Systems for the Phonetic Transcription of English : Theory and Texts 9783034300599, 303430059X

Table of contents :
Machine generated contents note: I. Phonetic transcription systems --
1. Phonetic transcription: A brief overview --
2. The International Phonetic Alphabet (IPA) --
2.1. Basic principles --
2.2. Classifying criteria --
2.3. The Cardinal Vowels --
2.4. Vowel representation --
2.5. The representation of consonants --
2.6. The representation of suprasegmentals --
3. Sound representation in the USA --
4. Phonetic and phonemic transcriptions. Their typology --
4.1. Types of transcriptions --
4.2. Transcriptional criteria --
4.3. The representation of written texts --
II. From theory to practice --
5. The phonemic transcription of English consonants --
5.1. Plosive sounds. Their orthographic representations --
5.2. Fricatives (linguo-dentals, labio-dentals and the glottal fricative) --
5.3. Fricatives (palato-alveolars) and affricates --
5.4. Liquids, nasals and approximants --
5.5. Consonant assimilation --
5.5.1. Specific behaviour of some consonantal categories --
5.5.2. Individual consonants. Note continued: 6. Transcribing English vowels --
6.1. General remarks --
6.2. Strong and weak forms --
6.2.1. To be, to have and to do --
6.2.2. Modal verbs --
6.2.3. Pronominal and adjectival forms --
6.2.4. Articles and nouns --
6.2.5. Prepositions --
6.2.6. Conjunctions and adverbs --
III. Corpus of oral texts --
IV. Transcription systems for English --
7.1. Quantitative models --
7.1.1. EPD System (D. Jones, 1917-1977) --
7.1.1.1. Phonetic texts (EPD) --
7.1.2. Further samples of quantitative transcriptions --
7.1.2.1. Simplified --
7.1.2.2. Simplified (MacCarthy, 1944, 1965) --
7.1.2.3. The Bloch & Trager's/Trager & Smith's system --
7.2. Qualitative models --
7.2.1. The Edinburgh System (Abercrombie, 1964
Ladefoged, 1975) --
7.2.1.1. Phonetic texts (Edinburgh system) --
7.2.2. Windsor Lewis' system (1977) --
7.2.2.1. Phonetic texts (Windsor Lewis' system) --
7.2.3. Other samples of qualitative transcriptions --
7.2.3.1. Wells & G. Colson (1971) --
7.3. Mixed systems. Note continued: 7.3.1. EPD-14 system --
7.3.1.1. Phonetic texts (EPD-14) --
7.3.2. LPD-3 (Wells) /EPD-17 (Roach, Hartman and Setter) --
7.3.2.1. Phonetic texts (LPD/EPD) --
7.3.3. OPD-1 (Upton et al.) --
7.3.3.1. Phonetic texts (OPD) --
7.3.4. Further mixed systems --
7.3.4.1.D. Jones's allophonic-quantitative --
7.3.4.2. Palmer & Blandford model --
7.3.4.3. Narrow IPA (Armstrong & Ward, 1923) --
7.3.4.4. Ripman's model --
7.4.A model for the web: SAMPA --
7.4.1. SAMPA texts.

Citation preview

www.peterlang.com

li106

Studies in Language and Communication

•

Rafael Monroy-Casas

Systems for the Phonetic Transcription of English: Theory Texts Issuesand for Speakers of English as an Additional Language

Peter Lang

Rafael Monroy-Casas obtained his first degree in English and French Philology (Valencia University, 1971). In 1973, sponsored by a UNESCO grant, he moved to the Department of Linguistics at Reading University (UK), where he spent three years and took an MA in Linguistics. In 1978 he was appointed to a Lectureship in English Language and Literature in Murcia, setting up the Department of English Studies. In 1982, he was appointed Professor of English Philology. He is currently teaching at Murcia University.

106

Linguistic Insights

Phonetic Transcription of English

This book covers in a systematic way the main systems of phonetic transcription currently used for English. Unlike other texts on the market, which focus on just one type of transcriptional model, the book provides theoretical information and full practice for all systems. The material is divided into seven sections headed by a lengthy introduction to the history and development of the International Phonetic Alphabet. A set of eighteen samples from real contemporary colloquial English (British English), graded in terms of difficulty, follows. The accent chosen is the one known as RP or BBC English, with some minor concession to other regional varieties which do not stray dramatically from RP. Different models of representation are used under three main transcription systems: qualitative, quantitative and mixed. By using an identical set of texts in ordinary spelling for each system, the reader can constantly check different ways of transcribing a word or an utterance depending on the model used.

Rafael Monroy-Casas

li106

li

www.peterlang.com

li106

Studies in Language and Communication

•

Rafael Monroy-Casas

Systems for the Phonetic Transcription of English: Theory Texts Issuesand for Speakers of English as an Additional Language

Peter Lang

Rafael Monroy-Casas obtained his first degree in English and French Philology (Valencia University, 1971). In 1973, sponsored by a UNESCO grant, he moved to the Department of Linguistics at Reading University (UK), where he spent three years and took an MA in Linguistics. In 1978 he was appointed to a Lectureship in English Language and Literature in Murcia, setting up the Department of English Studies. In 1982, he was appointed Professor of English Philology. He is currently teaching at Murcia University.

106

Linguistic Insights

Phonetic Transcription of English

This book covers in a systematic way the main systems of phonetic transcription currently used for English. Unlike other texts on the market, which focus on just one type of transcriptional model, the book provides theoretical information and full practice for all systems. The material is divided into seven sections headed by a lengthy introduction to the history and development of the International Phonetic Alphabet. A set of eighteen samples from real contemporary colloquial English (British English), graded in terms of difficulty, follows. The accent chosen is the one known as RP or BBC English, with some minor concession to other regional varieties which do not stray dramatically from RP. Different models of representation are used under three main transcription systems: qualitative, quantitative and mixed. By using an identical set of texts in ordinary spelling for each system, the reader can constantly check different ways of transcribing a word or an utterance depending on the model used.

Rafael Monroy-Casas

li106

li

Systems for the Phonetic Transcription of English: Theory and Texts

Linguistic Insights Studies in Language and Communication Edited by Maurizio Gotti, University of Bergamo Volume 106

Advisory Board Vijay Bhatia (Hong Kong) Christopher Candlin (Sydney) David Crystal (Bangor) Konrad Ehlich (Berlin / München) Jan Engberg (Aarhus) Norman Fairclough (Lancaster) John Flowerdew (Leeds) Ken Hyland (Hong Kong) Roger Lass (Cape Town) Matti Rissanen (Helsinki) Françoise Salager-Meyer (Mérida, Venezuela) Srikant Sarangi (Cardiff) Susan Šarcevi´c (Rijeka) Lawrence Solan (New York) Peter M. Tiersma (Los Angeles) ^

PETER LANG Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Oxford • Wien

Rafael Monroy-Casas Inmaculada Arboleda (collaborator)

Systems for the Phonetic Transcription of English: Theory and Texts

Norms and Practices in Genre

PETER LANG Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Oxford • Wien

Bibliographic information published by die Deutsche Nationalbibliothek Die Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data is available on the Internet at ‹http://dnb.d-nb.de›. British Library and Library of Congress Cataloguing-in-Publication Data: A catalogue record for this book is available from The British Library, Great Britain. Library of Congress Cataloging-in-Publication Data Systems for the phonetic transcription of English : theory and texts / Rafael Monroy-Casas, Inmaculada Arboleda (collaborator). p. cm. – (Linguistic insights: studies in language and communication; v. 106) Includes bibliographical references and index. ISBN 978-3-0343-0059-9 1. English language–Phonetic transcriptions. 2. English language–Transcription. I. Monroy Casas, Rafael. PE1135.S97 2011 421‘.58–dc23 2011019645

Published with a grant from Università degli Studi di Bergamo (Italy): Dipartimento di Lingue, Letterature e Culture Comparate.

ISSN 1424-8689 E-ISBN 978-3-0351-0258-1 ISBN 978-3-0343-0059-9US-ISBN 0-8204-8382-6 © Peter Lang AG, International Academic Publishers, Bern 2011 Hochfeldstrasse 32, CH-3012 Bern, Switzerland [email protected], www.peterlang.com, www.peterlang.net All rights reserved. All parts of this publication are protected by copyright. Any utilisation outside the strict limits of the copyright law, without the permission of the publisher, is forbidden and liable to prosecution. This applies in particular to reproductions, translations, microfilming, and storage and processing in electronic retrieval systems. Printed in Germany

Contents

Prologue ............................................................................................ 9

I. Phonetic transcription systems ...................................................13 1. Phonetic transcription: A brief overview ..................................15 2. The 2.1 2.2 2.3 2.4 2.5 2.6

International Phonetic Alphabet (IPA) ..............................17 Basic principles .................................................................18 Classifying criteria ............................................................20 The Cardinal Vowels .........................................................21 Vowel representation .........................................................25 The representation of consonants ......................................27 The representation of suprasegmentals .............................28

3. Sound representation in the USA .............................................31 4. Phonetic and phonemic transcriptions. Their typology ............35 4.1 Types of transcriptions ......................................................36 4.2 Transcriptional criteria ......................................................38 4.3 The representation of written texts ....................................40

II. From theory to practice ............................................................43 5. The phonemic transcription of English consonants .................45 5.1 Plosive sounds. Their orthographic representations .........45 5.2 Fricatives (linguo-dentals, labio-dentals and the glottal fricative) ....................................................46 5.3 Fricatives (palato-alveolars) and affricates .......................48 5.4 Liquids, nasals and approximants .....................................49

5.5 Consonant assimilation .....................................................51 5.5.1 Specific behaviour of some consonantal categories ............................................51 5.5.2 Individual consonants .............................................52 6. Transcribing English vowels ....................................................53 6.1 General remarks.................................................................53 6.2 Strong and weak forms ......................................................54 6.2.1 To be, to have and to do ..........................................54 6.2.2 Modal verbs ............................................................56 6.2.3 Pronominal and adjectival forms ............................57 6.2.4 Articles and nouns...................................................58 6.2.5 Prepositions .............................................................59 6.2.6 Conjunctions and adverbs .......................................59

III. Corpus of oral texts ..................................................................61

IV. Transcription systems for English ............................................81

7.1 Quantitative models ................................................................83 7.1.1 EPD System (D. Jones, 1917–1977) ............................83 7.1.1.1 Phonetic texts (EPD) ........................................88 7.1.2 Further samples of quantitative transcriptions ...........106 7.1.2.1 Simplified .......................................................106 7.1.2.2 Simplified (MacCarthy, 1944, 1965) ............. 119 7.1.2.3 The Bloch & Trager’s / Trager & Smith’s system ................................ 111 7.2 Qualitative models ................................................................ 113 7.2.1 The Edinburgh System (Abercrombie, 1964; Ladefoged, 1975) ........................................................ 114 7.2.1.1 Phonetic texts (Edinburgh system) ................ 119 7.2.2 Windsor Lewis’ system (1977) ...................................137

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7.2.2.1 Phonetic texts (Windsor Lewis’ system) ...............................141 7.2.3 Other samples of qualitative transcriptions .................159 7.2.3.1 Wells & G. Colson (1971)..............................159 7.3 Mixed systems ..................................................................161 7.3.1 EPD-14 system ...........................................................162 7.3.1.1 Phonetic texts (EPD-14) ................................167 7.3.2 LPD-3 (Wells) /EPD-17 (Roach, Hartman and Setter) ...................................................................185 7.3.2.1 Phonetic texts (LPD/EPD) .............................191 7.3.3 OPD-1 (Upton et al.) ..................................................222 7.3.3.1 Phonetic texts (OPD) .....................................226 7.3.4 Further mixed systems................................................244 7.3.4.1 D. Jones’s allophonic-quantitative .................244 7.3.4.2 Palmer & Blandford model ............................245 7.3.4.3 Narrow IPA (Armstrong & Ward, 1923)........247 7.3.4.4 Ripman’s model .............................................250 7.4 A model for the web: SAMPA ..............................................253 7.4.1 SAMPA texts ..............................................................255 Appendix: The Chaos ...................................................................265 Bibliography .................................................................................269 Index .............................................................................................277

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8

Prologue

It is well-known that phonology is a traditionally problematic area in the acquisition of the English language. The imbalance between spelling and pronunciation is so striking to many foreign learners of English that it is a constant source of problems for them; even to native speakers one would be tempted to say, but while the latter have a constant resource to linguistic uses that society continuously creates and sanctions, serving as a permanent guideline to the individual, non-native speakers have to rely basically on textual, written information. The exposure to spoken language is much more fragmentary than in the case of native speakers, something which is aggravated by the existing gap between written and spoken English. In order to circumvent such imbalance observed in English, and in varying degrees in other languages, the International Phonetic Association devised at the beginning of the 20th century a system of symbols known as the International Phonetic Alphabet (IPA). This system tried to bridge the gap between the oral and the written modes occurring in many languages by representing pronunciation fairly accurately in writing. In this book we deal with the main models of phonetic/phonemic representation for English. To our knowledge, it is the only publication that covers most of the transcriptional practices found in English (mainly British), and, as such, is a valid document of the evolution of transcription systems since the early 20th Century. What prompted us to write this book was the fact that, although there are textbooks dealing with the transcriptional task, all of them focus on just one system of representation, making no concession to other ways of transcribing sounds. As a result, students of English are led to believe that there is a single or right way of handling the sounds of English, thus reflecting a theoretical stance not always made explicitly to them, and also that other systems are incorrect. Our book, on the contrary, presents a whole array of transcriptional practices, providing answers to apparently different ways of representing sounds

