2.1 Отличительные черты Estuary English

Проследим характерные особенности данного диалекта на примере отрывка (4:23 – 7:17) из 2 серии 1 сезона программы «Гастронамическая революция» (eng. Jamie Oliver's Food Revolution), в рамках которой известный британский шеф-повар Джейми Оливер борется за правильное питание представителей американского общества дома,на работе, а также в школе.

My goal is to do something really extreme with these kids and get them to care about what goes into their bodies and this experiment works every single time.

Jaimie Oliver: Who knows what this is?

Children: Chicken!

Jaimie Oliver: When you get a chicken like this, there’s bits on it that are worth lots of money. The breasts are the most expensive part. It’s the biggest and it’s the white meat, OK? And this is a chicken breast, OK? Now, chicken wings are worth quite a lot of money.

I showed them where all the nice cuts of meat came off the chicken.

Jaimie Oliver: So, we just pop the legs off. And then you’re left with the carcass, with all the ribs and the little bits of giblets and blood and skin and stuff like that. What do you think happens to this?

Children: It gets thrown to the trash.

Jaimie Oliver: Do you want to eat some?

Children: Ooh.

Jaimie Oliver: OK, so I’m going to tell you a little story about how you can use all the leftover bits to make food. And watch me. See the blood. Some of the processed foods that you love are made from the bits you don’t like. Bone. All the connective tissues. Little bits of bone marrow and stuff like that. They even add chicken skin. Put a load of chicken skin in here as well. OK, so then once they’ve done that pour the wound-up meat and bone and skin and like bits of horrible bits. And they’ve put it into a massive great machine that squeezes all the soft stuff away from the gangly hard stuff. Look at it. What, what’s the good meat? That or that?

Children: That!

Jaimie Oliver: And what kind of meat is that?

Children: The horrible.

Jaimie Oliver: OK. Now because this’s got loads of connective tissue and things that really aren’t made to be honest you’ve got to put loads of stuff in it. Stabilize it with stabilizer. You know, flavouring in there, to make it taste of something nice instead of something horrible. Once I’ve done that they mix it all up and make this big loaf of gunk. And then guess what we can do? We can get a cutter and cut out our very own patty. Just like that. Put some bread crumbs on it. And there you go. Ladies and gentleman, our very own patty. And all we do is wack them in a pan. Lovely. Now, who would still eat this? Great. There you go. The whole experiment failed.

Таблица 3

Характерные фонетические черты ЕЕ в речи Джейми Оливера

Таблица 4

Лексические особенности ЕЕ в речи Джейми Оливера

В речи Джейми Оливера можно отметить преобладание глотальной смычки звука [t] на конце слова, что является одной из основных характерных черт диалекта ЕЕ. Помимо этого нами были замечены такие особенности ЕЕ как вокализация звука [l] на конце слова, а также замена межзубного фрикативного [θ] на губно-зубной фрикативный [f].

Проанализируем интервью с футболистом Дэвидом Бекхэмом от 16 мая 2013 года о завершении его спортивной карьеры.

Gary Neville: You’ve just announced your retirement. Why now?

David Beckham: I think over the years when I’ve seen players retire, when you ask them about it, they always say ‘you’ll know when you’re ready’. And I think I’d know when I’m ready. You know, I think I’m ready. Obviously it’s a difficult decision because I still feel that I can play at the top level and still have done for the last six months. But I always sneakily said to myself that I want to go out at the top. If you’d said to me eight months ago that I’d be playing in the French league, winning the French Cup, winning the league, and finishing like this, I would have probably said ‘absolutely no chance’. But I was given the opportunity to come to PSG and I just feel now is the time.

GN: You think or you know?

DB: I think. I love the game so much, you know how much we love the game, but I just feel… I don’t know. It’s the right time, I believe it’s the right time. But I’ll always feel like I can do more, that’s the problem.

GN: When did that moment come? When did it hit you?

