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英語は国際共通語（リンガ・フランカ）として現在では世界中で使われている。このように英語が世界中で使われるようになるにつれて、国や地域ごとのバリエーションも大きくなっている。その中でも、特にイギリス英語には地域方言に加えて、RP, Estuary, Cockneyなどの社会方言のバリエーションも存在する。歴史的にイギリス社会では、社会方言の差は身分や出生の差として扱われ、使用する社会方言によって職業選択にも影響を及ぼしていた。このことから、教育水準の高い人や、人前に出る職業の人などは意図的にRPを話そうとする人も多く、外国から見たイギリス英語のイメージもRPがその代表であった。一方で最近では、RPの話者は減少し、Estuaryを使い続ける人も増えてきている。日本人英語学習者が様々な国の英語を聞き取る際に、イギリス英語、アメリカ英語、オーストラリア英語の間で聞き取りやすさに差がないことは内田（2021）の研究などで明らかになっているが、本研究では、イギリス英語の社会方言の間でも聞き取りやすさに差がないかについてリスニング実験を行い検証した。その結果、RPとEstuaryでは聞き取りやすさに差がなく、Cockneyのみが聞き取りにくいという結果が明らかになった。

This study is concerned with comparing the pronunciation in Southern Welsh, a Celtic language, and Cockney, an English dialect , regarding the place of articulation. The study uses a comparative method to shed light on the similarities and differences between the two accents. The data were collected from YouTube videos of speakers of Southern Welsh and Cockney and the consonant sound systems were analysed and compared. This study answers two main research questions: Do Southern Welsh and Cockney accents have the same consonants? What are the phonological differences between Southern Welsh and Cockney regarding place of articulation? The findings show that there are some phonological differences between Sothern Welsh and Cockney in terms of bilabial, labiodental, dental, alveolar, lateral, palatal, velar, and uvular sounds. However, they are similar in terms of post-alveolar and glottal sounds. Awareness of these phonological differences is important for EFL learners to develop strong competencies in dealing with these accents which are gaining an increasing popularity due to the unprecedented spread of social media networks and applications.

This article reviews the strategies used in three Ukrainian translations of George Bernard Shaw’s play «Pygmalion» focusing upon different approaches to representing the sociolect Cockney. Two of the translations (done by M. Pavlov and O.Mokrovolskiy) resort to surzhyk — a mixed Ukrainian-Russian vernacular, thus employing the strategy of domestication, while the third, and the latest, one (done by T. Nekriach and N. Ferens in collaboration, with the general editing of T. Nekriach) rejects surzhyk in principle, proceeding from the idea that cockney is not a contamination of two languages but a socially and culturally marked set of deviations from the norm within one language. The latter translation unites foreignization in indicating the time and place of action and domestication in consistent using the Ukrainian supradialectal popular parlance, which is termed ad hoc the «harmonizing strategy» in the article. Cockney as a specific ethnosociolect has been researched in the translation perspective in the works of I. Akopyan, V. Komissarov, O. Rebriy, T. Nekriach, A. Hughes, P. Trudgill etc., which form the theoretical foundation of the present article. The aim of the article is to study and systematize the optimal strategies and tactics of reproducing Cockney in the available Ukrainian translations of «Pygmalion». The principal method of research is the comparative translation analysis, which allows to evaluate the gains and losses in employing a particular strategy in order to achieve a faithful translation. The topicality of the research is accounted for by the growing interest on the part of both practical translators and translation scholars in the appropriate handling of translation strategies and tactics within one text in order to reveal the author’s intent to the full with the retaining of the distinguishing features of the form. Special attention is paid to the specific «double» nature of drama works which requires taking into account the “pronounceability” of cues in translation. It is argued that M. Pavlov and T. Nekriach/N. Ferens take this parameter into account, translating «for stage», whereas O.Mokrovolskiy translates «for page» only, which results in his alternatives for Cockney representation being understood visually, not audially. The research prospects are seen in applying the proposed methodology to the study of recent Ukrainian translations of fiction in comparison with the previous ones in order to survey the dynamics and effectiveness of applying various translation strategies and tactics in reproducing a particular language or cultural phenomenon used in the original text.