9

with English. With this knowledge, students and foreign language teachers alike will be in a position to choose the model that better suits their educational needs, for although all transcription systems try to capture the main segmental characteristics in the most objective way, the complex reality, coupled with the specific circumstances, makes some models more appropriate than others. Besides this ample coverage, the book captures the latest developments in phonetic transcriptions which are not reflected in any textbook available now in the market, such as the representation of sounds in Wells’s dictionary (LPD, Longman), Roach et al. (EPD, Cambridge), Upton et al.’s system (OPD, Oxford), SAMPA, and so on. We consider therefore that a book like this is badly needed to fill a gap in the existing literature. In order to train learners of English as a foreign language – to whom this book is mainly addressed – to transcribe real texts, each transcriptional model is followed by a number of practical exercises following the conventions of the model. Unlike other books on the market, the excerpts used for transcription are oral samples taken randomly from radio and TV broadcasts, reflecting mostly that variety of English known as Standard Southern British (RP and its close variants. Transcription is based therefore on real speech, thus avoiding the danger of representing an idealised norm – a handicap of all transcription based on written texts. The pedagogical vein can be appreciated in the progressive presentation of the material (from simplified systems of representation to the more complex ones), as well as in the arrangement of the excerpts (from easier samples to more difficult ones). Also – and this is a key differentiating feature as regards other similar textbooks – the set of oral samples used are all transcribed in all the main transcription systems, thus allowing for a quick comparison between them to better appreciate their main differing characteristics. At the theoretical level, the book reflects the latest policy adopted by the International Phonetic Association (1999). Let me finish by thanking various colleagues from my Department who have helped us one way or another. Special mention is deserved for the commentaries made by professor Francisco Gutiérrez, an enthusiastic collaborator and fine observer of otherwise unnoticed 10

generalizations made by the authors. My thanks also are to J. Antonio Cutillas for his unselfish collaboration in the transcription of various excerpts. Special thanks go to both J. Windsor Lewis and Clive Upton for their generous help with the phonetic texts representing their own systems; also I would like to acknowledge Jane Setter’s enthusiasm and constant encouragement and invaluable help, and my deep thanks to Richard Stibbard for his suggestions and comments on the final draft. Needless to say, the author is solely responsible for all unnoticed errors. Murcia, 30 March 2011

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I. Phonetic transcription systems

14

1. Phonetic transcription: A brief overview

When in 1888 the Association Phonétique Internationale (API) decided to unify the notational systems in use to represent the oral mode of languages, a long process culminated that goes back to the very moment a disjunction between spelling and pronunciation began to materialise. This mismatch, already present in the Greek as well as the Latin language, was more evident during the Renaissance when the consolidation of various European languages occurred. In the case of France and England, several attempts at reforming their spelling deficiencies (speech was not susceptible of reform) took place, attempts that crystallized during the 19th century in parallel with the great development that took place in disciplines such as phonetics, physiology and acoustical experimentation. It is during this century that Pitman and Ellis tried their hands at creating a universal alphabet to replace ordinary alphabets. They had a triple objective in their minds. In the first place, they intended to drastically reduce the processes of learning how to read; also they aimed to facilitate the acquisition of the English language by foreigners; and thirdly, they attempted to devise a valid system for the teaching of the mother tongue to the deaf and dumb. No doubt the most long-lasting fruits of the work of both authors have been Pitman’s invention of a short-hand system still in operation, the creation of an alphabet – The Phonotype (1876), – and the publication of phonetic readers for children to use at school. Soon Ellis devised The Glossic, an alphabet meant for the teaching of foreign languages, and The Palaeotype, whose purpose was to catch different phonetic details both in philological as well as dialectological tasks. Still in the 19th century, several notational systems arose in Europe which enjoyed great prestige. Amongst them, Lepsius’ Standard Alphabet was one of the most commonly used by the missionaries at the time of codifying African and Amerindian languages. Like the IPA, with which it was in close competition, this alphabet was based

15

on the Latin alphabet, completed with other letters and diacritical marks; like the IPA, it lays emphasis on the phonemic principle of using one symbol per phoneme. Another important contribution to the development of phonetic alphabets was that of Alexander Melville Bell, father of the inventor of the telephone. Bell wrote Visible Speech, the Science of Universal Alphabetics in 1867 with the idea of teaching the pronunciation of English to native as well as to foreigners, without forgetting speech training for the dumb. He transmitted his interest for the dumb to his son Graham Bell who would set up the American Association to Promote the Teaching of Speech to the Deaf. In spite of not being written in Roman notation (i. e. the Latin alphabet), the book exerted a deep influence in the British phonetician H. Sweet who made use of it in the creation of his Romic Alphabet, the source of the IPA. In Europe, the Dane Jespersen devised two types of notation in an attempt to bridge the gap between phonetics and phonology: a system of representation he called ‘analphabetic vs. alphabetic notation’. The former, similar in a way to chemical formulations, was conceived of as a complement to the latter, but the complexity of the symbols used and the degree of physiological detail it tries to capture have made it a cumbersome tool, branded by some phoneticians (e. g. Abercrombie, 1967) as a ‘mere curiosity’. Henry Sweet continued the alphabetic trend devising two further systems of representation: he first created an Organic Alphabet (1906) using iconic notation, which would be soon criticized for its lack of legibility. He also developed broad and narrow versions of the Romic, which enjoyed much greater acceptance, the broad variant being the basis on which the first version of the International Phonetics Alphabet was modelled in 1888. This alphabet hinged on two principles of transcription that have been in force since then: a) the respect of the original values of the Latin symbols, and b) the use of a broad type of phonetic representation whenever possible (principle of one symbol per phoneme). Very much concerned with the difficulties the English alphabet presented to native speakers, he also designed a short-hand alphabet to obviate the difficulties traditional alphabets created in the fields of reading and writing.

16

2. The International Phonetic Alphabet (IPA)1

At the end of the 19th century several French teachers, headed by the phonetician Paul Passy, decided to create a notational system capable of solving the difficulties the English sounds presented to their students. This first attempt at improving the teaching of a language, was soon echoed by other European phoneticians like H. Sweet, O. Jespersen, A. M. Bell, Max Mühler, J. L. Lunden, A. H. Sayce and E. Sievers. Distrustful of the utility of instrumental phonetics such as Rousselot or Merkel practiced (“there is nothing like a good ear”, in Passy’s words), these phoneticians pleaded for a notation whose immediate goal was the learning of the pronunciation of a foreign language as accurately as possible. The primacy of the spoken language, axis of the Reformist Movement, was in vogue in Europe and, for an effective learning to take place, it was considered essential to count on both an appropriate phonetic training and texts written with a type of notation much more accurate than the traditional orthographic support, considered old fashioned and typical of dead languages. It is not surprising, therefore, that this Association was bound to the Association for the Orthographic Reform of French from its inception, and that its members were invited to merge with it (1891). The rejection of this offer was not so much due to the lack of desire on the part of the invited members to express their support of orthographic reforms as to a much more realistic policy of declining giving official support to the inviting association in such a ‘thorny’ and controversial subject. In 1886 The Association of Phonetic Teachers came into being in Paris, becoming The Association Phonétique des Professeurs de Langues Vivantes three years later. French was the official language of the Association with Passy appointed as its first

1

For a full account of the beginnings of the IPA, see MacMahon (1986). See further bibliographical references on the IPA webpage: .

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Secretary. In 1897 the Association became more international changing its name to Association Phonétique Internationale. This change was followed a long time later by a shift of language and nation; so in 1969 it became the International Phonetic Association (IPA), the Secretary being transferred to the Department of Phonetics of University College London. J. C. Wells was the publisher of the Journal of the International Phonetic Association until 1986 (initially entitled Le Maître Phonétique, 1886). The Secretary of the Association has moved subsequently to the Department of Linguistics and Phonetics of the University of Leeds, the University of Victoria (Canada), Trinity College Dublin, etc. After a first period of notational uncertainty, as reflected in the official organ of the Association Le Maître Phonétique, it was decided to adopt a uniform international alphabet. Thus, on the basis of Pitman’s alphabet (1876) and of Sweet’s Broad Romic, the first revised alphabet of the Association was born. The alphabet was further revised in 1914, 1947, 1993, 1996, 2003, and, finally, 2005.

2.1 Basic principles Along with the adoption of an international notation, the IPA made public in 1888 the theoretical assumptions underpinning such notation. But since not all principles have retained their validity, we shall focus on those kept in the latest IPA publication: the Handbook of the International Phonetic Association. A Guide to the Use of the International Phonetic Association (1999). The first principle, considered the ‘golden rule’ by Passy right from the dawn of the association, known later on as the ‘Phonemic Principle’, establishes that ‘a separate sign for each distinctive sound’ should be used. Not that there should be a symbol for each sound, as occasionally has been interpreted, but that each symbol should represent a sound with a distinctive load in a given linguistic system. This phonemic orientation in no way implies that all symbols should have a phonemic value: there may be instances where a given symbol stands 18

for an allophonic variant in a language ([N] in Spanish) or represent a phoneme in another (/N/ in English or German for instance). For this reason, those sounds that are similar, or bound to a context, and are not distinctive in a system, are to be represented with an identical symbol (thus, Spanish /n / can be used to represent the nasal value appearing in the words nada, anda, once, ancho, anca, etc.). The IPA, then, not only serves to make a phonemic representation of a language; it also provides symbols to catch more detailed phonetic shades in a system. Both aspects are taken into account in the new reformulation of the first principle where we read that the IPA is used for putting on record (‘shaping’ was the word previously used) the phonetic or phonological structure of languages, providing learners of foreign languages with phonetic transcriptions to assist them in acquiring the pronunciation, and working out Roman orthographies for languages written in other systems or for languages previously unwritten (1999: 159).

The second principle expands this idea further by stating that the IPA is a set of symbols devised for ‘representing all the possible sounds of the world’s languages’ (1999: 159) by means of a series of phonetic categories that describe how each sound is produced. A third principle, also taken as basic from the beginning, establishes the use of ordinary letters of the Latin alphabet: “The IPA is based on the Roman alphabet” we read right from the beginning of the Handbook; and later on, “Ordinary roman letters should be used as far as is practicable” (1999: 159). But since this alphabet is rather simple as to vowel symbols, it has been necessary to devise new values. In the new IPA Handbook it is explicitly recognized that “recourse must be had to other symbols when the Roman alphabet is inadequate” (point 4.a). The inclusion of symbols from other alphabets (Greek or Cyrillic) has taken place trying to harmonize those symbols as far as possible with the Latin forms. Such inclusion has been, nonetheless, a minor one, except in the case of the vowels – due to their great mismatch between spelling and pronunciation – but even here the Association has favoured the use of diacritical marks instead of adding exotic letters. This new policy clashes, however, with another principle, also formulated in 1888, which recommended avoiding the use of diacritical marks as far as possible. Diacritical 19

marks to alter the value of a symbol have proliferated lately due, mainly, to the incorporation of tone languages and other systems whose phonological structure does not comply with the more or less general pattern of the European languages. In fact, it is acknowledged in the IPA Handbook that “it is not possible to dispense entirely with diacritics” (1999: 160); that they should be used whenever they obviate “the necessity for designing…new symbols” (point 4.c)2. A further principle, not as crucial as the previous ones, but of undeniable importance, is that of phonographetic conformity or adjustment between the transcription and the linguistic system to which it is applied. Indeed, it is not just a question of simply assigning a certain sound to a new symbol, but rather that each symbol will evoke the phonetic value it represents as fully as possible.

2.2 Classifying criteria The IPA chart captures a notational typology which is the result of a number of different criteria. Consonants, in general, are represented on a physiological basis where point and manner of articulation are critical, but degree of sonority is also taken into account – acoustic or physiological criterion, depending on the viewpoint adopted. Vowels have usually been classified following physiological criteria (degree of highness, advanced or retracted position of the tongue, and position of the lips). Nevertheless, in the system of ‘Cardinal Vowels’ devised by Jones and adopted by the IPA, the prevailing criterion has been the auditory one, once the two authentically cardinal vowels

2

20

The new format that the organ of the Association (Journal of the International Phonetic Association) presents from volume 17, number 1 (July, 1987) reflects a determined policy of P. Ladedoged, President of the association at the time, to review all the phonetic symbols of the IPA chart. See in this sense Ladefoged/Roach (1986), Baurley (1987), Canaperi (1987), and mainly, vol. 25/1 of JIPA (1995) monographically dedicated to present a draft of the new handbook of the International Phonetic Association.