DB: Probably when Messi was running past me! No. I actually don’t know. I just feel I’ve been so lucky throughout my career, the fact that I’ve played for the clubs I’ve played for, the players that I’ve played with, all the trophies that I’ve won, playing in the MLS last year, winning the championship there, then coming to PSG and winning the French league here, I think it’s a good way to go out.

GN: You’ve always gone out on a high. At United winning the league, Madrid, LA Galaxy, is it important to you that you’ve left PSG as a winner?

DB: It’s every athlete’s dream, it’s every footballer’s dream to go out on the top, on top form or winning a trophy. It doesn’t happen that often. But I’ve lucky. Obviously, when I left United we won the league, when I left Madrid we won the league, leaving the Galaxy, doing two years of winning the championship there, and then obviously coming here and winning the league, it’s nice to go out like that. You’re leaving as a champion and that’s why I think it’s the right time.

GN: How do you want to be remembered?

DB: I just want people to see me as a hard-working footballer, someone that’s passionate about the game and someone who every time I’ve stepped on the pitch I’ve given everything that I have, because that’s how I feel going into games at the end of my career that’s how I look back on it and hope people will see me. I think over the years, my life and my career, people have looked at other things that have gone on, and sometimes I think that’s overshadowed what I’ve done on the pitch or what I’ve achieved. As much as I say that doesn’t hurt me, of course it does. I’m a footballer that has played for some of the biggest clubs in the world, played with some of the best players in the world, played under some of the biggest and best managers, and achieved almost everything in football, so it hurts when people not question it but think about other things. To come to the end of my career now and look back and say I’ve achieved everything with every club I’ve played for, played for my country 115 times, been runner up twice in the World Player of the Year to amazing footballers, I’m very proud of that.

Таблица 5

Характерные фонетические черты ЕЕ в речи Дэвида Бекхэма

В речи Дэвида Бекхэма мы обнаружили такие особенности ЕЕ как, глотальная смычка вместо звука [t] на конце слова, а также замена межзубных фрикативных[ð] и [θ] на губно-зубные фрикативные [v]и [f]. В речи футболиста также присутствует вокализация звука [l] на конце слова и присутствие соединяющего [].

Далее рассмотрим прощальную речь Тони Блэра, премьер-министра Великобритании с 1997 по 2007 год.

I’d like to start by saying something very simple.

Thank you.

Thank you to you, our Party, our members, our supporters, the people who week in, week out do the work, take the flak but don’t often get the credit.

Thank you, the Labour Party for giving me the extraordinary privilege of leading you these past 12 years.

Thank you.

I know I look a lot older.

That’s what being leader of the Labour Party does to you.

Actually, looking round some of you look a lot older.

That’s what having me as leader of the Labour Party does to you.

Nobody knows that better than John Prescott, my Deputy these last 12 years, author of “traditional values in a modern setting”.

I may have taken New Labour to the country but it was you that helped me take it to the Party, so thank you.

Something I don’t say often enough – thank you to my family.

It’s usual after you thank the family, you thank your agent and yes I do want to thank him and through him the wonderful people of Sedgefield.

When I went to Sedgefield to seek the nomination, just before the 1983 election, I was a refugee from the London-based politics of that time.

I knocked on John Burton’s door.

He said “come in; but shut up for half an hour, we’re watching the Cup Winners Cup final”.

I sat in the company of the most normal people I had met in the Labour Party.

They taught me that most of politics isn’t about politics, in the sense of meetings, resolutions, speeches or even Parties.

It starts with people.

It’s about friendship, art, culture, sport.

It’s about being a fully paid up member of the human race before being a fully paid up member of the Labour Party.

But above all else, I want to thank the British people.

Not just for the honour of being Prime Minister but for the journey of progress we have travelled together.

Leaders lead but in the end it’s the people who deliver.

In the last few months I’ve seen new hospitals like University College in London, the new Queen Elizabeth Hospital planned in Birmingham or Whiston Hospital in Knowsley, where I laid the foundation stone.

But without the talents and dedication of the NHS staff, they would be just empty shells.

It is their efforts which have cut waiting, improved care, transform and save tens of thousands of lives every day.

Thank you.

