by Ariana Hoshino and Maggie Zoz
Language + Diversity = ?
Linguistic diversity can be a pretty abstract concept. In this blog post, we explore how linguistic diversity presents itself through the creation of artistic media and the situational use of different languages. We found that language use in both contexts is dependent on both the intent of the speaker and the target community. Speakers observe the context of their surroundings and language community when determining how to achieve understanding. We conducted two field surveys sampling members of the Swarthmore College community: Project A, where multilingual individuals were asked about their experiences codeswitching, and Project B, where artists were asked about how they utilize language in their literary art. Projects A and B explore ways that linguistic diversity manifests based on speaker’s perception of the language use in their environment.
英文怎么Write 这个Phrase? (How do you write this phrase in English?)
In Project A, twelve individuals whose native languages were not English were asked these questions:
We asked these questions to see how linguistic diversity presents itself in multilingual speakers’ daily lives. Seven respondents described context-based methods of codeswitching; Jimmy uses his native language, Gujarati, when working out physics problems given in English, while Andrea code switches to understand abstract concepts that ‘makes more sense’ in her other language.
Being part of multiple speech communities has both personal and interpersonal challenges. For example, communicative competence: a measure for how effective someone is when communicating with others. [1] Trying to be communicatively effective in different language ‘landscapes’ is difficult. As many participants described, sometimes wires get crossed or meaning is misconstrued. 10 out of 12 participants described feelings of disconnect to one speech community after being immersed in another. This personal, internal attachment to language offers another strong point for linguistic diversity as it relates to multilingualism. For example, we can think about how multilingual individuals define ‘bilingualism’ as opposed to how the communities they are a part of define it. [2]
- [When] Do you ever find yourself ‘codeswitching’ (switching between languages)?
- What challenges do you face being part of multiple speech communities?
We asked these questions to see how linguistic diversity presents itself in multilingual speakers’ daily lives. Seven respondents described context-based methods of codeswitching; Jimmy uses his native language, Gujarati, when working out physics problems given in English, while Andrea code switches to understand abstract concepts that ‘makes more sense’ in her other language.
Being part of multiple speech communities has both personal and interpersonal challenges. For example, communicative competence: a measure for how effective someone is when communicating with others. [1] Trying to be communicatively effective in different language ‘landscapes’ is difficult. As many participants described, sometimes wires get crossed or meaning is misconstrued. 10 out of 12 participants described feelings of disconnect to one speech community after being immersed in another. This personal, internal attachment to language offers another strong point for linguistic diversity as it relates to multilingualism. For example, we can think about how multilingual individuals define ‘bilingualism’ as opposed to how the communities they are a part of define it. [2]
Artist Speak.
In project B, we explore how literary artists like songwriters, poets, and fiction writers express themselves: the translation of intimate ideas outwards through language. Anyone who’s written something personal knows that it can be hard to share with others. You might be misunderstood by your audience and risk not making the point you wanted to make. That’s why these artists pay close attention to what words they’re using when they write and the audience they’re writing for.
We asked ten artists about ways they alter language to better express themes important to them, and another set of questions about their use of grammar. Prescriptive rules of grammar are those which are accepted as the “correct” or “formal” way to write. Think “strict middle school English teacher” mentality. In contrast, descriptive rules are based on actual use of language, and are constantly changing from generation to generation. Because the language use of artists is as varied as the artists themselves, it was difficult to find a common thread. However, we found that it was always tailored towards their respective audiences. The ways these artists went about shifting their language use is where the linguistic diversity comes in.
Harsha is a rapper who seriously considers his audience when writing. He raps about what it’s like being raised in Calcutta and now living in the United States. He raps in Bengali and English, sometimes using both, but he doesn’t do this solely to establish a unique voice–his intentions behind which language to use are clear:
In Varol Akman’s Rethinking Context as a Social Construct, it’s stated that “sociocultural context of utterances has been regarded as crucial to meaning (and action).” [3] Harsha uses sociocultural context to inform him of the best language to rap in at the moment. His use of codeswitching is motivated by his audience and how they understand the world around them.