[i] (number 1) and [A] (number 5) were established. Besides these two values, the IPA has considered a (the highest point of the tongue at the front of the mouth with the mouth as open as possible) and u (raised tongue and as close as possible to the back of the mouth) as ‘fixed references’ too (1999: 11).

2.3 The Cardinal Vowels In 1917, Jones in his Outline of English Phonetics, while pondering over the necessity to teach the phonetics of English in a practical way, realised that vowels could not be treated in the same way as consonants. Unlike the latter, characterised by a clear position of the articulators and a specific type of contact in their production, vowels defied any attempt at being described in terms of point and manner of articulation, the learner being left at the mercy of simple imitation of the target sounds. As the lesser of two evils, the teacher might resort to a comparison of the sounds occurring in the learners’ mother tongue with those they intended to learn. The procedure was “very ambiguous” according to Jones, for individual differences and the idea each individual has of a certain phoneme may restrain rather than facilitate learning. Thus, he contrived a vocalic scheme useful not just as an instrument to map out the difficulties that might arise in a learning situation but also as a reference descriptive device. There is only one way of making written descriptions of vowels intelligible to a large circle of readers from different nationalities: to describe the sounds with reference to a scale of ‘Cardinal Vowels’, i. e. a set of fixed vowel sounds having known acoustic qualities and known tip and lip positions (Jones 1917: 28)

Starting from the two extreme positions the tongue can adopt producing neither palatal friction in the highest and more fronted part of the oral cavity nor velo-pharyngeal friction in the lowest and more retracted part of the mouth, Jones established two fixed points of reference. Between these two extremes, corresponding to Cardinal Vowels 1 (i) and 5 (A), he placed other six auditorily equidistant 21

sounds: e, E, a (Cardinal Vowels 2, 3 and 4 respectively) in order to capture the gradual lowering of the dorsum of the tongue, and ç, o, u (Cardinal Vowels 6, 7 and 8 respectively) to show the gradual rise of the lingual post-dorsum. He called these eight values3 Primary Cardinal4 Vowels, setting up another set which he named Secondary Cardinal Vowels. These share identical tongue position than the first, but differ in the lip posture: Primary rounded vowels are Secondary unrounded vowels and vice versa.

Figure 1. Oval diagram of the Primary CC. VV. (D. Jones, 1918: 36).

These vowels are characterised as follows: 1.

They constitute a theoretical and conventional system whose elements are arbitrarily selected, not belonging to any concrete language. A certain reluctance has been found in some sectors who believe these vowels – at least the primary set – resemble too closely the French vowel system. Ladefoged reports (1971: 67) that the Ngwe language, one of the several West African languages, has a vowel system that resembles the CC.VVs primary set.

ı

3 4

22

ı

In the new diagram of the CC.VV. five of the six vowel values suggested by both Abercrombie (1967) and Catford (1990) are included. The name of Cardinal Vowels is not original of Jones. According to Abercrombie (1967) it was T. Ellis (1884) who first devised a system of vowel reference points. Later (1887), A. Melville Bell made use of the word ‘cardinal’. It was D. Jones, however,who developed the current system in an eminently pedagogical context. D  ı

ı ı 6

ı

2.

3.

4.

5 6

They are vowels of invariable timbre, their values being exactly fixed (Catford, 1988). Here criticism has been more forceful. As Butcher indicated (1982), these values are not as objective as it is usually claimed; it is for this reason that a certain fluctuation in the imitation of these vowels exists even among phoneticians trained in their production, variation which is far away from precision at a perceptual level. They are auditorily (although not acoustically) equidistant. This is another aspect called into question by Butcher (1989) among others, who considers such statement untenable as there is not a universal perceptual space. They are not phonemes, but points of reference with specific areas of influence, as we shall see below. In reality, they are devices to represent vowel sounds and to transcribe languages, not something that the student must learn5. Although Jones understood that the learning of languages was facilitated with this system, and Abercrombie maintained very optimistically that an “infallible precision” was attained with the command of these vowels, it is undeniable that the time devoted to their learning can be more profitably spent learning the vocalic system of the target language without resorting to intermediate stages. Not to mention the fact that they can only be learned through somebody previously trained in the production of these vowels, that is to say, Jones or his disciples. Yet, as Ladefoged points out (1967: 136)6, anyone who is familiar with the cardinal vowel system will be able to map out fairly accurately the vocalic values of other linguistic systems (s)he is not familiar with.

Jones himself was aware of this when he wrote that “(foreign) learners have no need to concern themselves with cardinal categories…” (1972: 341). In particular, see the experiment described in Ladefoged (1967).

23

The International Phonetics Association accepted Jones’ cardinal values as ‘essential’, considering them of great use in the classification and comparison of sounds, in addition to the advantages that they offer in terms of graphetic representation. After all, one of the central aims of the Association is “the study of the science of phonetics and the various practical applications of that science”, as we read in the opening paragraph of the IPA Handbook, and “to favour a scientific and practical representation in those languages still not written or that have a defective written support”. Jones extended this Cardinal Principle also to consonants (1918: Ch. IX). Not to all, certainly, but to those where there is an imperceptible and gradual change. This applies to consonant values which share an identical point of articulation and are produced with the tongue and the palate, that is to say, variants of T sounds, plosives within the palato-pharyngeal range and fricatives between linguo-dental and velar sounds. However, Jones did not apply the Cardinal Principle to consonants in a systematic way as most of them can be described in articulatory terms with great accuracy. Besides, unlike the case of vowels, it is possible to resort to ‘key words’ in other languages to get a close idea of the consonantal value being involved. Perhaps for this reason the IPA did not deem it appropriate to speak of ‘Cardinal Consonants’. In the illustration of the consonantal symbols7 appearing in the previous edition of The Principles (1949) there is the expression ‘Cardinal Value’ to refer to [c] and to [ Ô] without further qualification. Earlier, the expression ‘cardinal sounds’ is used to refer to the Primary and the Secondary Cardinal vowel sets making no mention to consonants whatsoever. With regard to the procedure of resorting to key words to exemplify the different cardinal values, Jones’ first reaction was to consider it like ‘putting the cart before the horse’. Despite this, and thinking that there is not always a qualified teacher available nor a good voice recorder at hand he gave approximate equivalent sounds for each of the Primary Cardinals in English, French or German. Identi-

7

24

See The Principles of the International Phonetic Association (1949: 11).

cal policy is adhered to by the International Phonetic Association: they warn against the use of words to exemplify the Principles of the IPA, but this does not prevent them from exemplifying both the Primary and the Secondary vowels using words not just from the aforesaid languages, but also from Scottish, Vietnamese, Korean, Norwegian, Russian, Italian, Marati, Swedish and Portuguese.

2.4 Vowel representation It was pointed out above that one of the characteristics of the original Primary and the Secondary Cardinal Vowels was their peripheral character. This does not mean that they cannot have non-peripheral values, but it is obvious that the limits of the oral cavity offer greater stability than other inner positions. There have been suggestions (for example, Abercrombie, 1967) to include another set of six Secondary Cardinal Vowels inside the trapezium – a four-side polygon with two sides parallel, conventionally used in phonetics to represent vowels. Others, like Catford, (1988), speak of seven inner vowel sounds that, although not strictly cardinal, could be considered as such. In the latest IPA chart (1999: ix) eight new symbols have been added to cover the central area of the quadrilateral, but as Wells writes, “the middle of the IPA chart represents an excessive enthusiasm for a nonJonesian extension of the Cardinal Vowel scheme” (). The Figure below shows the current vowel chart where besides the Primary and the Secondary set of vowels, other vowel symbols have been added besides the central ones, the so-called ‘float’ symbols (i. e. [I, Y, U, ´, Q, å] used mainly for the transcription of English.

25

Figure 2. The IPA’s current vowel chart (2005) schowing primary CC. VV., secondary ı ı CC. VV. and new additions – including some English vowels (e. g. [I], [U] or [Q] (courtesy of the International Phonetic Association). ı

ı

Jones recommended using these cardinal symbols to represent whatever phoneme (its ‘main allophone’) in any language falling within the zone of influence (or ‘areas’) of the corresponding cardinal value.  D  u ii u ı ı Do ee ı ı6 ı Eı ç a6 ı

ıA ı

ı

Figure 3. Primary CC. VV. and their areas of influence (D. Jones, 1918: 52).

u µ DF

iy Oe ø ı Ø ı6

ı

√ ıÅ

Figure 4. Secondary CC. VV. and their areas of influence (D. Jones, 1918: 52).

26

This recommendation was to be followed in all phonemic representations, even though there might be variants of such a phoneme located in the area of influence of another cardinal vowel. Only in cases of conflict, in the sense that two or more phonemes in any given language might share an identical area of influence, Jones (1972: 201) suggested to use [´] “to represent an unrounded vowel lying within the inner central triangle”, and to represent a phoneme which falls within the limits of two or more areas of influence “by a special (non-cardinal) symbol”, although in broad transcription they may be written with their corresponding cardinal values. In the IPA’s latest edition, no reference is made to areas of influence. Instead, we read that “if detailed phonetic transcription is required, most vowels in a language have to be placed in relation to a reference vowel” (1999: 13). While this recommendation does not do entirely away with the idea of areas of influence of the CC.VV, it stresses their cardinal values as points of reference. In this way, no commitment is made as to explicit zones of influence, thus circumventing the possibility of using a symbol that might fall under a specific area and yet be closer to another symbol. The fact that both primary and secondary vowels share an identical zone within the vowel quadrilateral, and the difficulty of assigning zones for each symbol of the central set of CC.VV., give support to the Council of the Association’s policy for not delimiting areas of influence for each C.V.

2.5 The representation of consonants Although they are easier to categorise than vowels, it is convenient to specify some of the transcriptional principles underlying their representation. As with vowels, the Latin alphabet serves as a base because of the familiarity many experts have in transcribing European languages. Likewise, the use of Latin consonant symbols is favoured in representing more exotic consonant sounds whenever there is no risk of ambiguity (as in the case of /r/ in English). Obviously, we refer to broad or phonemic transcriptions (see below). However, there 27

are some phonemes which are not represented with Latin symbols but with Greek characters or with adaptations of the Latin alphabet. Such is the case of the Greek [è] which occurs in the first sound of Spanish zona; [ð], a modified ‘eth’ which represents the English sound in these; [B], a modified Greek ‘beta’ symbol, [ ¯] a left-tail N, etc. Irrespective of these and other fixed symbols, the IPA makes a series of recommendations pleading for the moderation in the use of double symbols in cases of co-articulations or secondary articulations. Such moderation, coupled with the limitations imposed by the Latin alphabet, has led to an inevitable increase in the use of diacritical marks (31 in the latest edition of the IPA), deemed necessary to capture phonemic shades nonexistent in most European languages8. For this reason, the IPA alphabet has had to increase the number of diacritical signs, contradicting the initial restrictive policy of the Association in this respect. In point of fact, diacritical marks are treated more of a necessity than of a lesser evil considering the degree of versatility than can be achieved by the use of such marks.

2.6 The representation of suprasegmentals Suprasegmentals have been one of the most neglected areas of the Principles of the International Phonetics Association since its beginning. Hence, conscious of the existing gaps in this area, the IPA has made new additions, totalling 23 symbols at present: nine to represent accent and rhythm, seven levels of tone and another seven to reflect pitch changes.

8

28

In addition to the IPA, extensions to this alphabet have been made to transcribe different voice timbres and speech disorders (e. g. the so-called ‘ext IPA’), see Duckworth/Allen/Hardcastle/Ball (1990). See also Ball (1991). For the transcription of voice timber see the system devised by Ball/Esling/Dickerson (1955).

However, both tone level and pitch contour continue to be represented using an iconic notation, used among others by M.A.K. Halliday, which is not very satisfactory pedagogically speaking as it may lead to confusion easily. This is the case with the symbol used to reflect an extra-high level (ä) and the one to show a rising contour (/é). The same happens with the symbols proposed to capture low and extra-low pitch levels. The Council is aware of this inadequacy when they write that “a complete intonational transcription will require symbols not provided on the IPA chart” (1999: 14).

29

30

3. Sound representation in the USA

The IPA alphabet is no doubt widely known and used in phonetic / phonological endeavours, but phonetic notation has a long history that can be traced back to the 16th c. As Abercrombie puts it, “it is probable that all conceivable notational devices and expedients have been given a trial at some time or other” (1967: 111). This is not the place to give an account, however superficial, of the different attempts carried out in order to bridge the gap between spelling and pronunciation. The idea of equating one letter with one sound and vice versa triggered off a plethora of alphabets, universal and nonuniversal in the past, the IPA being the latest and one of the most successful attempts to circumvent this problem. But, however influential the IPA may be, it is not the only system currently available to represent speech sounds. Besides the Machine Readable Phonetic Alphabet (1986), which uses only characters available on a standard keyboard, many American phoneticians and linguists have been making use of phonetic symbolizations which are not coincidental with the IPA’s philosophy for sound representation, One that has gained general currency among USA linguists is the APA1 ([North] Americanist Phonetic Alphabet, or ‘linguist’s alphabet’ (Tiffany/Carrell 1977), developed by anthropologists and linguists. This is not a standard alphabet in the sense IPA is: variation in the number and type of vowel contrasts in American English (AmE) – an argument used by some publishers of American dictionaries – coupled occasionally with a deliberate non sequitur attitude towards the IPA, account for the different ways sounds are currently transcribed in the States. In general, the IPA seems to be used by speech-language pathologists and Speech Departments, whereas American Linguistics Departments fear that they might be equated with members of a speech department if 1

For a discussion of the differences between IPA and APA symbols, see Odden (2005: Ch. 2). See also for APA’s history and references.