And we in Government can help put in place the new Academy in Liverpool or the ground-breaking Education Village in Darlington which I have visited recently.

But it’s the commitment and love of learning of their teachers and their pupils, and the support of parents, which have given our country the best educated children in our history.

Thank you.

And what about Manchester? A city transformed.

A city that shows what a confident, open, and proud people with a great Labour council can do.

So thank you...

In 1994, I stood before you for the first time and shared the country’s anger at crumbling school buildings, patients languishing, sometimes dying in pain, waiting for[] operations, of crime doubled, of homes repossessed, of pensioners living in poverty; and told you of our dismay at four election defeats and how it was not us who should feel betrayed but the British people.

That such a speech seems so dated today is not through the passage of time but through progress.

In 1997, we faced daunting challenges.

Boom and bust economics.

Chronic under-investment in our public services.

Social division, with millions living in poverty, including over 3 million children.

And more than all this, a country culturally and socially behind.

No black Ministers and never a black Cabinet Minister.

Parliament, supposedly the forum of the people, with only 1 in 10 women MPs.

/…/

This Labour Government has been unique.

First time ever two full terms; now three.

Why? How? We faced out to the people, not in on ourselves.

We put the Party at the service of the country.

Their reality became our reality.

Their worries, our worries.

We abandoned the ridiculous, self-imposed dilemma between principle and power.

We went back to first principles, to our values, our real values, those that are timeless, and separated them from doctrine and dogma that had been ravaged by time/…/.

Таблица 6

Характерные фонетические черты ЕЕ в речи Тони Блэра

В речи Тони Блэра присутствуют такие черты ЕЕ как, глотальная смычка вместо звука [t] на конце слова, а также замена межзубных фрикативных[ð] и [θ] на губно-зубные фрикативные [v]и [f]. В речи бывшего Премьер-министра также присутствует вокализация звука [l].

Проанализируем еще одно интервью с известным английским актером, юмористом, писателем и журналистом Расселом Брэндом от 5 ноября 2013 года.

Jeremy Paxman: Russell Brand, who are you to edita political magazine?

Russell Brand: Well, I suppose like a person who’s been politely asked by an attractive woman. I don’t know what the typical criteria is. I don’t know many people that edit political magazines. Boris, he used to do one, didn’t he? So I’m a kind of a person with crazy hair, quite a good sense of humor, don’t know much about politics – I’m ideal.

Jeremy Paxman: But is it true you don’t even vote?

Russell Brand: Yeah, no, I didn’t vote.

Jeremy Paxman: Well, how do you have any authority to talk about politics then?

Russell Brand: Well, I don’t get my authority from this pre-existing paradigm which is quite narrow and only serves a few people. I look elsewhere for alternatives that might be of service to humanity. Alternate means, alternate political systems.

Jeremy Paxman: They being?

Russell Brand: Well, I’ve not invented it yet, Jeremy. I had to do a magazine last week. I’ve had a lot on me plate. But I say, but here’s the thing you shouldn’t do. Shouldn’t destroy the planet, shouldn’t create massive economic disparity, shouldn’t ignore the needs of the people. The burden of proof is on the people with the power, not people like doing a magazine for a novelty.

Jeremy Paxman: How do you imagine that people get power?

Russell Brand: Well, I imagine there are sort of hierarchical systems that have been preserved through generations –

Jeremy Paxman: They get power by being voted in, that’s how they get power.

Russell Brand: Well, you say that, Jeremy, but –

Jeremy Paxman: You can’t even be asked to vote.

Russell Brand: It’s quite narrow, quite a narrow prescriptive parameter that changes within the –

Jeremy Paxman: In a democracy, that’s how it works.

Russell Brand: Well, I don’t think it’s working very well, Jeremy, given that the planet is being destroyed, given that there is economic disparity of a huge degree. What are you saying, there’s no alternative? There’s no alternative? Just this system?

Jeremy Paxman: No, I’m not saying that. I’m saying if you can’t be asked to vote, why should we be asked to listen to your political point of view?

