Natàlia Server Benetó | The Ohio State University (original) (raw)
Papers by Natàlia Server Benetó
ELUA Estudios de Lingüística Universidad de Alicante, 2024
Aunque en un principio se dijese que los marcadores del discurso no eran propensos a la transmisi... more Aunque en un principio se dijese que los marcadores del
discurso no eran propensos a la transmisión interlingüística,
numerosos estudios sobre el dinamismo de los marcadores
del discurso en distintas lenguas en contacto apuntan a que
estas partículas son altamente proclives al préstamo y a la
adaptación. La presente investigación analiza los valores que
obtiene y desarrolla la partícula “entonces”, procedente del
español, en la modalidad hablada de la variedad valenciana
del catalán. A pesar de no ser la forma propia de la lengua,
está altamente extendida en el registro informal del catalán
valenciano, hasta el punto de que es una forma híbrida, es decir,
que está adaptada fonéticamente a las normas fonológicas del
catalán y se realiza como [entonses], [antonses] o [‘tonses],
dependiendo del subdialecto. Aunque “entonces” no sea la
única partícula que se haya prestado del español al catalán, no
hay ningún estudio hasta la fecha que haya explorado sus usos
en el valenciano. Por tanto, en el presente estudio se analiza
la presencia de “entonces” en secuencias narrativas a partir
de un corpus de entrevistas semidirigidas. Además, también
se contrastan los usos de “entonces” con los de los mismos
hablantes de la partícula propia en el catalán valenciano,
“aleshores”, con tal de determinar si adquieren los mismos
significados y si están en distribución complementaria o en
sustitución completa. A pesar de la existencia de estudios sobre
cada uno de estos marcadores en sus respectivas lenguas, esta
es la primera investigación que analiza el uso de “entonces” en
el discurso del catalán valenciano y lo contrasta con su forma
propia. Con ello, la presente investigación pretende llenar el
vacío que ya se ha explorado en otras situaciones de contacto
y contextos lingüísticos mediante análisis pormenorizados
de los usos, valores y posiciones de ambas formas de los
marcadores discursivos.
Estudios Interlingüísticos, 2023
This investigation takes a discursive perspective in a contrastive analysis of Spanish in the ori... more This investigation takes a discursive perspective in a contrastive analysis of Spanish in the original West Side Story film (Jerome Robbins and Robert Wise, 1961) and its recent remake (Steven Spielbierg, 2021). The focus of
analysis is the use(s) of Spanish by the Puerto Rican characters in both films, in the presence and absence of non-Spanish speakers. Several contextual situations are taken into account, such as in-group conversations and musical dialogues. This contributes to the research on film discourse by analyzing the use of Spanish in two critically acclaimed movies. The contrastive analyses show that Spanish is more spoken in the 2021 movie, combining emblematic codeswitching, mostly present in the 1961 West Side Story, with conversational and musically performative Spanish, which did not appear in the original film.
Journal of Pragmatics, 2023
Several studies have shown that turn-initial particles, when placed in the first position of the ... more Several studies have shown that turn-initial particles, when placed in the first position of the second turn of a question-answer adjacency pair, signal an issue with the question (Schegloff and Lerner, 2009; Stivers, 2011;). Challenging what is asked relates to a mismatch between the presumed common ground knowledge between interlocutors (Krifka, 2008; Heritage 2012), as the person answering considers that the one asking has enough epistemic access to the information requested (Heritage and Raymond, 2021). Despite the literature on Catalan discursive particles (Cuenca, 2008; Robles and Pi Bertomeu 2017; Obis, 2017), uei was only briefly studied decades ago from a phraseological perspective (Sancho Cremades, 1998), and no insight into its interactional functioning was provided. The analyses here show that uei prefaces dispreferred answers (Heritage, 2013; Arita, 2021) when there is a disparity between the presumed shared knowledge. This discrepancy may stem from knowledge built through prior interactions or from that same context. I also show how uei co-exists with other mechanisms that signal a dispreferred answer.
