who commit a crime] usually live locally.

noun(that)

It appears [that a large amount of cash has been taken].

adverbial(because, since, although, when, after, while, as,

unless, even though etc.)

[If I’m liable for the stolen money], I’m finished.

Non-finite

to-infinitive She tried [to grab him].

-ing participle clauses

[The two blokes running round the corner] were the thieves.

-ed participle clauses

[Hooded up and masked], you could only see the boys’ eyes

36

Often, finite subordinate clauses will have what appears to be a simple sentence embedded in them.

I’m not being funny when [I say] [the dog is safe].

I think [they were in there less than twenty minutes].

It is important, however, to look at the word that precedes the tensed clause (or to recognise where a word may have been omitted) – this will help to establish whether the clause is independent (MCl) or part of a dependent clause (SCl).

I’m not being funny [ when I say] [Ø the dog is safe]. subordinating conj that - subordinating conj SClsI think [Ø they were in there less than twenty minutes]. that - subordinating conj SCl

In analysis, it is important that identification of clauses is always tied to a discussion of meaning and the effects created.

TASK: CLAUSESRead through the extracts taken from Text A (Unit 4, 2019), a Channel 4 documentary about a secondary school in Salford. It focuses on interactions between the Head of Year 7 Miss Bland, and two misbehaving Year 7 students Billy and Tiger.

Identify:

a) any simple main clausesb) any subordinate clauses and their type.

Comment on the effects created in each case.

EXAMPLE

S P O A

MB = [I] [couldn’t give] [a fiddler’s about anyone else] [at this moment in time] (l.18) MCl

simple utterance (one VP)

the latch-on reflects MB’s dominant role – she prevents B continuing his turn the simple utterance allows MB to make a clear, emphatic statement – she is not

prepared to listen to excuses the time adverbial (prepositional phrase) emphasises the significance of the current

interaction her dismissive tone is seen in the idiomatic slang NP indicating that B’s utterance is

irrelevant (elliptical because of the audience i.e. sanitised by removing the expletive).

EXTRACTS FOR ANALYSIS

37

1. VO: news of Billy and Tiger’s bad behaviour has reached Miss Bland (l.1)

2. B: most of the teachers say I’m clever and all that (l.5)

3. B: it’s just like when I get bored that’s when I’m most likely to play up

because I start (.) /fɪdʒɪtɪn/ and all that and get in trouble off teacher

(ll.5-7)

4. MB: you know what self-destruct means? (l.9)

5. MB: we can’t have this boys (1) so (.) I’m /gʌnə/ put you on report (.) so it’s

in /jɜː/ interests to work /aːd/ (.) to get good comments (ll.28-9

ANALYSIS AND COMMENT

S P O1. VO: [news of Billy and Tiger’s bad behaviour] [has reached] [Miss Bland]

MCl

simple utterance (one VP)

the function of the VO is to manage the discourse by marking topic changes

the utterance prepares the viewers for the meeting that is about to take place (linked to the head noun news in the post-modified NP)

the present perfect verb phrase establishes a development (action in the past with present relevance).

S P O

2. B: [most of the teachers] [say] [Ø I’m clever and all that]

MCl embedded subordinate that-clause

38

complex utterance (two VPs: MCl + SCl)

although complex, this utterance has a straightforward construction: subordinate that-clause after reporting verb ‘say’

it is a statement of fact – B recounts what he’s been told (reported speech) and therefore does not have to decide on the content of the utterance

the multi-word hedge construction and all that mitigates the positive comment – it allows B to avoid what his peers may describe as boasting.

S S P C

3. B: [it’s just like] [when I get bored] [that’s] [when I’m most likely to play up]

RelCl MCl RelCl embedded NFCl

A

[because I start (.) /fɪdʒɪtɪn/ and all that and get in trouble off teacher].

ACl conj

complex utterance - with multiple subordinate clauses

the loose structure of the utterance reflects B working out an explanation for his bad behaviour (probably to camera)

the opening clause is a hedge (perhaps providing thinking time)

the first relative clause (when = ‘the time at which’) establishes the context of the bad behaviour (adjective phrase bored)

the demonstrative pronoun that places grammatical emphasis on the preceding relative clause (anaphoric reference)

the second relative clause uses the idiomatic multi-word non-finite verb to play up as a euphemism (less explicit than references to bad behaviour in other turns)

the adverbial reason clause (because) explains what happens.

39

S P O

4. MB: [Ø] [you] [know] [what self-destruct means]? aux lex NCl

complex utterance

the interrogative mood functions as a speaker-initiated check: MB does not complete her previous utterance in order to check that B understands the adjective self-destruct

the omitted periphrastic ‘do’ is typical of informal conversation (MB is making her speech relatable – convergence)

the subordinate clause establishes what needs to be checked (denotation of key word).

S P O S P O5. MB: [we] [can’t have] [this] [boys] (1) so (.) [I] [’m /gʌnə/ put] [you]

MCl voc conj MCl A dum S P A delayed S [on report] (.) so [it] [’s] [in /jɜː/ interests] [to work /aːd/] (.) conj MCl NFCl

delayed SØ [to get good comments].

NFCl

compound-complex utterance

the sequence of co-ordinated main clauses allows MB to retain her turn (dominant speaker)

the opening simple utterances establish a clear statement of MB’s position and intention (the new strategy referenced in the VO, ll.20-1)

the extra position (it’s …) allows B to place stress on the delayed subjects – the non-finite clauses focus B and T’s attention on what they need to do.