31

they use the IPA in their research. The table below summarises some of the most common styles of transcription the student may come across. The first column shows the IPA values as used in three leading pronunciation dictionaries covering the standard pronunciation of both British and American English: Longman Pronunciation Dictionary (LPD), English Pronouncing Dictionary (EPD) and Oxford Dictionary of Pronunciation for Current English (OPD). The terms ‘British’ and ‘American English’ need some qualification before we proceed further. In the British Isles there is a prestigious variety known as ‘Received Pronunciation’ (or RP for short), associated with social status and education.2 It is the variety recommended to foreign students. It is not a regional but a social accent whose limits overlap, on the one hand, with other non-regional, near RP accents, (or NRP, non-regional pronunciations, as Collins/Mees (2008) call them) and on the other with modified regional accents as heard on some BBC and radio announcers. General American (GA) does not have the social connotations in the United States that characterize RP in Great Britain. Rather it is an idealization of different American variants, excluding Eastern and Southern accents. It has been described by Kenyon and Knott (1953).   ґƄƄͮ

)()

'()

)()





Ƅ֤Ƅ

ʏ

ֆ

ґʊͮ





æϘՠ

Ԃ

Փ

ґƄҽ

ľ‫ڈ‬Ų

Ų

ґk֤

ľʏ

ľֆ

ґkҽ





ґϘ

ũԂ

ΎՓ

æϘҽ

]

:

´Ϙ֤

Þʏ

Þֆ

Þ٤ٝ٧

Þ

´ƄƄѠ

ʏũ

ʏŸ

æԆҽ

Խ

Խ

´ƄkѠ

Ųũ

ŲŸ

ǾϘϘġ

Ԃ

ӕՓ

´̞ԆƄѠ

Ԃũ

ӕŸ

ækԆǾȸҽ



'()

Table 1. English vowel chart (IPA and APA Alphabets).

2

32

See Windsor Lewis (1985) for an enlightening view on this controversial issue. Also Trudgill (2002).

'()

)()




& 

'


 (

)

*

 # 

*

+

(

+

,-./0

1 22

/*

34./0




4



5

6 



Table 2. English consonant chart (IPA and APA Alphabets). All the rest of the consonants are identical.

BEAT "# BIT "
BET "#
BAT PART "
PUTT 
POT *
PORT -
PUT -
BOOT *
BITE "--
BOUT
BAIT "#
BOAT

IPA values

Trager & Smith (1951)

Kennyon & Knott (1953)

Prator & Robintte (1973)

APA

i $
Ǻ %
e/ǫ
&
'
æ

iy 
i e


i 
Ǻ %
ǫ '
æ

iy 
Ǻ %
ǫ '
æ a (


iy 
Ǻ %
ǫ/e '&
æ a (


ə 
a ,
Ǥ 
U

ə 
a ,
Ǥ 
U

ǡ(



æ a (


Ȝ)$
/ə Ǣ/ ǡ( ) +&,
Ǥ( ) .&
)$
Ƒ

ə 
a ,
Ǥh 
u

ǡ (
ə )
ǡ ,
Ǥ )
U

/$
) u(

/
uw

/
u

/
uw

/
uw

0



ay 1
aw
ey 
ow

*


*


*


ay 
aU
e 
o

ay 1
aU
ey 
ow

ay 1
aw
ey 
ow

aǺǺ $
aȚ Ț
eǺǺ %
əȚ Ț/oȚ Ț 2
ǤǺ

1
*
*
1
Ǥy Ǥy Ǥy ǤǺ %




"
ODP) transcribe American English pronunciation. ,2&2
1

1
1
"-


"-*
BOY

"-3


/%


/%


/


/


Table 3 English vowel chart: IPA and American Alphabets (adapted from Ladefoged’s A Course in Phonetics 1975:74. The IPA column captures the way the three main current pronunciation dictionaries (LPD, EPD and

/


Table 3. English vowel chart (IPA and APA Alphabets) adapted from Ladefoged’s A Course of Phonetics 1975: 74. The IPA column captures the way the three main current pronunciation dictionaries (LPD, EPD and ODP) transcribe American English pronunciation.

33

34

4. Phonetic and phonemic transcriptions. Their typology

The representation of the acoustic substance is not something fixed and permanent: it could not be from the moment it tries to catch something so slippery and variable as people’s pronunciation. Even within the same language, speakers may differ remarkably when making certain sounds, producing at times phonic (i. e. acoustic, articulatory or auditory) differences that may correspond to different phonemes in other systems. In any case, the student should be well aware that any description of a model accent or its phonetic/phonemic representation is a convention, an agreement between phoneticians, publishers, teachers etc., as to how to handle a reality so complex as language. When speakers of a given linguistic variety use systematically a sound other speakers of that same variety replace in a systematic way by another sound, we have what Jones calls a ‘diaphone’ (Outline, Ch. XI). In other words, a diaphone is a set of sound variants, not necessarily determined by context, that are produced by different speakers of an identical linguistic variety when uttering a certain phoneme; also it is applied to the phonetic variations a speaker can make when varying style. When, on the contrary, variation takes place as a result of context (due to the influence of the neighbouring sounds) those variants receive the name of allophones. A characteristic of such sounds is their occurrence in complementary distribution, which means that they occupy positions that are mutually exclusive. Spanish occlusives are a case in point: they function as such after certain consonants, or initially in a phonic group, but they become fricatives in other positions. Thus, ‘un dado’ (a die) will be represented as [un dáðo], [d] and [ð] being allophonic variants of phoneme /d/ (they are not mutually interchangeable). These allophones are, in fact, ‘extrinsic’ allophones, as one has to be familiar with the language to detect them in order to avoid mistaking them with phonemes. An analyst of 35

Spanish unfamiliar with this system could easily consider the realisation of ‘n’ in a word such as ‘tengo’ [téNgo] a member of phoneme /N/, as in the English word sing, yet this sound is an allophone of /n/ in Spanish. This statement implies that one knows beforehand the behaviour of [N] in this language. The so-called ‘intrinsic’ allophones also depend on the context; not the context of a concrete language, but of a phonetic context in which certain aspects are of a general nature. The fact that a vowel in contact with a nasal acquires a nasal colour is a direct result of muscular action and not a specific phenomenon occurring in a concrete linguistic system. In these cases, it is possible to speak of subordinating articulations instead of allophones (which are confined to a single system). The difference between allophones and diaphones in a language is marked by the range of effects of the surrounding elements. Thus, if all or a large number of speakers of a linguistic variety use a certain sound, we call it an allophone, as for instance the open realization of an English front vowel when checked by /l/ as in bill); a diaphone would be a dialectal variant, as the fronting and diphthongization of /u:/ in Cockney producing a kind of [´µ_].

4.1 Types of transcriptions After clarifying the concepts of phoneme and allophone, let us discuss now different types of phonetic transcription. We follow here Jones’ typology (see Outline, Appendix A), who borrows, in turn, some of the labels from Abercrombie (1953). According to the number of symbols used, a transcription will be phonemic if the symbols represent phonemes – one symbol per phoneme. The result will be a phonemic or broad transcription (they are almost equivalent terms according to the IPA Handbook, 1999: 28). Conventionally, the symbols are written between oblique bars (/…/). It will be ‘simple phonemic’ if only a minimum number of Latin symbols is used. If, however, we focus on the allophonic variants, whether they are ‘intrinsic’ or ‘extrinsic’ and use special sym36

bols, we talk of an allophonic or narrow transcription (also known as a ‘systematic narrow transcription’ IPA Handbook, 1999: 29). This second type allows different degrees of narrowness in the representation of the phonetic characteristics of an utterance. Allophonic transcriptions are written between square brackets ([…]). If we pay attention to the form of the symbols used (typographic criterion), it is possible to make a distinction between simple and complex transcriptions. In the former, only Latin symbols appear, even though they can represent values other than the conventional ones; they are, for that reason, ‘typographically wide’ or ‘conservative’ transcriptions (Jones 1918: 335). The ‘complex’ ones are ‘typographically narrow’, as they allow for ‘exotic’ or non-Latin symbols. Although the normal thing is that a simple transcription will be phonemic and a complex one allophonic, there is not always a systematic equivalence: a transcription with non-Latin symbols can be as much phonemic as allophonic. And the same is true for the simple transcriptions. Jones gives as an example of ‘simple’ and ‘allophonic’ transcription the different ways of representing ‘b’ in Spanish: a simple transcription would make use of ‘b’ to represent its value in a word like ‘cambio’ (change); it would be allophonic if we use ‘v’ to show the value of ‘b’ in, for example, ‘cabeza’ (head ). Another formal division that cuts across the former typology underlying the concept of letter versus symbol is the dichotomy of uniliteral versus multiliteral transcription. Jones takes this idea from R. T. Butlin (Outline, 336, note 12) for whom ‘symbol’ is whatever written sign or sequence of signs used to represent a phonic unit (‘a single speech-sound’). According to this, double signs will be interpreted as individual ones if they represent a single sound. ‘Uniliterality’ is established when the double signs are the result of the joining of two simple ones that are used both individually or separately to represent other sounds in a system. A ‘multiliteral’ representation makes use of ad hoc signs to capture certain allophonic variants, or when double signs are not the sum of the corresponding single symbols. Thus, if when transcribing the English voice ‘hair’ we use the symbols /E´/, it will be a multiliteral representation if to transcribe the monophthong in head we use /e /, but will be uniliteral if we transcribed it with /E/. 37

Depending on the degree of comprehensiveness the transcriber wants to give his/her representation, it is possible to establish one further dichotomy. Jones speaks of exclusive transcription if it only reflects a single pronunciation model, be it an idealization of the speech of the author (as Sweet did) or a representation of a supposed general norm (Jones in his EPD). If, on the contrary, alternative pronunciations are reflected (for example, the reductions of triphthongs to diphthongs in RP English) we will have inclusive transcriptions. For the foreign student, the learning of a language has to be based on an exclusive transcription that serves as a model with a view to production. Later, when reaching more advanced stages, (s)he should familiarise him/herself with some inclusive models in order to have a correct understanding of the target language. Finally, there is another transcriptional dichotomy that Abercrombie (1953) established according to the degree of knowledge the user can have of the language (s)he is dealing with. If the transcription is made of a language whose phonetic basis is well-known by the transcriber and the transcription shows a great deal of phonetic detail, the transcription is systematic phonetic (the degree of systematicness achieved may vary). On the other hand, an impressionist transcription is made when the transcriber does not know the language or dialect that (s)he tries to represent. In this circumstance, the transcriber has to rely entirely on general phonetic conventions.

4.2 Transcriptional criteria With the preceding information, one could think that all there is to do to transcribe a language such as English is to choose one of the already mentioned options (uniliteral, simple, allophonic, etc.) and get down to the hard work. This is true, but only in part. The final result will depend ultimately on three references that the transcriber has to bear in mind: phonemic, sub-phonemic and pedagogical criteria.

38

1. Phonemic criteria. The idea a transcriber may have as to which units (s)he will consider phonemes and which will not, conditions, logically, the choice of a wide or a narrower transcription. The discrepancy in this area is highly remarkable, to the point that we may come across proposals where the number of vowel phonemes in English can range from six up to twenty-three. Obviously, the attitude adopted in this sense will have a decisive effect at the time of undertaking any transcriptional work. 2. Sub-phonemic criteria. Variation appears conditioned here by the degree of priority that the transcriber assigns to the parameter quality or timber and to quantity. This has given rise to two clearly differentiated procedures in vowel transcription: one in which quality is favoured at the expense of quantity (initially practised in the north of England: School of Leeds and School of Edinburgh), and a system of transcription where quantity is given priority over quality, followed by Jones in the first editions of his English Pronouncing Dictionary). A compromise, taking both parameters as equally relevant, has been widely used by members of the School of London (O’Connor, Gimson, Wells, etc.) as well as by Roach, Upton, etc., following Jones, main mentor of both the qualitative and the quantitative types of transcription (1918). The term ‘school’ has to be interpreted, therefore, not as a bastion of a specific system, but rather as a centre where a certain transcriptional policy is adhered to in a more systematic way. The adoption of one model or the other has manifested itself mostly in the south of England (London, Cambridge, Oxford), where we find practitioners of a qualitative approach (H. Palmer and F. G Blandford, I. Ward in the past, and more recently J. Wells and Colson) as well as those who favour a compromise solution, more useful in a foreign language context (A. C. Gimson, J. Wells, P. Roach, J. Hartman and J. Setter, or Upton et al.). 3. Pedagogic criteria. Although in principle all transcriptional policies pursue ultimately a pedagogical aim, the usefulness of a specific type of transcription for the foreign student has been a key criterion when adopting a notational system. The London School has been the one that has considered this most, following once again Jones’ steps, 39

exploiting the pedagogical potential of the various ways of transcribing the sounds of English. Although with a different sub-phonemic criterion, Windsor Lewis adhered in the past to this principle as closely as the London phoneticians. Not so Abercrombie, who clearly stated that “the use of this type of transcription. [the qualitative approach he uses] …probably will not be good for the teaching of English pronunciation to foreign students” (1964: 14). But although it is obvious that this model is not meant so much for the foreign student as for native speakers of English concerned with general phonetics, it is not less true that foreigners – particularly those with a good command of English – need to be familiar with a system which is not uncommon in textbooks and books dealing with English phonetics and phonology.