Studies in the Linguistic Sciences: Illinois Working Papers, 2023
Trudgill (1983) observed phonological adaptations of British singers to a generalized American di... more Trudgill (1983) observed phonological adaptations of British singers to a generalized American dialect, which he argued responded to the industry's power dynamics. Since then, several studies have explored this issue (Beal 2009; Campos-Astorkiza 2016; Eberhardt & Freeman 2015; Duncan 2017). Very few investigations have looked at this phenomenon within the Spanish-speaking world (Coloma & Colantoni, 2012; Papadopoulos & Martínez Cane, 2021). The present study expands on this by examining a linguistic variable of flamenco singer Rosalía taking on enregisterment theory (Agha 2005), as well as authenticity in music genres (Duncan 2017). In Spanish, the phonemic realization of ⟨c⟩ before ⟨i⟩ and ⟨e⟩ and ⟨z⟩ and ⟨s⟩ before vowel can be of seseo, ceceo or differentiation. In Rosalía's native variety, she would differentiate, "casa" (house) as /cása/ and "caza" (hunting) as /cáθa/. In other dialects, speakers merge to the voiceless alveolar fricative /s/ in both cases, known as seseo. Flamenco originated in some parts of Andalusia amongst working-class and Romani people, who did seseo (Fernández de Molina Cortés 2020). This paper argues that linguistic features of these groups became enregistered (Agha 2007) as part of the style of flamenco, which resulted in an expectation of certain linguistic resources, one of which is seseo (Ropero Núñez 2004). This preliminary investigation analyzes Rosalía's realization of said graphemes by selecting pairs of words in her spoken and sung voice(s). A total of 4 interviews and 4 live performances were selected, which took place in different countries, to account for audience accommodation (Giles & Smith 1979). Acoustic analyses of a total of 39 words (27 spoken, 12 sung) were done using PRAAT to verify these realizations. The results show that Rosalía adapts almost categorically to seseo when singing (92%), while she always differentiates in spoken speech. This contextual variation relates to a generalized stylistic adaptation in music, which shows how linguistic features may be enregistered as part of genre performativity.
Normas. Revista de estudios lingüísticos hispánicos, 2020
En los últimos años han surgido géneros (especialmente audiovisuales) que podríamos denominar híb... more En los últimos años han surgido géneros (especialmente audiovisuales) que podríamos denominar híbridos, puesto que comparten características formales o funcionales de varios géneros tradicionales. En la línea de estas investigaciones, el objetivo de este estudio es la caracterización discursiva de un género híbrido con fuertes componentes conversacionales y humorísticos. Nuestro objeto de estudio ha sido el programa radiofónico de improvisación llamado «Nadie Sabe Nada», de la Cadena Ser, presentado por Andreu Buenafuente y Berto Romero. Dada la interacción aparentemente espontánea y no guionizada entre los presentadores, la pregunta de investigación es si se trata de una conversación coloquial o no y qué diferencias se encuentran con la conversación coloquial prototípica. Para ello, y desde la perspectiva de análisis de la conversación coloquial de Briz et al. (2002) y de la lingüística del humor de Ruiz Gurillo (2012, 2014), se han buscado características típicamente coloquiales en el corpus de «Nadie sabe nada» en el nivel fónico, pragmático, morfosintáctico, léxico y estructural para observar las semejanzas y diferencias entre la conversación y el género estudiado. Los primeros resultados muestran que este programa supone un género híbrido entre el monólogo de humor clásico y la conversación coloquial. Aunque los límites no sean taxativos, la intención comunicativa (transaccional) de los hablantes marca una línea clara entre la convesación coloquial prototípica y el discurso humorístico. Este género híbrido se ha denominado «conversación humorística».
In recent years, genres have emerged (especially in the audio-visual field) that could be called hybrids, since they share the formal or functional characteristics of several traditional genres. In line with these investigations, the aim of this study is the discursive characterisation of a hybrid genre with strong conversational and humorous components. Our object of study has been the improvisation radio show called “Nadie Sabe Nada”, broadcasted in Cadena Ser, presented by Andreu Buenafuente and Berto Romero. However, in some episodes, the radio show is structured around the two of them talking and interspersing topics of conversation that generate humour for 50 minutes. Given the seemingly spontaneous and unscripted interaction between both presenters, the subject matter is whether or not it is a colloquial conversation and what differences are found with the prototypical colloquial conversation. In order to do so, the perspectives of analysis of the colloquial conversation of Briz et al. (2002) and the linguistics of humour of Ruiz Gurillo (2012, 2014) have been taken into account. In doing so, the colloquial characteristics have been sought in the corpus of “Nadie sabe nada” at the phonic, pragmatic, morphosyntactic, lexical and structural levels in order to observe the similarities and differences between the two genres studied. Although the boundaries are not set, speakers’ communicative intention (transaccional) sets a line between prototypical colloquial conversation and humorous discourse. This hybrid genre has been named “humorous conversation”.