Russell Brand: You don’t have to listen to my political point of view. But it’s not that I’m not voting out of apathy. I’m not voting out of absolute indifference and weariness and exhaustion from the lies, treachery, deceit of the political class that has been going on for generations now and which has now reached fever pitch where you have a disenfranchised, disillusioned, despondent underclass that are not being represented by that political system, so voting for it is tacit complicity with that system and that’s not something I’m offering up.

Jeremy Paxman: Well, why don’t you change it then?

Russell Brand: Well, I’m trying to.

Jeremy Paxman: Well, why don’t you start by voting?

Russell Brand: (laughs) I don’t think it works. People have voted already and that’s what’s created the current paradigm.

Jeremy Paxman: When did you last vote?

Russell Brand: Never.

Jeremy Paxman: You’ve never, ever voted?

Russell Brand: No. Do you think that’s really bad?

Jeremy Paxman: So you struck an attitude, what, before the age of 18?

Russell Brand: Well, I was busy being a drug addict at that point, because I come from the kind of social conditions that are exacerbated by an indifferent system that really just administrates for large corporations and ignores the population that it was voted in to serve.

Jeremy Paxman: You’re blaming the political class for the fact that you had a drug problem?

Russell Brand: No, no, no. I’m saying I was part of a social and economic class that is underserved by the current political system and drug addiction is one of the problems it creates. When you have huge underserved, impoverished populations, people get drug problems, and also don’t feel like they want to engage with the current political system because they see that it doesn’t work for them. They see that it makes no difference. They see that they’re not served. I say that the apathy –

Jeremy Paxman: Well of course it doesn’t work for them if they didn’t bother to vote.

Russell Brand: Jeremy, my darling, I’m not saying – the apathy doesn’t come from us, the people. The apathy comes from the politicians. They are apathetic to our needs. They’re only interested in servicing the needs of corporations. Look at where – ain’t the Tories going to court, taking the EU to court, it's because they’re trying to curtail bank bonuses? Is that what’s happening at the moment in our country? Isn't it?

Jeremy Paxman: Yeah, there is –

Russell Brand: So what am I gonna – tune in for that?!

Jeremy Paxman: You don’t believe in democracy. You want a revolution don’t you?

Russell Brand: The planet is being destroyed, we are creating an underclass, we’re exploiting poor people all over the world, and the genuine legitimate problems of the people are not being addressed by our political class.

Таблица 7

Характерные фонетические черты ЕЕ в речи Рассела Брэнда

В речи Рассела Бренда нами замечено большое количество глотальных смычек вместо звука [t], а также замена межзубных фрикативных[ð] и [θ] на губно-зубные фрикативные [v]и [f]. В речи актера также присутствует вокализация звука [l].

2.2 Отличительные черты диалекта Cockney

Проследим черты диалекта Cockney на примере отрывка (1:43 – 8:05) из художественного фильма «Рубин во мгле» 2006 года выпуска, где один из героев (Джим Тайлер) является носителем диалекта Cockney

On a cold, fretful day in October, a young woman rose early to join her aunt for breakfast as she had done every dreary day now for the last two months. Her name was Miss Sally Lockhart and within an hour, she was going to kill a man.

/…/

Jim Tyler: Don’t worry. I won’t tell the police you killed old Higgsy.

Sally: I didn’t kill him.

Jim Tyler: Of course you did. I was watching through the keyhole. He died of fright. Struck dead on the spot with terror. Let’s have a look at this letter []of yours.

Sally: Which letter?

Jim Tyler: Give me some credit. And don’t worry, my ticker’s in better nick then his. Whichever bugger wrote this wants to get himself some education. “Sali” with an “i”? “C-H-A-T-T-U-M.” That must mean Chatham in Kent.

Sally: Oh.

Jim Tyler: Ain’t you worked that one out yet? The name’s Jim Taylor, by the way. I’ll keep an eye out for you.

She never meant to kill him but she did, just the same as if she’d taken her gun and shot him. And that wasn’t all. Without even knowing it, she’d shaken the edge of a web, and far away, the spider at the heart of it had woken.