4.3 The representation of written texts It was pointed out above that phonetic transcription arose to serve as a bridge between the oral versatility and the graphetic rigidity observed in many linguistic systems – English among them. When confronted with a spoken utterance, known or not, the transcriber has in this way a tool at his reach that allows him/her to shape with a certain accuracy and objectivity the sounds that (s)he hears; or if selfanalysing himself or herself, the sounds that are produced. But the situation varies when trying to represent written pieces that are not a reflection of something orally expressed. This basically scholastic exercise is particularly relevant in a second language learning context where the student looks for a specific as well as useful piece of information. It goes without saying that in such cases the constraints imposed by the written text make useless all treatment using an intrinsic allophonic notation. Unless, that is, a reading is made adopting a certain style such as O’Connor did in his Advanced Phonetic Reader (1971), in which he grouped the written excerpts into four stylistic modalities: oratorical style, colloquial formal, colloquial, and familiar style.

40

ı

ı

ı

ı

ı

ı ı

ə ı ı ı ı ı

ə

ə

ə

ə

ı ı

ı

ı

ı

ı

ı ı ı ı əı

ı ı

ı

ı

ı

ı

In written texts devoid of information about a given stylistic modality, the student will have to transcribe relying on a bare phonemic treatment, devoid of all the range of phonetic niceties found in spoken language. IPA Chart

41

After this overview of the foundations of phonetic transcription, and prior to the transcriptional practice proper, we shall make a short introduction to English consonants (the way they can be orthographically represented), and to English vowel variation as reflected in the so-called strong and weak forms. 42

II. From theory to practice

43

44

5. The phonemic transcription of English Consonants

Notationally speaking, consonant phonemes are characterized by a great stability in English, but as minor problems may exist between spelling and phonology, it is convenient that we see the representation of the more common orthographic variants.

5.1 Plosive sounds and their orthographic representation

PHONEMES

/p/

/t/

ORTHOGRAPHIC REPRESENTATION

p(p)

t(t)

/k/ (c)k (c)c ch qu

/b/

/d/

/g/

b(b)

d(d)

g(g)

a. Practice 1. Read and transcribe all the plosive sounds appearing in the words below. pipe

take

cake

bit

tight

quick

queen

tick

pretty

putt

choir

addition

picket

bank

request

daddy

good

duck

tiger

occupy

cheque

rock

redden

rugby

45

postbag

postdate

goodbye

petrol

debate

cupped

cupboard

butter

attack

apt

chord

cockpit

mudguard

paddock

giggle

top-quality

b. Practice 2. Transcribe those words containing one or more plosive phonemes. A tenant told the Lambeth rent tribunal that his women visitors had to lie on the bed because there were no chairs in the room. ............................................................................................................ ............................................................................................................ Only two hours after a headmaster gave his 700 pupils a lecture on vandalism his school in Tottenham was burnt to the ground. ............................................................................................................ ............................................................................................................ ............................................................................................................

5.2 Fricatives (alveolars, linguo-dentals, labio-dentals and the glottal fricative)

PHONEMES ORTHOGRAPHIC REPRESENTATION

46

/s/

/z/

/θ/

/ð/

/f/

/v/

/h/

s (s) sc c

s(s) z

th

th

f(f) gh ph

f v

h wh

θ

a. Practice 1. Read and transcribe all the fricative sounds appearing in the words below. so

he

has

zebra

they

that

mouth

with

over

enough

traffic

dance

science

thanks

lesson

five

scales

zoo

weather

mouth

scissors

phantom

heaven

where

subsist

reverse

discuss

behind

vein

stephen

author

heroism

those

halves

passes

mother

source

throne

worth

thriller

b. Practice 2. Transcribe those words containing any of the fricative phonemes seen above. If you feel mischievous, try a spritz of Nina Ricci’s frisky new fragrance ............................................................................................................ ‘Les Belles’ de Ricci. This fresh, cheeky scent is inspired by tomatoes and comes ............................................................................................................ in a funky bottle sure to make your friends green with envy!. Les Belles revitalises ............................................................................................................ your skin. Available in six seductive shades ......................................................................

47

5.3 Fricatives (palato-alveolars) and affricates

PHONEMES

/ȓ/ ȓ

ORTHOGRAPHIC REPRESENTATION

sh ch s (s) ti/-si/-ci/-ce

ȓ

/ȷ/ ȷ ȷ

/ʒ/ ʒ /ʒ/

ch

s(u) -si-ge

/ȴ/ ȴ ȴ

j g(e) Dge

a. Practice 1. Read and transcribe the fricative and affricate rounds occurring in the words below. she

flash

usual

wash

danger

age

teach

treasure

such

jar

sugar

judge

sheep

patience

huge

soldier

orange

garage

shop

chop

cash

region

cushion

washing

mash

catch

shoes

sure

occasion

joke

change

motion

bridge

polish

social

reaches

choke

general

ginger

james

48

b. Practice 2. Transcribe twenty words in which there appear any of the consonantal phonemes seen so far (plosives, fricatives and affricates).

FAIR FIGHT With the African having been captured, Caesar decided to put him in the arena to fight. First, he was matched against a hungry lion, but the Negro picked up the animal as it rushed towards him and smashed its head in. The promoters of the fight were annoyed: they knew the audience wanted to see blood, so as a slight handicap the man was buried up to his neck in sand. A gladiator approached, drew his six foot long sword, raised above the Negro’s head – to an enormous cheer from the audience – then brought it down, but the Negro moved his head to one side so the sword hit the ground. The crowd rose to their feet, jeering and shouting: ‘Fight fair, you coward’

/...….../ /...….../ /........./ /...….../ /........./ /...….../ /...….../ /........./ /...….../ /...….../ /...….../ /...….../ /........./ /...….../ /...….../ /...….../ /........./ /...….../ /...….../ /........./ /...….../ /...….../ /......../ /........./ /...….../ /........../ /...….../ /...….../ /........./ /...….../ /...….../

5.4 Liquids, nasals and approximants

PHONEMES

ORTHOGRAPHIC REPRESENTATION

/r/

r ( r)

/l/

/m/

/n/

l(l)

m

n

ŋ /ŋ/

n+ velar

/j/

/w/

eu/ ew eau u y/i

w (h) qu

49

a. Practice 1. Read and transcribe the liquids, nasals and approximants appearing in the words below. yes

way

one

mirror

car

young

random

wrong

you

we're

music

uncle

beautiful

yellow

what

lion

comfort

buckle

bill

wing

manner

unnecessary

hanging

vowels

union

whisky

quick

nine

word

reject

million

round

garlic

girl

clerk

belongings

encounter

catarrh

longer

banger

b. Practice 2. Transcribe twenty words where there appear one or more consonantal phonemes seen in Table 5.4. WHERE TO FIND THE CHEAPEST AND THE E BEST News means Sunday papers, which carry best-buy y tables for the product, but always check for trapss k pointed out. Also for most dishes there is a direct link st to the relevant regularly updated articles and best buys of . This is n followed by a list of providers. These have been d picked as they are traditionally good payers and ly players. Do remember, though, things change quickly t; in the money world, so they may not remain the best; e newcomers may be better.See the ingredientsas the ut first port of call to set a benchmark standard, but don’t be shy of checking others. n: (From Lewis, M. (2005). The Money Diet. London: Vermilion, pp. 174–175)

50

/……../ /……./ /…..../ /……./ /……./ /……../ /……./ /……./ / ……../ /……../ /……./ /……../ /……../ /……./ /……../ /……../ /……./ /……../ /……../ /……./ /……../

5.5 Consonant assimilation All phonemes are in some way mediated by the environment that surrounds them giving rise to a more or less marked processes of assimilation. There are allophonic assimilations, where phonemes do not usually undergo a qualitative change (e. g. palatalisation, velarisation, etc.), and phonemic assimilations where although there may be a change in quality, there is no alteration of the phonemic status of the assimilated element. These alterations are closely connected to tempo or speed of delivery as well as to the type of register used (the colloquial style favours this processes more than a formal style, for example). The range of assimilations in English is extensive, increasing in proportion as we move towards a colloquial/vulgar style. For this reason, it is extremely difficult to give rules that serve for all the possible variants. However, it is possible to speak as much of some general tendencies of behaviour of certain groups of consonants as of some concrete phonemes.

5.5.1 Specific behaviour of some consonantal categories 1. Voiced fricatives (/z /, /v/, /Z /, /ð/, etc.) can assimilate to their respective voiceless counterparts when they occur at the end of a word and a voiceless consonant follows: [wIT »ti˘] (with tea), [wIT »TQNks] (with thanks) ( [´s »su˘n] (as soon…), [»ð´Us( »steISnz] (those stations) ( (have to) [»ðIS »Su˘] (this shoe), [»hQf t´] ( [»brItS »stri˘t], Bridge Street, etc. ( 2. /n/ may become labial or velar before a bilabial or a velar consonant (e. g. [»tem »pi˘pl, ten people); [»teN »ka˘z], (ten cars); ( ( [»faIm »weð´] (fine weather), etc. ( 3. The plosives /t/ and /d/ can occasionally assimilate to a bilabial or velar that follow them (particularly if it is voiceless): [»raIp »pi˘pl], ( the (right people); [»saum »preS´], (sound pressure). Yet, /d/ and ( 51

remaining voiced plosives /b, g/, are not usually prone to assimilation in RP when they occur at the end of the word. 4. Before /j/, /z/ and /s/, fricative consonants can turn into their equivalent palato-alveolar sounds: [»sIIkSÌ»jE:z] (six years); [ðe´ZÌjç˘z] ('there’s 'yours..), [»ðISÌ»SÅp], (this shop), etc. 5. When three consonants go together, if the central is /t/ or /d/, it usually disappears. This is very common among many speakers: [»m√snt] (must not); [»m´UsÌ»pi˘pl], most people; [»frendz], friends, [»neksÌ»dç˘]; next door; [»la˘sÌ»jI´], last year, etc.

5.5.2 Individual consonants /h/

/w/

/r/

52

This phoneme is heard mostly in an intervocalic position when it follows a consonant, usually in a colloquial speech style. E. g.: [»givÌImÌIzÌ»baIk] (give him his bike). When it corresponds to the sign it allows a double pronunciation: one without aspiration, as in ‘well’ (transcribed with /w/), or with aspiration. This second option can be represented by means of the symbols [hw] or [„] (double inverted ‘v’). Unless otherwise stated, we shall use /w/ in representing this phoneme. As a non-rhotic accent, RP has this phoneme neither in syllable final position nor finally of a phonic group. However, if the sound occurs at the end of a syllable which is not final in a breath group, and a vowel follows which is neither high nor long, /r/ emerges and, consequently, has to be introduced in the phonetic representation. Thus bear /»be´/, but /»be´rIN/. In the editions of Jones’ EPD prior to the 15th edition, this is reflected by means of an asterisk. Unlike Wells, who uses no special symbol to indicate a potential /r/, Roach, Hartman and Setter use in the EPD a superscript /r/ in such cases (e. g. rear [»rI´r]), whereas Upton et al. make use of an ordinary /r/ between brackets (i. e. rear [»rI´(r)]).

6. Transcribing English Vowels

6.1 General remarks As opposed to the homogeneity that characterises consonant representation, we find a high degree of discrepancy in the transcription of English vowels, a consequence of conflicting phonemic, sub-phonemic and pedagogic criteria. For that reason, instead of grouping vowel phonemes as we did with the consonants, we opt for a joint analysis taking into account different points of view. In spite of such variation, the learner should bear in mind the following: a. b.

c.

d.

All the variants that follow accommodate to the Principles of the IPA. An optimal transcription for a given language does not exist. The helpfulness of a certain type of notation will depend, ultimately, on the purpose that is pursued. In the transcription of spoken language, care should be taken of the rhythm and other characteristics of the utterance. Unless otherwise stated, the representation of a written text will be made as if it was read in an ‘andante’ rhythm, i.e. neither too slow nor too quickly. When transcribing phonemically, it has to be borne in mind that phonic units are separated not by means of ordinary orthographic signs (commas, two points, etc.), but by means of simple (|…|) or double vertical bars (||…||). Conventionally, the period is used to indicate a full stop or a full stop and next period. Notice that in such cases, capital letters are disallowed, as some of them represent different phonetic values.