Conference Presentations by Natàlia Server Benetó
From spoken to sung speech: seseo and differentiation in Rosalía, 2022
* * FULL CONFERENCE PAPER NOW AVAILABLE * * ABSTRACT Trudgill (1983) observed phonological adap... more * * FULL CONFERENCE PAPER NOW AVAILABLE * *
ABSTRACT
Trudgill (1983) observed phonological adaptations of British singers to a generalized American dialect, which he argued responded to the industry's power dynamics. Since then, several studies have explored this issue (Beal 2009; Campos-Astorkiza 2016; Eberhardt & Freeman 2015; Duncan 2017). Very few investigations have looked at this phenomenon within the Spanish-speaking world (Coloma & Colantoni, 2012; Papadopoulos & Martínez Cane, 2021). The present study expands on this by examining a linguistic variable of flamenco singer Rosalía taking on enregisterment theory (Agha 2005), as well as authenticity in music genres (Duncan 2017). In Spanish, the phonemic realization of ⟨c⟩ before ⟨i⟩ and ⟨e⟩ and ⟨z⟩ and ⟨s⟩ before vowel can be of seseo, ceceo or differentiation. In Rosalía’s native variety, she would differentiate, “casa” (house) as /cása/ and “caza” (hunting) as /cáθa/. In other dialects, speakers merge to the voiceless alveolar fricative /s/ in both cases, known as seseo. Flamenco originated in some parts of Andalusia amongst working-class and Romani people, who did seseo (Fernández de Molina Cortés 2020). This paper argues that linguistic features of these groups became enregistered (Agha 2007) as part of the style of flamenco, which resulted in an expectation of certain linguistic resources, one of which is seseo (Ropero Núñez 2004). This preliminary investigation analyzes Rosalía’s realization of said graphemes by selecting pairs of words in her spoken and sung voice(s). A total of 4 interviews and 4 live performances were selected, which took place in different countries, to account for audience accommodation (Giles & Smith 1979). Acoustic analyses of a total of 39 words (27 spoken, 12 sung) were done using PRAAT to verify these realizations. The results show that Rosalía adapts almost categorically to seseo when singing (92%), while she always differentiates in spoken speech. This contextual variation relates to a generalized stylistic adaptation in music, which shows how linguistic features may be enregistered as part of genre performativity.
ELUA Estudios de Lingüística Universidad de Alicante, 2024
Aunque en un principio se dijese que los marcadores del discurso no eran propensos a la transmisi... more Aunque en un principio se dijese que los marcadores del
discurso no eran propensos a la transmisión interlingüística,
numerosos estudios sobre el dinamismo de los marcadores
del discurso en distintas lenguas en contacto apuntan a que
estas partículas son altamente proclives al préstamo y a la
adaptación. La presente investigación analiza los valores que
obtiene y desarrolla la partícula “entonces”, procedente del
español, en la modalidad hablada de la variedad valenciana
del catalán. A pesar de no ser la forma propia de la lengua,
está altamente extendida en el registro informal del catalán
valenciano, hasta el punto de que es una forma híbrida, es decir,
que está adaptada fonéticamente a las normas fonológicas del
catalán y se realiza como [entonses], [antonses] o [‘tonses],
dependiendo del subdialecto. Aunque “entonces” no sea la
única partícula que se haya prestado del español al catalán, no
hay ningún estudio hasta la fecha que haya explorado sus usos
en el valenciano. Por tanto, en el presente estudio se analiza
la presencia de “entonces” en secuencias narrativas a partir
de un corpus de entrevistas semidirigidas. Además, también
se contrastan los usos de “entonces” con los de los mismos
hablantes de la partícula propia en el catalán valenciano,
“aleshores”, con tal de determinar si adquieren los mismos
significados y si están en distribución complementaria o en
sustitución completa. A pesar de la existencia de estudios sobre
cada uno de estos marcadores en sus respectivas lenguas, esta
es la primera investigación que analiza el uso de “entonces” en
el discurso del catalán valenciano y lo contrasta con su forma
propia. Con ello, la presente investigación pretende llenar el
vacío que ya se ha explorado en otras situaciones de contacto
y contextos lingüísticos mediante análisis pormenorizados
de los usos, valores y posiciones de ambas formas de los
marcadores discursivos.