This paper demonstrates that the differing social meanings held by linguistic features can result in an implicational relationship between them. Rates of (h) and (ing) are investigated in the casual speech of sixty-three speakers from a community with Cockney heritage: Debden, Essex. The indexicalities of h-dropping in Debden (signalling Cockney) are superordinate to and incorporate the indexicalities of g-dropping (working-class, “improper”), resulting in an implicational relationship. H-dropping implies g-dropping, but g-dropping can occur independently of h-dropping. This occurs in terms of co-variation at the between-speaker level and clustering effects at the within-speaker level which is measured through a novel approach using the number of phonemes as the denomination of distance. The features’ differing social meaning are also related to rates of change. Young speakers are shifting away from linguistic features which index Cockney heritage (h-dropping; the [-Iŋk] variant of -thing words) in favor of more general, southeastern, working-class norms (g-dropping).

The article reports on the study of the interferential influence of Welch intonation on the speech of Australians. Special focus is given to historical factors which influence the phonetic realization of Australians’ speech. The article contains overview of the results of lingual and historical analysis proving that the first emigrants of Australia were representatives of the lowest social classes, native Cockney, Venaculas speaker from different parts of Britain. Investigators consider that Australian English is more likely to be close to Cockney dialect with a touch of Welsh, Irish and a definite share of Scottish dialects. In the frame of the conducted complex investigation on the basis of auditory and computer analysis melodic and frequency characteristic of Australian speech were studied and the influence of English speech of the first emigrants from Britain was traced. In the result of the auditory analysis the prevalence of the Falling terminal tone was fixed, which is the peculiarity of the British intonation, and also high frequency of Rising and Rising-Falling nuclear tones. Such tendency is the result of the Welsh intonation influence on the speech of Australians. Computer analysis showed the frequency characteristics in the speech of the investigated informants vary which depend on gender and territorial belonging of the speaker. Uniqueness of Australian English has been revealed in the paper, which was formed in the run of historical development of the country under the influence of emigrants’ speech as well as from different areas of Britain and other countries. The analysis of segmental characteristics which were formed under the influence of regional factors inside and outside Australia are to be the subject of the future investigation.

Recent research has suggested that two linguistic processes are displacing Cockney: the emergence of Multicultural London English (MLE) in inner London and dialect levelling (e.g. Kerswill & Williams 2005). This study investigates firstly whether Cockney phonetic features have ‘moved East’ to Essex (Fox 2015), and secondly the features’ indexicality in relation to place and identity. Fifty-four participants from Debden, an outpost of the Cockney Diaspora, completed a sociolinguistic interview. Vowel measurements were made from a wordlist and passage, and quantitative attitudinal and qualitative data were extracted from a questionnaire and interviews. Overall, changes in identity as a result of social change exceeded linguistic changes, and linguistic labels were not interpreted uniformly across the community. Whilst Cockney variants were largely maintained in young speakers, they were transposed onto an ‘Essex’ accent. Furthermore, some young women but no young men considered themselves Cockney, likely due to the matrifocal nature of Cockney. (Cockney, phonetic variation and change, dialect levelling, identity, indexicality, gender)

The purpose of this study was to determine the type of use of slang language. The types of slangs were analyzed from “The Duff” movie. Theories used in this research were Paltridge (2004) about the types of slang language and Yanhong (2013) about the functions of slang. This study was conducted by using a descriptive qualitative method. The data was from a movie entitled “The Duff” in the year of 2015 with genre of teen or comedy. After conducting the analysis, this study showed that there were six slang languages from eleven type of slang language. They were society, cockney, workmen’s, public school and university, public house, and theater. Society was found as the most dominant slang language with society with 41 data (54,6%), public house with 20 data (26,6%), workmen’s with 6 data (8 %), cockney with 5 data (6,6%), theater with 2 data(2,6%), and public school and university with 1 data (1,3%). Finally, the researcher hopes that this study will be useful for the future improvement of studying literature, especially about slang language