53

6.2 Strong and weak forms The pronunciation of all the elements of an utterance is neither fixed beforehand nor is inviolable as happens with a written representation: there are different options available. The speaker, within certain limits, is free to alter their phono-graphetic equivalence based on factors such as the type of register involved, the situational context, the speed of delivery, etc. Tempo and speed of delivery may produce drastic vowel reductions in languages such as Spanish. English, however, resorts to the reduction of ‘extensive’ phonemes occurring in several closed categories (prepositions, articles, etc.) maintaining in this way a certain isochrony in the system. Besides a) prominence, b) their lexical and prosodic accent and c) the position they occupy in the discourse, the following forms alternate their phonemic structure from weak (the unaccented or normal form) to strong (when mentioned in isolation or when they are accented. Positionally, the former can occur initially, medially and finally in a sentence. In emphatic speech, any element can be given prominence, becoming the focus of the intonation unit. Here the most important English function words are tabulated.

6.2.1 To be, to have and to do TO BE FORM

WEAK

POSITION

BE

[bi]

a) INITIAL b) MEDIAL c) FINAL d) EMPHATIC

a) Be careful b) I'll be with you

a) MEDIAL b) FINAL c) EMPHATIC

a) He's been drinking

BEEN

AM

54

[bin]

[(?)m]

a) INITIAL b) MEDIAL c) FINAL d) EMPHATIC

EXAMPLES

STRONG

EXAMPLES

[bi:] c) To be or not to be d) To be or not to be [bi:n] b) Where have you been? c) But I have been there [zm]

a) Am I late?

b) What am I doing? c) Yes, I am d) But I 'am studying

IS

ARE

WAS

WERE

[(H)z], after a voiced C. [s] after voiceless C

a) INITIAL b) MEDIAL c) FINAL d) EMPHATIC

[?]

a) INITIAL b) MEDIAL c) FINAL d) EMPHATIC

[w?z]

[w?(r)]

a) INITIAL b) MEDIAL c) FINAL d) EMPHATIC

a) INITIAL b) MEDIAL c) FINAL d) ENFASIS

a) Is that your brother? b) John's here/ It's me

[Hz] ( also after sibilant)

[@9]

a) Is she? b) John is here c) I suppose she is d) He is stupid

a) Are you kidding?

b) How are you? c) I don't know who you are d) You 'are lucky (AREN'T: They aren't here) [wPz]

a) Was there any money left?

b) He was wrong c) Yes, he was d) He 'was a real player (WASN'T: I wasn't amused [w2:]

a) Were they amused?

b) If I were you,... c) You knew where they were d) We 'were concerned (WEREN'T: They weren't at home

TO HAVE FORM

WEAK

HAVE

[h?v] [?v] after C (never initially). [v] after a V

a) INITIAL b) MEDIAL c) FINAL d) EMPHATIC

HAS

[h?z] after a pause. [s] after voiceless C.; [z] after a voiced C. [?z] after sibilant

a) INITIAL b) MEDIAL c) FINAL d) EMPHATIC

HAD

[h)?d]+ C [d] after a V

POSITION

EXAMPLES

a) Have you phoned? b) I’ve lost it

a) Has she left?

STRONG [hzv] ([hzf]+to).

[hzz] ([hzs]+to

b) -She's just arrived (after (after V= [z]) -The cat's disappeared ( [s] after voiceless C)

EXAMPLES a) Have a drink b) (have to=[hzf t?/O): You'll have to c) Perhaps they have d) But I 'have to do it (HAVEN'T: They haven't seen her)

a) Has he been with you? b) He hasn't finished yet (with 'hasn't') -It has to be sorted out) c) I've suffered less than she has d) It 'has been analysed (HASN’T: He hasn’t come)

a) INITIAL b) MEDIAL c) FINAL d) EMPHATIC

a) Had I known that… b) He'd been telling her

[hzd] [hzt]+ to

a) I had a cold. Had you? b) She had to study c) I wish he had †Ȍ They 'had told him so HADN’T (He hadn’t done it)

55

TO DO FORM DO

WEAK

POSITION

[d?] +init. C. [dO]+ V or [w]

a) INITIAL b) MEDIAL c) FINAL d) EMPHATIC

EXAMPLES a) Do they miss her? -Do you love her?

STRONG [du:]

b) I’ll do my best [d?Ɠnt ] [d´Unt]

b) When do you intend to leave?

+V [d?Ɠn] [d´Un]

[d]+ you

DOES

[d?z]

+ Cons.

a) INITIAL b) MEDIAL c) FINAL d) EMPHATIC

EXAMPLES

c) How do you do? d) Please, 'do come in (DON'T): Don't open it Don't do it)

a) Does he like swimming? [dUz] [dUznt] (doesn't)

b) He does smoke a lot c) He doesn't swear, but he does,.. d) She 'does like music

when

(DOESN'T: He doesn't smoke a lot)

6.2.2 Modal verbs 6.2 Modal verbs MODAL VERBS FORM CAN

WEAK [k?n] [kn]

COULD

POSITION a) INITIAL b) MEDIAL c) FINAL d) EMPHATIC

[k?d]+V ƓƓ [kUd] [kƓd] Ɠ after a C

a) INITIAL b) MEDIAL c) FINAL d) EMPHATIC

EXAMPLES

STRONG

a) Can I go home?

[kzn] [kzn]

b) I can play the piano

[k@9nt] [k@9nt] (can't) (can't)

a) Could I make a phone call? b) I could stay for a day or two

[kƓd] [kUd]ƓƓƓ [kʊdnt] [kUdnt] couldn't

EXAMPLES a) Can I? c) Surely you can d) I 'can and I will do it (CAN'T: I can't do it)

c) I wish she could d) John 'could do it (COULDN’T: I couldn't deny it)

WILL

?

[w l] [l] (never initially)

a) INITIAL b) MEDIAL c) FINAL d) EMPHATIC

a) Will I be rich? b) I'll come tomorrow

a) INITIAL b) MEDIAL c) FINAL d) EMPHATIC

a) Would you like to come? b) He said he would do it

a) INITIAL b) MEDIAL c) FINAL d) EMPHATIC

a) Shall I open the door?

[wil] Ɠ [w´Unt] [w?Ɠnt] Ɠ won't Ɠ

Ɠ

WOULD

[wƓd]Ɠ [wUd] Ɠ [w?d] [d] = ‘d

SHALL

[R(?)l] [?l] (never initially) [l] after V.

56

c) Yes, I will d) I 'will go whatever happens WON’T (It won’t happen again)

Ɠ

[wƓd]Ɠ [wUd] ƓƓ [wƓdnt] [wUdnt] Ɠ wouldn't Ɠ

c) I knew she would (do it) d) I 'would like to go (WOULDN’T : I wouln’t do it)

[Rzl] [SQl]

b) We shall stay at home

c) I don't think I shall (go to the theatre) [R@9nt] shan't

d) You 'shall go (SHAN’T: I shan’t be there until three o’clock)

III. Corpus of oral texts

62

1. The weather forecast 1 1

And now the weather forecast. And I hope you enjoyed the Summer yesterday because it may not last much longer. England and Wales will start dry and sunny but clouds will increase in the West this morning with rain in places spreading East to all parts by this evening. Rainfall amounts will be very small in the South, many places staying dry, but there may be some heavier outbreaks in North-West England.

10

Rain, heavy in places in Western Scotland and Northern Ireland, will spread to Eastern Scotland this morning, followed by brighter weather with showers. Temperatures similar to, or a little higher, than yesterday’s. Winds light or moderate southerly.

15

The outlook: a few showers in the north at first, but all places becoming dry, sunny and warm, although later some outbreaks of heavy rain may spread to southern districts.

1

Our thanks to Liz Murphy, Cathy Staveley, Keith Gregor and David Walton for their availability in the recording of these texts.

63

2. Unemployment 1

The stark fact that unemployment in Britain has now reached 1.9 million – a level not seen since the mid-thirties – provides this morning’s papers with their main theme.

5

The Daily Express sums it up: ‘A job lost every twenty seconds’. And The Mirror forecasts that by Christmas two million will be out of work – enough to form a dole queue streching from Land’s End to John O’Groats. The Times says the figures are all the worse for having outpaced the most pessimistic forecasts.

12

The Daily Star uses a picture of young Steve O’Neil to illustrate the tragedy. He’s sixteen and a half and his job prospects are nil. The Mail repeats Mrs Thatcher’s declaration that there can be no miracle cure. All the papers agree the figures are shocking, but opinions about who’s at fault, and what should be done, vary.

20

The Telegraph says it’s the bitter harvest of the follies of our masters over many years, and it calls on the government to stand firm on its present policies. The Times maintains that only a policy aimed at bringing down inflation will provide a long-term cure for unemployment. And there’s a similar sentiment in The Sun.

64

3. Denationalized industries 1

A- Now, what have the following industries in common? The Railways, Road Passenger Transport, Electricity Generation, The Docks, The Post, Civil Aviation… The answer: they’re all being denationalized round the edges.

5

Today, we’ll witness the third reading in the Commons of the Civil Aviation Bill which, when it becomes an Act, will permit the sale to the public of shares in British Airways. The airline will become British Airways Limited. Arthur Reid, air correspondent for The Times, told Neil Berret how the Government intends to go about this.

11

B- ‘The idea is that it will become a private company with the Government holding 100% of the shares in the short term, and then, at a date which is to be announced, the Government will offer a minority – presumably about 49% of the shares on the open market – for anybody, members of the public or corporations, to buy’.

17

A- ‘Has the Government said how this sale is going to take place? How many shares each individual purchaser will be allowed to buy, for example?’

65

4. Horticulture 1

A- ‘Now, listening to Jane over the past year or so on the subject of gardening, I’ve found her systematic campaign of destruction, all the excuses I’ve carefully nurtured for not doing jobs around the garden rather distasteful and hurtful.

6

However, I thought that spraying shrubs for greenfly was a pretty safe taboo. It involved dealing with dangerous poisons which I might spill on myself.

10

It involved wearing rubber gloves, which would make it very difficult for me to handle things; and, anyway, I couldn’t find the greenfly even if I wanted to. I have a nasty feeling though that Phylis, the fearless horticulturalist, is just about to put paid to another comfortable fiction’.

16

B- ‘I am because, you know, spraying is really one of those jobs that isn’t nearly as difficult as it seems. I discovered that when I watched an experiment in spraying done recently by a blind gardener with the help of a sighted one who’s also a regular tutor at the annual gardening weekend courses.

21

What you need, is any kind of sprayer that you can hold with one hand, because the other hand is needed to guide you around the bush or shrub’.

66

5. Onions vs shallots 1

A- ‘Now to a bit of cooking. There’s scarcely a savoury recipe that doesn’t call for a little onion. And the onion and its close relatives like the leek are among the oldest vegetables apparently known to us; and there’re all sorts of traditions attached to them.

6

Onions were given as wedding presents in ancient Greece – strange wedding presents – but apparently they were believed to have aphrodisiac qualities. And leeks have been around since the times of the Pharaohs.

10

Pat Taylor has been talking onions with home economist Kate Hastrop. And she began by asking what are the members of the onion family’. B- ‘Oh, we’re talking about onions in all its variations: leeks, garlic, chives, spring onions and, of course, shallots. And the variation of the spring onion that looks a bit like a shallot, which is a Welsh onion which is well worth having in the garden because that’s a perennial’.

17

A- ‘What’s the difference between a shallot and an onion?’. B- ‘Well, a shallot grows in clumps together, and springs out from the side from a central bulb. And they’re generally used in this country for pickling, and they shouldn’t be confused with the little baby onion’. A- ‘Uhm, I think many people do in fact’.

23

B- ‘That’s right. Baby onions are not automatically shallots. And pickling onions are usually a nice, round shape that are a small variety which have been grown in rather poor soil, and so that they don’t grow into the big bulbous ones that we want in the much, you know, bigger cooking onion. The shallots are much milder, much more delicate and much more suitable for delicate flavoured foods’.

67

6. The American experience 1

… ‘Well, no. The Americans have different taboos to us. I mean they’re more frightened still of things we’re not so frightened of here. But…and…er…but… I mean they don’t like jokes about death in America, whereas we rather revel: stories about undertakers have always gone down a treat in Britain. I don’t know why it is.

8

And …er…they don’t don’t like sexual references in the same way. They don’t mind ‘gayness’, but it has to be in a more subtle way. And there was such a group of talented performers, and so many of us writers; there were fifteen of us after all, whacking out these shows fifteen minutes a week, that it was, I mean, you had to be a technician to work there, but I rather liked it.

15

The producer didn’t like us to go out to lunch. He used to send food in and the writers, it was like a factory farm. And I said: ‘I haven’t come 8.000 miles not to have lunch’, I said to them, with this terrible British voice. And they used to shout when I came into the building in the morning: ‘The British are coming. The British are coming!’

68

7. Comedy writing 1

A- ‘Your…your forte obviously was writing for other people, and especially for Kenneth Horne. In first of all Beyond our Ken, and then Round the Horne’. B- ‘Yeah’. A- ‘Now you wrote with Marty Feldman that second series, didn’t you?’. B- ‘Yeah’ A- ‘It is actually a good idea for comedy writing to bounce ideas off somebody else?’