Estudios Interlingüísticos, 2023
This investigation takes a discursive perspective in a contrastive analysis of Spanish in the ori... more This investigation takes a discursive perspective in a contrastive analysis of Spanish in the original West Side Story film (Jerome Robbins and Robert Wise, 1961) and its recent remake (Steven Spielbierg, 2021). The focus of
analysis is the use(s) of Spanish by the Puerto Rican characters in both films, in the presence and absence of non-Spanish speakers. Several contextual situations are taken into account, such as in-group conversations and musical dialogues. This contributes to the research on film discourse by analyzing the use of Spanish in two critically acclaimed movies. The contrastive analyses show that Spanish is more spoken in the 2021 movie, combining emblematic codeswitching, mostly present in the 1961 West Side Story, with conversational and musically performative Spanish, which did not appear in the original film.
Journal of Pragmatics, 2023
Several studies have shown that turn-initial particles, when placed in the first position of the ... more Several studies have shown that turn-initial particles, when placed in the first position of the second turn of a question-answer adjacency pair, signal an issue with the question (Schegloff and Lerner, 2009; Stivers, 2011;). Challenging what is asked relates to a mismatch between the presumed common ground knowledge between interlocutors (Krifka, 2008; Heritage 2012), as the person answering considers that the one asking has enough epistemic access to the information requested (Heritage and Raymond, 2021). Despite the literature on Catalan discursive particles (Cuenca, 2008; Robles and Pi Bertomeu 2017; Obis, 2017), uei was only briefly studied decades ago from a phraseological perspective (Sancho Cremades, 1998), and no insight into its interactional functioning was provided. The analyses here show that uei prefaces dispreferred answers (Heritage, 2013; Arita, 2021) when there is a disparity between the presumed shared knowledge. This discrepancy may stem from knowledge built through prior interactions or from that same context. I also show how uei co-exists with other mechanisms that signal a dispreferred answer.
Studies in the Linguistic Sciences: Illinois Working Papers, 2023
Trudgill (1983) observed phonological adaptations of British singers to a generalized American di... more Trudgill (1983) observed phonological adaptations of British singers to a generalized American dialect, which he argued responded to the industry's power dynamics. Since then, several studies have explored this issue (Beal 2009; Campos-Astorkiza 2016; Eberhardt & Freeman 2015; Duncan 2017). Very few investigations have looked at this phenomenon within the Spanish-speaking world (Coloma & Colantoni, 2012; Papadopoulos & Martínez Cane, 2021). The present study expands on this by examining a linguistic variable of flamenco singer Rosalía taking on enregisterment theory (Agha 2005), as well as authenticity in music genres (Duncan 2017). In Spanish, the phonemic realization of ⟨c⟩ before ⟨i⟩ and ⟨e⟩ and ⟨z⟩ and ⟨s⟩ before vowel can be of seseo, ceceo or differentiation. In Rosalía's native variety, she would differentiate, "casa" (house) as /cása/ and "caza" (hunting) as /cáθa/. In other dialects, speakers merge to the voiceless alveolar fricative /s/ in both cases, known as seseo. Flamenco originated in some parts of Andalusia amongst working-class and Romani people, who did seseo (Fernández de Molina Cortés 2020). This paper argues that linguistic features of these groups became enregistered (Agha 2007) as part of the style of flamenco, which resulted in an expectation of certain linguistic resources, one of which is seseo (Ropero Núñez 2004). This preliminary investigation analyzes Rosalía's realization of said graphemes by selecting pairs of words in her spoken and sung voice(s). A total of 4 interviews and 4 live performances were selected, which took place in different countries, to account for audience accommodation (Giles & Smith 1979). Acoustic analyses of a total of 39 words (27 spoken, 12 sung) were done using PRAAT to verify these realizations. The results show that Rosalía adapts almost categorically to seseo when singing (92%), while she always differentiates in spoken speech. This contextual variation relates to a generalized stylistic adaptation in music, which shows how linguistic features may be enregistered as part of genre performativity.