40

SOME KEY SPOKEN CONCEPTSPARTICIPANTSaccent: the ways in which words are pronounced (linked to the region or social class/group of a speaker)

deixis: words/expressions that reference the extralinguistic context (context dependent language)

dialect: the distinctive grammar and vocabulary which is associated with a regional or social use of a language.

idiolect: an individually distinctive style of speaking

modified-RP (also known as near-RP): a standard accent perceived as ‘educated’ and ‘well-spoken’ that does not adopt all the traditional pronunciations of RP but has little evidence of regionalisation

RP: a prestige accent which has been passed down by high status groups – the term was first used in 1869 by the linguist A J Ellis (‘received’ meaning ‘generally accepted as true, authoritative)

sociolect: a social dialect or variety of speech used by a particular group, such as working- or upper-class speech; urban youthspeak; textspeak

status: the relative position of speakers according to their social group, their education, their role, gender, etc

terms of address: naming; vocatives.

TURN-TAKINGadjacency pair: a parallel expression used across the boundaries of individual speaking turns. They are usually ritualistic and formulaic socially e.g. How are you?/ Fine thanks.

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backchannelling: words, phrases and non-verbal utterances used by a listener to give feedback to a speaker that the message is being followed and understood e.g. I see, oh, uh huh, mm

interactive features: affirmation (mm, yes); reinforcement (echo utterances, laughter); tag questions (to check engagement/understanding)

interruption: where one speaker prevents another speaker from finishing a turn

latch-on: where one speaker speaks immediately after another with no gap or hesitation between the turns

overlap: where two speakers speak at once

turn: the time during which a single participant speaks – in an orderly interaction, participants speak with minimal gaps or overlaps; the length of turns usually indicates the relative status of participants.

NON-FLUENCY FEATURESfalse start: this is when the speaker begins an utterance, then stops and reformulates it as a new grammatical utterance (sometimes called self-correction).

filler: items which do not carry conventional meaning, but which are inserted in speech to allow time to think, to create a pause or to hold a turn in conversation e.g. er, um, ah, like, you know

hesitation: lack of fluency in speech where pauses or repeated words/phrases/clauses break up the flow of the utterance

incomplete word: a word that is broken off because of hesitation, self-correction, or interruption

repair: an alteration that is suggested or made by the speaker, the addressee, or audience in order to correct or clarify a previous utterance

unintentional repetition: accidental repetition of a word or a sound

voiced pause: non-verbal sounds used in conversation to retain a turn or to give thinking time e.g. er, um, ah.

PROSODICSemphatic stress: words that are spoken with a particular emphasis, usually because they have semantic significance

intonation: the quality or tone of voice indicating the attitudes/emotions of a speaker, signalling the difference between statements and questions, focusing attention on important lexical elements, or shaping conversational interaction. e.g. rising, falling

pause: micro (equivalent of punctuation in written language), timed

pitch: changes in the voice sound e.g. raised or lowered

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tempo: the pace at which speech is delivered

volume: how loudly or quietly speech is delivered.

PARALINGUISTIC FEATURESbody language: gestures/facial expressions used to support spoken utterances

non-verbal vocalisations: the use of sounds to challenge or support speech e.g. laughter.

TOPICGrice’s maxims: Grice defined four ‘rules’ as the basis for successful conversation: quantity (don’t say too much or too little); relevance (keep to the point); manner (speak in a clear, coherent and orderly way); quality (be truthful)

topic loop: the reintroduction of an earlier topic (for example, to repair a break down, to invite an evaluation)

topic management: introduction and control of the topics in a conversation

topic shift: the point where the topic of a conversation changes (the speaker who changes the topic is generally dominant).

LANGUAGE FEATURES

assimilation: the process where two sounds occurring together are influenced by each other, making the sounds more alike (I can go = /n/ + /g/ → /ŋ/)contraction: a reduced form often marked by an apostrophe in writing e.g. can’t = cannot; she’ll = she will (also called ELISION)

discourse markers: words and phrases used to mark the relationship between utterances, and to signpost what is said so it can be easily followed by the listener e.g. first, on the other hand, now, what’s more, so anyway, well etc.

elision: the omission or slurring [eliding] of one or more sounds or syllables e.g. gonna = going to; wannabe = want to be; wassup = what is up, gotta = got to

hedge: words and phrases which soften or weaken the force with which something is said e.g. perhaps, maybe, sort of, possibly, I think, kind of

vague language: statements that sound imprecise and unassertive e.g. and so on, or whatever, thingummy, whatsit, sort of, kind of, a bit.

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GRAMMATICAL FEATUREScomment clause: an expression that stands apart from the rest of the utterance and marks the opinion of the speaker e.g. I think, you know, I'm sure, I'm afraid, I admit, I gather, I dare say and you see, you know, mind you, you must admit

ellipsis: the omission of part of a grammatical structure e.g. “You going to the party?” / “Might be.” (the verb ‘are’ and the pronoun ‘I’ are omitted) – can create a more casual and informal tone

fronted conjunction: a joining word used in the initial rather than medial position in an utterance – typical of the informality of spoken language e.g. And, But, Or

tag question: strings of words normally added to a declarative utterance to make the discourse interactive (turning a statement into a question) e.g. “It’s a bit expensive round here, isn’t it?”/ it’s not very nice here, is it?

Features of Effective Writing Style Radar Chart Assessment Exercise

SCORES: 0 = Very Poor 1 = Poor 2 = Mediocre3 = Satisfactory 4 = Good 5 = Excellent

Style Feature TEXT A Score

Justification TEXT B Score

Justification TEXT C Score

Justification

Lively

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Authoritative

Informative

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Unit 4 Section B Writing Comparative Judgement Exemplars

Text A

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Text B

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Text C

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