9

B- ‘Yes. I think it’s essential. The whole point about humour is that unless you get a laugh you haven’t made a joke. I mean, if you say something and nobody laughs,that’s not a joke, that’s just a statement. And the advantage of writing in partnership is that the other partner, whoever is cracking the joke, the other one will go ‘Hey, yes, that’s funny. I quite like that’.

16

In other words, you’re getting some warmth, some response back. And also you’re editing yourself, so that you’re not putting any old garbage together: you’re really working it out. I mean, Martin Feldman’s a most intelligent man, a gifted man in every way. I’m not completely stupid; together we worked.

23

And Marty said ‘It’s not us that’s writing, it’s a new creature called Barry Feldman. Or shall we call him Marty Took?. A- (simultaneously): ‘Marty Took, yeah’. B- ‘Exactly. And he did the writing. But Round the Horne was wonderful, because it sounds like every show biz thing you’ve ever heard. But it’s absolutely true: there was never a harsh word’.

69

8. Contact lenses 1

A- ‘Children who have to wear spectacles can often get singled out for rough treatment from their class-mates. The ones who escape lightly can still be saddled with nicknames, like ‘four-eyes’, or ‘specs’, or even worse.

5

Lord Seagle raised the subject of sensitive children in this position who might benefit if contact lenses were available on prescription for psychological reasons. At the moment you can only get them on the National Health at six pounds twenty five a time for clinical reasons’.

10

B- ‘Many children are very aware… that they seem to be rather different from their fellow students in the class. Many of them feel short-sighted; they take a… lot of time to adapt themselves. It can affect their reading. They feel they’re going to be condemned to wear glasses for the rest of their lives, as indeed they are. But with the wearing of contact lenses all this should disappear’.

17

A- ‘Do you think, though, that children can be trusted with contact lenses? They’re not easy to fit, and they’re not easy to put in and take out’. B- ‘Oh, yes, of course. That’s where the difficulty arises. But in the case of young children, the parents should naturally take a close interest in their child’s future…, school career…, major career and life, should be given the…er… opportunity of fitting the glasses themselves.

25

70

The child should take an interest in having to wear them, until such time as the child can be able when he reaches his teens – later teens – to manipulate the contact lenses himself ’.

9. Novelties 1

A- … ‘It is, however, going to ban the sales of certain novelties; in particular, large stink bombs, tear gas capsules and balloon making compounds. Now, I don’t know what goes on in the Houses of Parliament, but I think you’ll agree their Lordships displayed a great familiarity with these objects when Lord Trefgarne defined ‘novelties’ in the House. Public School memories of tricks after lights-out in the dorm, I wonder’.

10

B- ‘The word ‘novelty’ is used usually to describe the relatively inexpensive products for pastimes or jokes which sometimes are designed to create amusement at the expense of unsuspecting victims. Typical examples are itching and sneezing powders, fake lumps of sugar, food made from plastic, glasses that leak their contents, and blood-stained bandages’.

17

C- ‘¡Hear, hear!’

23

A- ‘None of these products is likely to offer substantial risks of personal injury. However, the three items covered by these regulations are believed to offer such a risk: the balloon-making compound because of the presence of benzine – a well-known carcinogen –, and the tear-gas capsules and large stink bombs because of the risk of injury, from the chemicals used, to the face; especially the eyes and other sensitive parts of the body’.

71

10. A short dialogue 1

Naomi Fisher was waiting at Chester Terrace when Karen got home. The morning room where they had put her was a bleak, restless place where nobody ever settled. The gas fire was seldom on. To put in here by a servant showed the servant’s distinction between being shown in and being asked to wait.

7

Naomi’s anxious brown eyes and humble manner must have led them to think there must be something she wanted and therefore she was no lady. What she did want, and wanted badly, was to see Karen. A need so pressing as to be without grace. So here she was, sitting on the edge of a cold, leather armchair.

13

‘Your face is cold’, said Karen. ‘It is terribly cold in here’ ‘I have come too early’ ‘No. Why?’, said Karen pulling off her gloves. ‘You must be tired’, Neomi said anxious. ‘I slept in the train. How long have you been in London?’ ‘Just four days. Next Tuesday we must go back’. Naomi spoke with an unreproachable sadness that made Karen exclaim: ‘Why didn’t you let me know?. I needn’t have been away’

72

11. Pre-retirement courses 1

7

A- ‘I think you’re going to change the title though, aren’t you, from pre-retirement because people are retiring earlier and earlier these days. And even for those people who may not want to be retired, may be being made redundant for one reason or another, these leisure time activities I think are crucial at this particular time. Evelyn Allan mentioned that Manchester had been running these pre-retirement courses for some time. Have you noticed quite an increase in the number of people attending?’.

10

B- ‘Yes. There has been a steady increase, but I would like to take up Allan’s point that in fact retired people of whatever age are welcome within the totality provision. I think it’s important not to have sort of special areas of provision, just for the retired, just for the young people, etc.

15

I think it’s important that we have an integrated service, and certainly at the moment in Manchester, there still is a very healthy provision of day courses, which people with time on their hands, because they are retired, would be able to join and take advantage of, and mix with all sorts of age groups from within the community’.

73

12. Hair-style 1

A- ‘When the competition was first announced, it was something that I wanted to do before the Bo Derek became so well-known. And I nearly changed my mind, but I thought: ‘No, I won’t. I’ll do it’.

5

I saw it first of all the… weaving in the West Indies. All the dark girls there, were walking around with this type of hair-style. So I thought: ‘Well, I think if I do it well, I might stand a chance’. So I thought: ‘Yeah, go on! Do it! Stick to it!’. And so I did’.

10

B- ‘Well, at least it’s ambitious, but I suppose to be fair, if all the girls are listening thinking: ‘I might have a go at that myself ’, not everybody is suited or could wear a Bo Derek style hair-do’.

14

A- ‘Oh, no, no. I think you’ve got to be very attractive to wear this. It’s very hard’

74

13. The game of chicken 1

A- ‘Well if you’ve got children, you’ll not need me to remind you that they get up to all sorts of things; more especially during the long Summer holidays. But one of the most dangerous pastimes they can get involved in is the ‘Game of Chicken’.

6

You probably know the game where youngsters dash in front of cars or trains. And not long ago a child was killed near Buxton. And in the Grindleford area railway employees have seen other children playing the game. Police in Derbyshire are concerned that more accidents could occur during these Summer holidays.

13

Well, I’m joined on the telephone line now by Superintendent Sidney Thompson of Derbyshire police. ‘Good morning!’ B- ‘Good morning!’ A- ‘This must be for the police a very serious business?’

18

23

B- ‘Yes. It is. It is alarming to say the least of it. It is something which is always in people’s minds: railway lines and children. But this latest accident, this… ‘Chicken’ business which took place out at Grindleford – and, by the way, there was only one instance – I’m not trying to say it’s suddenly become a fashion or anything like that, but it just made me worry that bit more, you know, with the hint of nice weather and the Summer holidays, that…er… children could get onto railway lines and could get themselves, well, you’re not talking about them being seriously hurt. The fact is they get killed’.

75

14. A verdict of manslaughter 1

A- ‘Are you saying that this judge, in the case of Keith Jones, to return a verdict of manslaughter is really bending or misinterpreting the law?’

4

B- ‘I’m in no position to say that because I haven’t seen the court papers. I haven’t seen the transcript. All I know about this case is what I’ve read in the newspapers. Therefore I couldn’t judge this particular case. But, certainly, in what I read, there seems no obvious reason to think that this was a case in law of manslaughter rather than murder. What is perfectly possible, but I don’t know, is that the judge was anxious that this man shouldn’t be sentenced to life imprisonment, and then let out a short time later; that he needed some help and, therefore, ought to be put on probation and have the benefit of the advice of a Probation Officer. And the only way you would achieve that, would be to… ensure… that he’s convicted of manslaughter, where you have… the discretion of putting him on probation, rather than murder, where you have to give him a life sentence. That’s a possible explanation, but I emphasise I don’t know the facts“.

11

20

A- ‘This is not the first time that a mercy killer has been let off. Do you see this as a trend that’s happening now in this country?’

22

B- ‘I don’t think he was let off: he was convicted. And he has been put on probation, and he’ll now get the help that he needs. I would hope that we shall not get into a state where mercy killing becomes in some sense a separate and new offence, different from the traditional ones of murder and manslaughter’.

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15. England and the E.U. 1

A- ‘Now I’ll spare you the Euro-jargon, but under that system the money is running up 1981 and it’s the cost of the Agricultural Policy which takes 70% of the budget. As simple as that. But believe you me, the farm lobbies, as vigorous as ever in that European Parliament, the hands are stretched out for yet more protection here, subsidies there, price increases there, so John I think the crunch is coming. You can happily relax, it’s coming very quickly’.

10

B- ‘But you’re there to help sort it out for us, I’m sure Barbara Castle. Terry Wogan’

16

23

32

C- ‘I don’t know how I’m expected to cap Barbara Castle or Robert Jackson, but I don’t think that the E.E.C. is going to fall apart. I never suspected John Mortimer of being a little Englander and I think we’re gonna be in Europe, I think we have no alternative, we have to stay there, now that we’re there. I think their agricultural policy has been in common with, say, the agricultural policy of the United States. It seems to be geared towards over-production, because it is efficient, because the agricultural industry is efficient, it’s producing food, it’s producing wine, butter mountains, wine lakes, they’re producing too much. They have to be artificially sustained by that. Prices have to be held up and this is what happens, and everything costs more than it ought to. There’s too much being produced, agriculture is too efficient, if one can say that. In Ireland, I remember a couple of years ago, the Common Agricultural Policy was an enormous boon. Anybody who had a hundred acres was virtually a millionaire because you were able to sell your acreage for £ 5.000 an acre. Now that has been revised… It’s made a tremendous difference to the Irish farmer. It hasn’t made a tremendous difference to the British farmer because the British farmer is more efficient, because he’s better organized’.

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16. Girl Talk 1

5

10

18

27

34

78

A- ‘Susie Hush, who may or may not do damage with her new comedy series on ITV which is seven halfhour comedies written by seven women is now about to be interrogated by Bernard Falk. ‘Girl Talk’ the series is called’. B- ‘It’s… er, it’s a series of comedy halfhour programmes written by seven women. I think it’s a systematic, extraordinarily funny attack upon men. How would you describe your series, Susie?’ C- ‘I wouldn’t describe it like that, it’s not meant to be an attack at all. What it’s meant to be is a kind of answer after all these years to all the people who say ‘women aren’t funny’, er…, where are the women stand up comics, etc., etc.? They are there; they are working. But in a more general sense, women are actually extremely funny; particularly when they are talking to each other. And their humour, I think, is extremely brave, extremely courageous. Women can describe to you the most appalling lives, the most appalling kind of trials and traumas and make it amusing, and I think that’s a knack that a lot of women have, and a lot of men maybe don’t. So I just thought it was time this hit the screen. I’m also very angry about…, well, you listen to men stand-up comics and they tell jokes about women who are greedy, rapacious, appalling, manipulative and… (laugh) we are so conditioned, because the ruling norm of society is dictated by men, that we laugh as well. And I laugh as well’. B- ‘Yeah’ C- ‘After all these years I just got angry about it’ B- ‘Yeah, yeah’. C- ‘and it just annoys me now and I think it’s time we had the right of reply. It’s a very minor right of reply, I mean it’s three halfhours in a welter of hours of television which predominantly belong to men; particularly in humour’. B- ‘I rang up a pal of mine who’s a stand up comic and said ‘do you know any father-in-law gags?’ and he couldn’t think of one and he said, even if he did think of one, they are not funny’.

17. Do feminists fall in love? 1

7

A- ‘Do feminists fall in love as well?’ B- ‘Oh, I’m, sure yes. I don’t think feminists are any more immune to it than anybody else, I think it’s fantastically strong. I mean It’s not really very surprising you think everything around you, you turn on the radio and pick up any ordinary women’s magazine, the message that’s being put out is that, you know, if you find the right person, then you’ll be happy; and if you don’t find the right person you won’t be; and it’s one person and it should be forever. I mean all those myths that run so strongly through our society’.

12

A- ‘Do you think there’s anyway around that then, given that people’s emotions are obviously things that they can’t really contend with, once something’s got started which is the feel… the kinds of feelings that people have when they’re falling in love, is it likely that men and women will be able to have relationships in any other way?’

18

B- ‘Well obviously, I think that part of the problem is That in lots of relationships, the men really do have more power. That they’re more likely to have better paid jobs; and the whole society would sanction the couple moving where the husband’s job was, and his life coming first, and the woman sort of… All those kind of things which I think actually make it very difficult for relationships between men and women to work, anyway. But I suppose, I think that we’ve got to start taking apart the idea of romance and you have to start thinking about all the different elements in like…, for instance, if you fancy somebody, does that mean that they’re really going to be somebody you want to be with in your old age? And of course when you start thinking about it, you think there’s no test at all of whether somebody… you’re actually going to like somebody if they make you kind of fluttery across a dance floor. There is no guarantee you could actually have a conversation of more than ten words with’.