Instead of using different languages to express ideas, some artists play with the spectrum of language formality. Scott is a musician who has been in the music and film industries for over 30 years. He believes that divergence from prescriptive rules helps him better communicate with his audience:
Scott “generally [tends] to conceptualize around current social issues.” He has found that expressing these themes, which may get complicated, is best done through accessible language. He tailors the formality or informality of his ideas to his audience. The reality is “descriptive rules allow for different varieties of a language” like slang, which gives artists like Scott more freedom to be authentic. [4]
We asked ten artists about ways they alter language to better express themes important to them, and another set of questions about their use of grammar. Prescriptive rules of grammar are those which are accepted as the “correct” or “formal” way to write. Think “strict middle school English teacher” mentality. In contrast, descriptive rules are based on actual use of language, and are constantly changing from generation to generation. Because the language use of artists is as varied as the artists themselves, it was difficult to find a common thread. However, we found that it was always tailored towards their respective audiences. The ways these artists went about shifting their language use is where the linguistic diversity comes in.
Harsha is a rapper who seriously considers his audience when writing. He raps about what it’s like being raised in Calcutta and now living in the United States. He raps in Bengali and English, sometimes using both, but he doesn’t do this solely to establish a unique voice–his intentions behind which language to use are clear:
- “...I have family back home like aunts and uncles that don't listen to rap but they like this piece–it’s a piece in Bengali about what it's like being in the US. A lot of my family is bilingual so...it means something profoundly different when you’re rapping that in English versus when you’re rapping in Bengali...In Bengali, it's from an insider's perspective.”
In Varol Akman’s Rethinking Context as a Social Construct, it’s stated that “sociocultural context of utterances has been regarded as crucial to meaning (and action).” [3] Harsha uses sociocultural context to inform him of the best language to rap in at the moment. His use of codeswitching is motivated by his audience and how they understand the world around them.
Instead of using different languages to express ideas, some artists play with the spectrum of language formality. Scott is a musician who has been in the music and film industries for over 30 years. He believes that divergence from prescriptive rules helps him better communicate with his audience:
- “I diverge because I generally write on an accessible linguistic level...I think it’s a much better form of communicating emotion, except that it makes it a bit ‘of its time.’ So while I think I can reach more people with descriptive phrases, I feel like that's only going to be true for that generation. One goal of my work is to try to cross the generational line and use descriptive language that has survived.”
Scott “generally [tends] to conceptualize around current social issues.” He has found that expressing these themes, which may get complicated, is best done through accessible language. He tailors the formality or informality of his ideas to his audience. The reality is “descriptive rules allow for different varieties of a language” like slang, which gives artists like Scott more freedom to be authentic. [4]
Why Do We Care? Why Does Linguistic Diversity Matter?
Our campus survey projects explored examples of a fundamental understanding in linguistics: context as a main player in the game of language use. The way we think, interact, and express ideas are all based in context. Some students better understand advanced concepts in the contexts of their own languages, and some literary artists use language based on the context in which it is received. Diversity is the most pronounced within the context of itself–-diversity is only recognized when diversity is present. And, if all people are diverse in their own ways, then diversity is a part of the human experience. This is why linguistic diversity is important: it helps us identify our unique place in the world, whether it is through art, or the multilingual experience.
References.
[1] Lindemann, S. (2002). Listening with an Attitude: A Model of Native-Speaker Comprehension of Non-Native Speakers in the United States. Language in Society, 31(3), 419-441.
[2] Myers-Scotton, C. (2013). Multiple voices: An introduction to bilingualism. Malden, Mass. : Blackwell.
[3] Akman, V. (2000). Rethinking context as a social construct. Journal of Pragmatics, 32, 743-759.
[4]Mihaliäek, Vedrana, and Christin Wilson. Language Files: Materials for an Introduction to Language and Linguistics. Ohio State University Press, 2011.
[2] Myers-Scotton, C. (2013). Multiple voices: An introduction to bilingualism. Malden, Mass. : Blackwell.
[3] Akman, V. (2000). Rethinking context as a social construct. Journal of Pragmatics, 32, 743-759.
[4]Mihaliäek, Vedrana, and Christin Wilson. Language Files: Materials for an Introduction to Language and Linguistics. Ohio State University Press, 2011.
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