Таблица 8

Характерные фонетические черты Cockney в речи Джима Тайлера

В речи Джима Тайлера представлены различные фонетические черты диалекта Cockney такие, как элизия начальной фонемы [h]; фронтальная артикуляция межзубных фонем: глухой и звонкий межзубные фрикативные [θ] и [ð] заменяются на губно-зубные фрикативные [f] и [v]; замещение дифтонга [eɪ] на [aɪ]; исчезновение назального заднеязычного [ŋ] в окончании ing. Однако чаще всего данный герой использует глотальную смычку вместо звуков [t], [d], [k] на конце слова.

Следующий отрывок из художественного фильма «Гарри Поттер и узник Азкабана» 2004 года. Для анализа был выбран диалог главного героя с кондуктором автобуса «Ночной Рыцарь» Стэном Шанпайком, говорящем на диалекте Cockney.

Stan Shunpike: Welcome to the Knight Bus. Emergency transport for the stranded witch or wizard. My name is Stan Shunpike, and I will be your conductor this evening.

What are you doing down there?

Harry: Fell over.

Stan Shunpike:What did you fell over for?

H: I didn't do it on purpose.

S: Well, come on then. Let's not wait for the grass to grow. What are you looking at?

H: Nothing.

/…/

S: What did you say your name was again?

H: I didn't.

S:Whereabouts you heading?

H: The Leaky Cauldron. That's in London…

S: Do you hear it, Ern? The Leaky Cauldron. That's in London.

H:The Muggles… can’t they see us?

S: Muggles? They don’t see nothing, they don’t.

H:Who is that? That man.

S: Who is that? That's Sirius Black, that is. Don' tell me you’ ve never been hearing of Sirius Black? He is a murderer. Got himself locked up in Azkaban for it.

H: How'd he escape?

S: That's the question, isn't it? He's the first one that's done it. He was a big supporter of You-Know-Who.

/…/

Таблица 9

Характерные фонетические черты Cockney в речи Стэна Шанпайка

Грамматические особенности Cockney в речи Стэна Шанпайка заключаются в использовании им двойного отрицания: “They don’t see nothing…”

В речи Стэна Шанпайка представлен ряд характерных особенностей диалекта Cockney, однако наиболее ярко выраженную черту выделить сложно. Нами были обнаружены такие фонетические особенности как, глотальная смычка вместо звуков [t] и [k] на конце слова, замена межзубных фрикативных[ð] и [θ] на губно-зубные фрикативные [v]и [f], элизия начальной фонемы [h], вокализация звука [l] в конечной позиции, а также грамматические особенности в виде двойного отрицания.

Проанализируем песню Parklife 1994 года группы Blur; в данной композиции текст декламирует актёр Фил Дэниелс.

Confidence is a preference for the habitual voyeur of what is known as (parklife) And morning soup can be avoided if you take a route straight through what is known as (parklife) /…/ Know what I mean I get up when I want except on Wednesdays when I get rudely awakened by the dustmen (Parklife) I put my trousers on, have a cup of tea and I think about leaving the house (parklife) I feed the pigeons I sometimes feed the sparrows too it gives me a sense of enormous well Being (parklife) And then I'm happy for the rest of the day safe in the knowledge there will always be a bit Of my heart devoted to it (parklife) Parklife (parklife) Parklife (parklife) It's got nothing to do with vorsprung durch technic you know And it's not about you joggers who go round and round and round Parklife (parklife)

Таблица 10

Характерные фонетические черты Cockney в речи Фила Дэниелса в песне Parklife

В речи Фила Дэниелса чаще всего встречается использование глотальной смычки на конце слова. Часто используется замена межзубного фрикативного [θ] на губно-зубной фрикативный [f] и элизия начальной фонемы [h].

Далее мы прокомментируем некоторые фразы, звучащие в речи главной героини пьесы Бернарда Шоу «Пигмалион» (1913 г.) Элизы Дулиттл. В пьесе «Пигмалион» показаны речевые особенности рабочего класса. Возможно, Б. Шоу впервые показал в художественной литературе, как язык влияет на сознание человека, определяет его социальное положение в глазах окружающих людей. Перейдем непосредственно к анализу речи Элизы Дулиттл.