Bernard Shaw has been a well-known writer in the Spanish-speaking world since Julio Broutá introduced his works in Spain at the beginning of the twentieth century. This article assesses two of the six translations of his play Pygmalion into Spanish, those of Julio Broutá (1919) and Floreal Mazía (1952), focusing specifically on the rendering of Cockney. Both target authors maintain the dialectal distinction in their works, by translating Cockney as Cheli and Lunfardo, dialects spoken by the lower classes of Madrid and Buenos Aires, respectively.

The article highlights topical issues of social marking of speech. The significance of the research has been determined by the need to establish the presence of various markers in speech and their influence on the pronunciation system, thus allowing us to trace the general tendencies that occur in modern society. Through the age factor, which we regard as the index feature of a person, we attempt to determine the degree of pronunciation variability as well as to identify direct and indirect relationships between this extralinguistic factor and phonology of native English speakers. The postulate that the older generation adheres to conservative pronunciation can be partially refuted by the results of the conducted auditory analysis of modern speech of the native English-speakers. Having the policy of multiculturalism, mass communication, issues of social adaptation and accommodation of pronunciation in the focus of our study, we find proof that the influence of those aspects on speech behaviour leads to the formation of the image of a person, their speech portrait and self-identification in a speech community. Our analysis also shows that the traditional working-class accent is alive and has an impact on other variants of the English language, on representatives of various social classes and age groups.

教育実践レポート, 本稿では，教育環境をめぐる変化を背景に，高等教育における映画を活用した英語科目の授業実践に着目し，1 ～2年次必修の英語科目を2例取り上げ，実践的な英語運用能力の育成の試みについて報告する．実践報告を通し明らかにする特徴は，次の3点である．1点目に，映画の授業への活用は，学生の学部・学科や関心に合わせて，学習のターゲットを絞って授業をデザインできるという点，2点目に，映画の映像を通しオーセンティックな英語にふれることで，多様性理解や文化的背景の学びにつなげることが可能であるという点，3点目に，そこからさらに応用し，英語の発音・アクセントの導入教材として活用する等の専門的な学習へ発展させることも可能であるという点である．そして，英語教育における映画の応用可能性を指摘し，映画を活用した実践的な英語運用能力の育成へ向けた今後の課題と展望を述べる．, Since rapid development in ICT has led to the diffusion of technology, certain forms of media, such as movies, have widely been applied to English education as an efficient teaching tool in recent years. This paper reports two case studies on English courses conducted in 2018 that utilized movies as teaching materials to improve students' practical English skills. These courses are compulsory basic EFL courses for freshmen and sophomore students at the higher education level, and focus on improving students' English language skills for practical use. This paper describes the following three features of courses that utilize movies as teaching materials: 1) instructors are able to design courses with movies based on various students' departments, majors, or interests; 2) students are able to learn variations of the English language, such as World Englishes and Cockney, through the authentic use of English in movies; and 3) movies can be applied not only to fundamental but also specialized English education, such as that regarding pronunciation or accent, in the English language. The results of this paper indicate the efficiency of English courses using movies as course materials, and suggestions are provided regarding the current state and advanced issues of course design with movies in higher education.