Normas. Revista de estudios lingüísticos hispánicos, 2020
En los últimos años han surgido géneros (especialmente audiovisuales) que podríamos denominar híb... more En los últimos años han surgido géneros (especialmente audiovisuales) que podríamos denominar híbridos, puesto que comparten características formales o funcionales de varios géneros tradicionales. En la línea de estas investigaciones, el objetivo de este estudio es la caracterización discursiva de un género híbrido con fuertes componentes conversacionales y humorísticos. Nuestro objeto de estudio ha sido el programa radiofónico de improvisación llamado «Nadie Sabe Nada», de la Cadena Ser, presentado por Andreu Buenafuente y Berto Romero. Dada la interacción aparentemente espontánea y no guionizada entre los presentadores, la pregunta de investigación es si se trata de una conversación coloquial o no y qué diferencias se encuentran con la conversación coloquial prototípica. Para ello, y desde la perspectiva de análisis de la conversación coloquial de Briz et al. (2002) y de la lingüística del humor de Ruiz Gurillo (2012, 2014), se han buscado características típicamente coloquiales en el corpus de «Nadie sabe nada» en el nivel fónico, pragmático, morfosintáctico, léxico y estructural para observar las semejanzas y diferencias entre la conversación y el género estudiado. Los primeros resultados muestran que este programa supone un género híbrido entre el monólogo de humor clásico y la conversación coloquial. Aunque los límites no sean taxativos, la intención comunicativa (transaccional) de los hablantes marca una línea clara entre la convesación coloquial prototípica y el discurso humorístico. Este género híbrido se ha denominado «conversación humorística».
In recent years, genres have emerged (especially in the audio-visual field) that could be called hybrids, since they share the formal or functional characteristics of several traditional genres. In line with these investigations, the aim of this study is the discursive characterisation of a hybrid genre with strong conversational and humorous components. Our object of study has been the improvisation radio show called “Nadie Sabe Nada”, broadcasted in Cadena Ser, presented by Andreu Buenafuente and Berto Romero. However, in some episodes, the radio show is structured around the two of them talking and interspersing topics of conversation that generate humour for 50 minutes. Given the seemingly spontaneous and unscripted interaction between both presenters, the subject matter is whether or not it is a colloquial conversation and what differences are found with the prototypical colloquial conversation. In order to do so, the perspectives of analysis of the colloquial conversation of Briz et al. (2002) and the linguistics of humour of Ruiz Gurillo (2012, 2014) have been taken into account. In doing so, the colloquial characteristics have been sought in the corpus of “Nadie sabe nada” at the phonic, pragmatic, morphosyntactic, lexical and structural levels in order to observe the similarities and differences between the two genres studied. Although the boundaries are not set, speakers’ communicative intention (transaccional) sets a line between prototypical colloquial conversation and humorous discourse. This hybrid genre has been named “humorous conversation”.
From spoken to sung speech: seseo and differentiation in Rosalía, 2022
* * FULL CONFERENCE PAPER NOW AVAILABLE * * ABSTRACT Trudgill (1983) observed phonological adap... more * * FULL CONFERENCE PAPER NOW AVAILABLE * *
ABSTRACT
Trudgill (1983) observed phonological adaptations of British singers to a generalized American dialect, which he argued responded to the industry's power dynamics. Since then, several studies have explored this issue (Beal 2009; Campos-Astorkiza 2016; Eberhardt & Freeman 2015; Duncan 2017). Very few investigations have looked at this phenomenon within the Spanish-speaking world (Coloma & Colantoni, 2012; Papadopoulos & Martínez Cane, 2021). The present study expands on this by examining a linguistic variable of flamenco singer Rosalía taking on enregisterment theory (Agha 2005), as well as authenticity in music genres (Duncan 2017). In Spanish, the phonemic realization of ⟨c⟩ before ⟨i⟩ and ⟨e⟩ and ⟨z⟩ and ⟨s⟩ before vowel can be of seseo, ceceo or differentiation. In Rosalía’s native variety, she would differentiate, “casa” (house) as /cása/ and “caza” (hunting) as /cáθa/. In other dialects, speakers merge to the voiceless alveolar fricative /s/ in both cases, known as seseo. Flamenco originated in some parts of Andalusia amongst working-class and Romani people, who did seseo (Fernández de Molina Cortés 2020). This paper argues that linguistic features of these groups became enregistered (Agha 2007) as part of the style of flamenco, which resulted in an expectation of certain linguistic resources, one of which is seseo (Ropero Núñez 2004). This preliminary investigation analyzes Rosalía’s realization of said graphemes by selecting pairs of words in her spoken and sung voice(s). A total of 4 interviews and 4 live performances were selected, which took place in different countries, to account for audience accommodation (Giles & Smith 1979). Acoustic analyses of a total of 39 words (27 spoken, 12 sung) were done using PRAAT to verify these realizations. The results show that Rosalía adapts almost categorically to seseo when singing (92%), while she always differentiates in spoken speech. This contextual variation relates to a generalized stylistic adaptation in music, which shows how linguistic features may be enregistered as part of genre performativity.