1. Ow, eez ye-ooa san, is e? (Oh, he is your son, is he?)

В данном предложении мы сталкиваемся с элизией звука [h] – типичной чертой диалекта Cockney.

2. Eed now bettern to spawl a pore gel's flahrzn than ran awy athaht pyin. Will ye-oo py me f'them (He’d know better than to spoil a poor girl’s flowers then run away without paying. Will you pay me for them?)

В данном случае дифтонг [eɪ] переходит в дифтонг [æɪ] в away и pay (awy, py). Дифтонг [oɪ] в spoil напоминает [aʊ] (spawl).

С грамматической точки зрения для речи Элизы Дулиттл характерно:

1. Использование формы ain’t вместо haven’t и isn’t и прочих форм глагола to be: That ain’t proper writin’. … It ain’t decent. … I ain’t got sixty pounds!

2. Опущение служебного глагола have в предложениях со временем Present Perfect: I always been a good girl.

3. Употребление формы is с существительными во множественном числе: Now I know why ladies is so clean.

Проанализируем также грамматические особенности диалекта Cockney на примере некоторых фраз Джерри Кранчера, героя произведения Ч. Диккенса «Повесть о двух городах».

1. Использование формы ain’t вместо haven’t и isn’t: ‘Bust me, if she ain’t at it agin!’… ‘What!’ said Mr. Cruncher, looking out of bed for a boot. ‘You’re at it agin, are you?’- в данном предложении мы также можем заметить неправильное составление разделительного вопроса, что, не являясь характерной чертой Cockney, служит для создания образа необразованного человека.

2. Употребление формы is с существительными во множественном числе:

… my lines is strained to that degree that I shouldn’t know,..

His fingers is al-ways rusty!’

4. Использование двойного отрицания:

‘I mean,’ said Mr. Cruncher, ‘that he warn’t never in it.

Выводы

Проведенный анализ речи носителей Cockney и Estuary English выявил фонетические, грамматические и лексические особенности данных диалектов.

На основании рассмотренного материала приходим к заключению, что носители ЕЕ чаще всего используют в своей речи такие характерные черты, как:

• выпадение звука [t] в середине и на конце слова или глотальная смычка;

• вокализованная буква «l», звучащая как [ʊ] ( miuk вместо milk);

• факультативная замена межзубных фрикативных [θ] и [ð] на губно-зубные фрикативные [f] и [v].

Такие особенности, как вставка соединяющего [] в конце слова, заканчивающегося на гласный звук, после которого идет слово, начинающееся на гласный звук или замена звуков [dj] и [tj] на аффрикаты [ʤ] и [ʧ]  встречаются несколько реже.

Носители диалекта Cockney, в свою очередь, чаще всего используют такие особенности диалекта, как:

• элизия начальной фонемы [h], например hair [ɛə];

• выпадение согласного звука на конце слова или глотальная смычка;

• фронтальная артикуляция межзубных фонем: глухой и звонкий межзубные фрикативные [θ] и [ð] заменяются на губно-зубные фрикативные [f] и [v];

• замещение дифтонга [eɪ] на [aɪ];

• исчезновение назального заднеязычного [ŋ] в окончании ing;

• Вокализованная буква «l», звучащая как [ʊ];

• конечный [ə] произносится как [a].

В проанализированных нами видеоматериалах и отрывках из художественных произведений были обнаружены также грамматические черты диалекта Cockney: двойное отрицание, употребление формы is с существительными во множественном числе, а также использование формы ain’t вместо haven’t и isn’t.

В результате приходим к выводу, что носители Cockney и Estuary English зачастую используют в своей речи черты, характерные для обоих диалектов, однако произношение носителей Estuary English ближе к RP, поскольку предусматривает меньшее количество отклонений от него, чем произношение носителей Cockney. Таким образом, это доказывает, что Estuary English как классовый диалект стоит на ступень выше Cockney.