The presented article is aimed at elaborating the problem of specific stylistic coloring achieved by the employment of the Cockney dialect in English literature in the 19th century. The main objective of the paper consists in investigating the stylistic value of the Cockney rhymed dialect as the powerful expressive means in the English literature of realism as well as the possible ways of its rendering in artistic translation. The results of the carried-out research have proved that there exist common strategies and techniques of both employing Cockney in English literature of the given period and reproducing it in literary interpretations. The practical value of the research lies in the fact that the conclusions may be applied in the educational activity, namely in the course of English stylistics. The urgency of this paper arises from the need for all-sided review of difficulties of translating belles-lettres works in contemporary translation studies. The object of the work is a Cockney dialect viewed in the aspect of its translatability. The subject is the specific stylistic function of Cockney dialect in B. Shaw's play. The immediate tasks of the article have been predetermined by the above-mentioned objective and include respectively: the disclosure of the specifics of Cockney dialect; the outline of the strategies and tactics of translating Cockney in belles-lettres works. The methodology of this research involved the inductive and deductive methods, the method of contrastive analysis and ethnic methodological conversation analysis. In the course of the research it has been concluded and experimentally and statistically proved that there exist common strategies and tactics of translating Cockney. It has also been postulated that the pragmatic and the expressive potential of Cockney is rendered in translation. The perspective is seen in reviewing the peculiarities of rendering Cockney in literary interpretations in various Western and Oriental languages.

Estuary English has been a topic for discussion ever since the term was coined by David Rosewarne in 1984. The putative English variety has been criticized for its messiness and lack of phonological cohesion, and the debate has circled around whether it is a variety in its own right and whether it will replace Received Pronunciation as the new standard variety of English. This thesis investigates the speech of eight Estuary English speakers and aims to discuss how the variety has changed since its time of origin. The focus of analysis is on four phonetic features that are considered to be boundary markers between Estuary English, Received Pronunciation and Cockney: syllable-final t-glottalization, intervocalic t- glottalization, l-vocalization and th-fronting. The material consists of recent YouTube videos of the speech of eight chosen celebrities who speak with an Estuary English accent. This thesis discusses the results of the analysis of the abovementioned videos in an attempt to add knowledge to the still ambiguous Estuary English phenomenon. The collected data indicates an increase in use of several features in comparison to previous research on the topic. Syllable-final t-glottalization has for long been observed in both Estuary English and Received Pronunciation, and the results of this thesis indicate that it still has a strong presence in Estuary English. Intervocalic t-glottalization and l-vocalization are slightly more ambiguous, and this thesis indicates an increase in the use of these features. With th-fronting, however, the results are much blurrier. Only two of the speakers investigated in this thesis uses th-fronting in the data material, and only one of them used it extensively. These findings have several implications for the questions commonly raised by previous research. If th- fronting follows the same development as l-vocalization and intervocalic t-glottalization, it seems likely that its usage will increase in Estuary English in the time to come. Since Estuary English blends Received Pronunciation and Cockney, and a greater number of features from Cockney is observed in it, it is no far-fetched claim that Estuary English as a variety will increase its footprint in England and have the chance to become a standard. This ability to become a standard, however, presupposes that Estuary English is a variety in its own right. The still present internal variation might function as an obstacle in this regard.

Caine’s four iconic roles from the 1960s and 1970s – Alfie, The Italian Job, Get Carter, and Sleuth – were remade within a short space of time from 2000 to 2007. This chapter looks at seriality in terms of repeated engagement with the works of a single actor. First, it examines the originals in terms of a unified and coherent cycle. Secondly, it treats the dating of the remakes as an important indicator of technological and cultural changes that created the right environment for updating to take place. It also shows that by embracing these remakes, Caine serves as an active custodian of his early work in a similar way to Hollywood that keeps reinventing its products.

