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“THE QUEEN’S FUCKIN ENGLISH, KEN?” An analysis of the language of Trainspotting
2018
Title: “The Queen’s Fuckin English, Ken?” An analysis of the language of Trainspotting Author: Samuel Grip Supervisor: Joe Trotta Abstract: The novel Trainspotting by Irvine Welsh is a work that has been acknowledged and appreciated for its use of non-standard language since its publication. This essay seeks to find out if this non-standard language is simply Scottish English, or if it is Scots, a language different from English that is sometimes regarded as a dialect of the same. Through the use of a quantitative corpus stylistic analysis as well as a qualitative close reading focusing, among other things, on code switching, the essay shows that there is substantial reason to believe that the language used in the novel is in fact Scots. It also shows that code switching is often performed when the speakers of this non-prestigious variety are confronted with speakers of Standard English. The novel Trainspotting by Irvine Welsh is a work that has been acknowledged and appreciated for...
" Racism's part of my culture " : Nation, Race and Humour in Irish Jam (2006) and The Guard (2011
This article applies theories of humour (incongruity, superiority, relief) to a reading of the films Irish Jam (John Eyres, 2006) and The Guard (John Michael McDonagh, 2011) in order to interrogate their depiction of racial, national and cultural stereotypes and differences. Both films combine elements of humour in their portrayal of the " fish out of water " experiences of the African-American male leads in Ireland. Through this we see three consequences: the incongruity of the protagonists' experiences, both in terms of their expectations of Ireland and the expectations the Irish have of them; the superiority felt by certain locals, and, thus vicariously, by audience members for recognising moments of (what they consider) ignorance or racism; humour being used to relieve the tensions of interacting with the Other. I argue that the different uses of humour in these films function as a social corrective in their interrogation of racist ideologies. However, the films play it safe by taking their protagonists out of America, allowing the discussion of race to unfold in Ireland where whiteness holds a unique status (as simultaneously nonwhite because of the historical discrimination the Irish faced), and racial and national differentiation can be conflated. Equally, the films ultimately remain conservative in their interrogation of racism, confronting certain stereotypes while perpetuating others. In this article I examine Irish Jam (John Eyres, 2006) and The Guard (John Michael McDonagh, 2011), two films with African-American male leads who, for very different reasons, find themselves in Ireland. While both films portray " fish out of water " experiences for these characters, they approach this narrative in different ways, perhaps reflective of the production context for each film. John Eyres, the British (with dual United States citizenship) director and cowriter of Irish Jam, previously directed and produced several films largely in the action, thriller and horror genres. On the other hand, The Guard was the feature debut, and something of an auteur effort, from British-Irish writer-director John Michael McDonagh. Equally, Irish Jam, which was made on an approximately 11millionbudget,wasastraight−to−DVDrelease,primarilyforAmericanaudiences,withaverageratings,whileTheGuard,withanestimated11 million budget, was a straight-to-DVD release, primarily for American audiences, with average ratings, while The Guard, with an estimated 11millionbudget,wasastraight−to−DVDrelease,primarilyforAmericanaudiences,withaverageratings,whileTheGuard,withanestimated6 million budget, had a theatrical release and was well received, particularly in Ireland. However, while the circumstances of each film are quite different, both ultimately use various types of humour—according to each film's style—to frame race and nation—the focus of this article. While the humour used in these films is perhaps made possible (or more acceptable) by the unique status of Irish whiteness as non taboo (discussed subsequently), many of the typical elements key to humour, including surprise, fear or tension, and feelings of superiority, are also easily linked with experiencing cultural difference—a differentiation often linked with race. Ultimately, I suggest that humour is used in these films as a type of conservative social corrective for the treatment of both racial and national difference.
Spring Season Publications, 2020
1. Would you call the character of Dr. Faustus ‘heroic’? Give reasons for your answer. (20) 2. Discuss the play within the play in A Midsummer Night’s Dream. (20) 3. What is the importance of Hamlet’s soliloquies in the play? (20) 4. Can The Alchemist be considered an allegory? Give a reasoned answer. (20) 5. Can Eliza in Pygmalion be termed as feminist? Elaborate. (20) 6. What are the comic strategies used in The Playboy of the Western World? (20) 7. Discuss Murder in the Cathedral as a poetic drama. (20) 8. Comment on the title of Look Back in Anger. (20) 9. Discuss Waiting for Godot from the perspective of the theatre of the Absurd. (20) 1. Discuss the character of Dr Faustus as a tragic figure. 20 2. Identify the characteristics of Shakespearean comedy in A Midsummer Night’s Dream. 20 3. What do you think is the dominant quality of Hamlet’s character? Illustrate. 20 4. Discuss The Alchemist as a satire. 20 5. Comment on the relevance of The Playboy of the Western World to the present time. 20 6. Do you think Pygmalion is a romance? Give reasons for your answer. 20 7. What are the qualities that set Murder in the Cathedral apart from other plays? 20 8. Examine the existentialist elements in Waiting for Godot. 20 9. Discuss the main characters of Look Back in Anger and their relationship with each other. 20 10. Write an essay on British drama in the twentieth century. 20
Voices of Belfast Contextual Paper
Conflict in Northern Ireland goes back many centuries and spans many areas. This paper is meant to accompany an interactive map that allows users to explore audio clips related to the city of Belfast, a microcosm of economic and cultural conflicts in the whole Northern Ireland, so they may better understand the nature of the conflict and the way it is present in the life of modern Belfast residents. It incorporates theories of immersion in video games to make an impactful experience. These theories, as well as the process of creating the game, are explained here.
OBSCURE IRISH ENGLISH DIALOGUE AND HERMETIC CULTURAL MEANING IN LISA MCGEE'S DERRY GIRLS
Traditions and Transitions. Volume 1, 2019
The paper intends to explicate the reasons why the 2018 British-Irish television series Derry Girls seemingly succeeded against all odds to become one of Channel 4's most successful ever shows. Derry Girls uses unadulterated Derry/Londonderry English dialogue with highly specific 1990s and native references. I argue that its writer Lisa McGee wrote it in this way so as to make Derry Girls as organic and culturally alive as possible. Without the usage of Derry/Londonderry English dialogue, the unique character of Derry Girls would arguably become subject to artistic compromise and erosion. I argue that copious layers of nuanced meaning would become lost from the show if its usage of Derry/Londonderry English became softened or even "translated" slightly into Standard English. This is because it is a core element of Derry Girls idiosyncratic style which celebrates Irish English and revels in its remarkable linguistic elasticity. In short, without Derry/Londonderry English, Derry Girls would cease to be as successful as it is. This paper is a study of the linguistic and cultural content of the 2018-2019 Channel 4 television series Derry Girls, which is now in its second series. The show is set in the city of Derry/Londonderry in the early 1990s in the midst of the Northern Ireland "Troubles" and the Derry Girls themselves are a group of four 15 year olds growing up in a working class, and dangerous, Irish Republican estate near the city walls called the Bogside. However, the show is a comedy and the characters live by and large mundane lives where the political events going on around