The papers in this Special Issue present some of the results of theMulticultural London English/Multicultural Paris Frenchproject, supported by the UK Economic and Social Research Council (ESRC) from October 2010 to December 2014 and by the FrenchAgence Nationale de la Recherche(ANR) from 2010–2012. The project compared language variation and change in multilingual areas of London and Paris, focusing on the language of young people of recent immigrant origin as well as that of young people whose families had lived in London or Paris for many generations. Similar projects in other European cities have documented the emergence of new ways of speaking and rapid language change in the dominant ‘host’ language, which are attributed to the direct and indirect effects of language contact; see, for example, Wiese 2009 on young people's language in Berlin, Quist 2008 on youth language in Copenhagen, and Svendsen and Røyneland 2008 on Norwegian). In London, young children from diverse linguistic backgrounds tend to acquire English in their peer groups at nursery school rather than from their parents, many of whom do not speak English or are in the early stages of learning English. Since their peers speak a wide range of different languages, the only language the young children have in common is English; and since many of their friends are also acquiring English, there is no clear target model, a high tolerance of linguistic variation, and plenty of scope for linguistic innovation. By the time they reach adolescence, young people's English has stabilized, and many innovations have become part of a new London dialect, now known as Multicultural London English (Cheshire et al., 2013). New urban dialects and language practices such as these have been termed ‘multiethnolects’: they contain a variable repertoire of innovative phonetic, grammatical, and discourse-pragmatic features. In multiethnic peer groups, where local children from many different linguistic backgrounds grow up together, the innovative features are used by speakers of all ethnicities, including those of local descent such as, in London, young monolingual English speakers from Cockney families. Nevertheless they tend to be more frequent in the speech of bilingual young people of recent immigrant origin, and by young speakers with highly multiethnic friendship groups (see further Quist 2008 for an account of the use of features associated with a multiethnolect in conjunction with nonlinguistic ‘markers’ of style, such as tastes in music and preferred ways of dressing). Our project aimed to determine whether a similar outcome had occurred in multicultural areas of Paris.

In 2013, the Metropolitan Museum hosted an exhibition of punk-inspired fashion entitled Punk: Chaos to Couture. The exhibition emphasized the ‘spectacular’ elements of the subculture, reflecting a narrative that dominates accounts of punk dress, whereby it is presented as a site of art school creativity and disjuncture with the past. This is an important aspect of punk dress, but photos of bands and audiences reveal that there was much more to British punk style in the 1970s than what was being sold on London’s King’s Road. Heeding calls to trouble the boundary between the spectacular and the ordinary in subculture studies, this article looks at the ordinariness of 1970s British punk dress, arguing that we should understand punk dress in terms of mass-market commodities, not just customization and designer fashion. Many of these commodities were worn by the skinheads who preceded punk, and this article explores this subcultural continuity by focusing on the role of the Dr.Marten boot and the Harrington jacket in first- and second-wave British punk dress. It does so through discussion of the Cockney Rejects, the 1979 BBC television dramatization of the Sham 69 album That’s Life, and the Undertones.

espanolLa novela de Peter Golsworthy Wish (1995) narra una historia de amor inusual entre una gorila, Eliza, y su profesor de lengua de signos, John James. Puede interpretarse como una reescritura del texto de George Bernard Shaw Pygmalion (1912) donde una florista Cockney, Eliza Doolittle, pasa por ser una dama gracias a las lecciones de diccion del profesor de fonetica Henry Higgins. Ambas obras describen experimentos linguisticos orientados hacia la transformacion social. Puede por lo tanto argumentarse que ambas tienen como objetivo, en suma, diseccionar las desigualdades de su tiempo y producir un giro ontologico. Este articulo por lo tanto pretende analizar las estrategias empleadas por el autor australiano Peter Goldsworthy para desmontar el binario humano/animal y demostrar lo contingente de la separacion entre especies basada en nociones como el lenguaje verbal. EnglishPeter Goldsworthy’s novel Wish (1995) narrates an unusual love story, that between the female gorilla Eliza and her Sign teacher John James. It can be interpreted as a re-writing of George Bernard Shaw’s play Pygmalion (1912) where a Cockney flower girl, Eliza Doolittle, is turned into a lady thanks to her training in proper speech by professor of phonetics Henry Higgins. Both works depict language experiments oriented towards social transformation. It can therefore be argued that both works aim, in sum, at dissecting the inequalities of their time and producing an ontological turn. This article therefore aims at analysing the strategies used by Australian author Peter Goldsworthy to dismantle the human/animal binary and demonstrate the contingency of the species boundary based on notions such as verbal language.