26

79

18. Tranquillisers 1

6

12

18

25

29

80

A- ‘Ah, good morning, Mrs. Robinson! And sit… sit down, won’t you?’ B- ‘Thank you, doctor. I’m… sorry to take up your time, but… | I’m getting into a state again’. A- ‘Oh…!’ B- ‘It’s a sort of thing… (sigh)… I can’t cope. I just feel that my job is too much for me. It’s not I’m depressed. I get tense, all worked up. It’s not just the job. I’m the same with the children: I… get so cross with them…’ A- ‘Yeah, I see’. B- ‘And with my husband, too. I…’ (keeps talking) A- (thinking) Yes, I see only too well. But what can a doctor do to put right a life that’s just a bit of a mess? We’ve tried everything over the years: investigations, referrals to specialists, marriage guidance, the lot. I suppose what it comes down to is that, every now and again, she wants to come into the surgery, just pour it all out, and then walk out with the prescription for a tranquilliser. B- ‘So, what I was wondering, doctor, was… well, could you prescribe something for me? Just something to help me till I feel a bit better’. A- (thinking) Here we go… She wants a tranquilliser. And it is justified I suppose, if it’ll help her through the next few weeks. OK, then: Valium. (Talking) ‘Here you are then, Mrs. Robinson. It’s… er… Valium’. B- ‘Ah! Thank you, doctor!. Several of my friends are on it’. A- DOCTOR (thinking): I’ll bet they are!. B- ‘…and someone at work sometimes gives me hers; they make me feel much better’. C- ‘Well, yes. And last year family doctors wrote out more than three million prescriptions for Valium alone, to make people like Mrs. R. feel better. And overall, fortytwo million prescriptions were written out for tranquillisers and sedatives at a cost of more than forty million pounds. Taking aside the question of the need for such widespread prescribing of mood altering drugs, what about their cost?’ Now when a drug is first produced, the patent laws give its manufacturer the exclusive right to make and market it for a number of years; no one else can produce it or use its brand name.

IV. Transcription systems for English

81

82

7.1 Quantitative models

7.1.1 ‘EPD’ System (D. Jones, 1917–1977) Main characteristics • •

•

•

•

A simple transcription: it uses a maximum number of 11 different vowel symbols. Allophonic in the way the first elements of diphthongs are represented; also in the use of /Q/ and /A˘/ – although Jones tried to reach a compromise between a ‘broad’ and a ‘narrow’ notation. It gives priority to quantity in the representation of monophthongs (use of a chroneme (˘)) a view based on the idea that “length constitutes the fundamental difference, and that the accompanying quality difference is incidental” (Jones 1956: 342) Although the system has been in use since the invention of the International Phonetic Alphabet, before Jones joined it, it was known due to the work of Jones who from 1912 to 1918 used it in a systematic way in three of his most influential publications: – Phonetics Readings in English, 1912. – English Pronouncing Dictionary, 1917 until the twelfth edition (known for that reason as ‘EPD Transcription’). – An Outline of English Phonetics, 1918. It was also the system used by O’Connor in his Phonetic Drill Reader (1973) as well as in Advanced Phonetic Reader (1971), Cambridge University Press.

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Fig. 5. EPD Model: BritE monophthongs.

Fig. 6. EPD Model: BritE diphthongs.

a. Read the text below and put it into ordinary spelling

D? 'kɑːf ?nd D? 'kzp ‖ 'lɔːd 'es wǝz 'gouiŋ ǝ'lɔŋ Dǝ 'striːt ǝv ǝ 'vilidʒ wʌn 'dei | wen hiː 'met Dǝ 'sʌn ǝv wʌn ǝv Dǝ 'faːmǝz ɔn hiz is'teit, ‖ Dǝ 'bɔi wǝz traiiŋ tǝ 'liːd ǝn ɔbstinit kɑːf witʃ wǝz 'strʌgliŋ 'veri 'vaiǝlǝntli. ‖ wai dount juː 'teik ɔːf jɔː 'kæp?̛ | sed lɔːd 'es ‖ ai 'wil mi'lɔːd, | sed Dǝ 'boi | if jɔː 'lɔːdʃip 'ounli 'hould mai 'kɑːf ‖. (D. Jones, 1955: 1955:6) 6)

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b. Transcribe the following words using EPD symbols before ……… the ……… upstairs ……… mutton ……… shirt ………

aloud ……… cook ……… up ……… heard ……… away ………

admitted ……… opening ……… acted ……… table ……… gentlemen ………

stranger ……… hands ……… carrying ……… evening ……… he ………

company ……… close ……… there ……… anything ……… ancient ………

seeing ……… tower ……… weeks ……… rain ……… vehicle ………

saying ……… sure ……… screamed ……… feeling ……… damage ………

o’clock ……… mature ……… mister ……… does ……… occasion ………

word ……… official ……… one ……… reply ……… angry ………

wasn’t ……… there ……… fire ……… back ……… street ………

way ……… front ……… occupied ……… doing ……… point ………

rather ……… quite ……… happen ……… accurately ……… sharing ………

c. Restore the accentual marks in this text ‖ ou gou ǝ wei gou ǝ wei.‖ gou houm.‖ ǝn ai tʃeist im aut.‖ ai wɔntid tǝ bi ʌnhæpi bai mǝself.‖ ai wɔntid tǝ griːf fǝ pǝpɑː.‖ ðæp mæn sʌfǝñ ǝ lɔt.‖ iːvn mɔː‖ ðǝn mai pɔː mʌðǝr | uː hæt tǝ wɔtʃ im sʌfǝ.‖ fǝ ʃiː | hæd sevn tʃildrǝn tǝ wʌri ǝ baut | ǝz wel, ‖ ǝn tʃildrǝn ǝr ǝ djuːti.‖ werǝz ǝ broukn-hɑːtid mæn wið ǝ griːvns | iz ounli ǝ laiǝbilǝti,‖ ǝ njuːsns. =



85

=

=

d. Write the words which the following phonetic transcriptions belong to  /'spouk/ …………. /'ɑːskt/ ………… /'wimin/ ………. /'stud/ ……….. /'sʌdņli/………..

/'rou/……… /in'diːd/………… /'mju:zik/………. /'kwikli/ ………… /'lɑːst/………..

/'taept/………… /bi'lou/…………. /'hɑːps/ ………. /'kʌbəd/………. /'neiʃņ/………….

/'sed/………. /'mʌtʃ/……… /'gəːlz/……… /'məːdə/…… /'dʒʌdʒ/……..

e. Put this text in ordinary spelling ‖ it wǝz ǝ 'wɔːm 'sʌmǝri 'iːvniŋ ‖ ǝn wen ai 'gɔt tǝ ðǝ 'telifoun-bɔks | ðeǝ wǝr ǝ 'kʌpl ǝv 'tʃæps | 'stændiŋ 'kwait kǝn'tentidli aut'said it, ‖ wail ǝ'wumǝn 'insaid | 'stɛǝd 'ræptli bifɔː hǝː ‖ houldiŋ ðiː instrǝmǝnt tǝ hǝːr 'iǝ. ‖ ai 'dʒɔind ðǝm | ǝn wiː 'strʌk ʌp 'kwait ǝ 'frendʃip, | 'djuǝriŋ ðouz lɔŋ minits ɔn ðǝ peivmǝnt ‖. (O’Connor 1971: 14) (J.D. O’Connor, Advanced Phonetic Reader (p. 14). C.U.P.)

f. Transcribe the words below council ………… wholly ………… disciplinary ………… lecture …………

mutual ………… window ………… humour ………… partiality …………

grandfather ………… personal ………… nature ………… dessert …………

firmly ………… righteous ………… remove ………… numerous …………

formerly ………… subtlety ………… remaining ………… absolutely …………

production ………… thieves ………… particular ………… further …………

perfect ………… officials ………… utterance ………… legislature …………

desire ………… peeling ………… policy ………… murmur …………

sometimes ………… purifying ………… committee ………… immediately …………

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g. Transcribe the words in bold type (note they have different phonetic realizations depending on their position in the sentence) 1. What have you been looking at /. . . . / ? 2. Haven’t they been written to /. . . . . /? 3. From /. . . . . / which shop did you get the mirror? 4. We’ll try to find out how much it’ll be sold for /. . . . / 5. This is out of /. . . . / question 6. That’s for /. . . . / her father 7. Meet me at /. . . . / the station 8. I think so /. . . . /. 9. To /. . . / be or not to /. . . / be. That’s the question. 10. She looked so /. . . / beautiful! 11. There’s nothing to /. . . / object to /. . . / 12. When will she coming?. At /. . . / nine, I think. 13. What do you want me for /. . . . / 14. Many of /. . . / them will be at /. . . / the party from /. . . . . / two to /. . . / six. 15. She feels very nervous at /. . . / times.

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7.1.1.1 Phonetic Texts (EPD MODEL) The corresponding ordinary spelling on pages 63–80. Comments to the sample transcriptions on pages 191 to 221.

1. D´ »weD´ »fç˘kAst 1

. ‖ æn ˈnau ðə ˈweðə ˈfɔːkɑːst ‖ ən ai ˈhoup ju inˈdʒ ən ðə ai ˈhoup inˈdʒ ɔid ɔid ˈsʌmə ju ˈjestədei ǀ ðə ˈsʌmə ˈjestədei ǀ biˈkɔz it ˈmei nɔt ˈlɑːst ˈmʌtʃ ˈlɔŋgə ‖ ˈiŋglənd ən ˈweilz wil ˈstɑːt ˈdrai ən ˈsʌni ǀ bət ˈklaudz wil inˈkriːs in ðə ˈwest ðis ˈmɔːniŋ ǀ wið ˈrein in ˈpleisiz ˈsprediŋ ˈiːst tu ˈɔːl ˈpɑːts bai ðis ˈiːvniŋ ‖ ˈreinfɔːl əˈmaunts wil bi ˈveri ˈsmɔːl in ðə ˈsauθ | ˈmeni ˈpleisiz ˈsteiiŋ ˈdrai | bət ðɛǝ ˈmei bi səm ˈheviər ˈautbreiks | in ˈnɔːθwest ˈiŋglənd ‖

10

. ˈrein ˈhevi in ˈpleisiz in Èwestn ˈwestņÇ ˈskɔtlənd ən ˈnɔːðən ˈaiələnd | wil ˈspred tu ˈiːstən ˈskɔtlənd ðis ˈmɔːniŋ | ˈfɔloud bai ˈbraitə ˈweðə wið ˈʃauəz ‖ ˈtemprətʃəz | ˈsimələ tuː | ɔːr ə Èlitl ˈlitl̩Ç ˈhaiə ðən ˈjestədeiz ‖ ˈwindz | ˈlait ɔː ˈmɔdərət ˈsʌðəli ‖

15

. ði ˈautluk ‖ ə ˈfjuː ˈʃauəz in ðə ˈnɔːθ ət ˈfǝːst ‖ bət ˈɔːl ˈpleisiz biˈkʌmiŋ ˈdrai | ˈsʌni ənd ˈwɔːm | ɔːlˈðou ˈleitə səm ˈautbreiks əv ˈhevi ˈrein mei ˈspred tu ˈsʌðən ˈdistrikts ‖

88

2.

«√nim»plçim´nt

1

. ‖ də ˈstɑːk ˈfækt ðət ˌʌnimˈplɔimənt in ˈbritnֽ| « həz ˈnau ˈriːtʃt | ˈwʌn ˈpɔint ˈnain ˈmiljən | ə ˈlevl̩« ˈnɔt ˈsiːn sins ðə ˈmid ˈθǝːtiz | prəˈvaidz ðis ˈmɔːniŋz ˈpeipəz wið ðɛǝ ˈmein ˈθiːm ‖

5

ðə ˈdeili ˈdeili ikˈspres ikˈspres ˈsʌmz ˈsʌmz itit ˈʌp ˈʌp ‖‖ əə ˈdʒɔb ˈdʒɔb ˈlɔst ˈlɔst ˈevri ˈevri ˈtwenti ˈtwenti ˈsekəndz ˈsekəndz ‖‖ .. ðə ən ðə ˈmirə ˈfɔːkɑːsts ðət ˈbai ˈkrisməs | ˈtuː ˈmiljən wil bi: ˈaut əv ˈwǝːk | iˈnʌf tə ˈfɔːm ə ˈdoul ˈkjuː ˈstretʃiŋ frəm ˈlændz ˈend tə ˈdʒɔn əˈgrouts ‖ ðə ˈtaimz ˈsez ðə ˈfigəz ər ˈɔːl ðə ˈwǝːs | fə ˈhæviŋ aʊtˈpeist ðə ˈmoust pesǝˈmistik ˈfɔːkɑːsts ‖

12

ðə ˈdeili ˈdeili ˈstɑː ˈstɑː| |ˈjuːziz ˈjuːziz ðəðə ˈpiktʃər ˈpiktʃər əvəv ˈjʌŋ ˈjʌŋˈstiːv ˈstiːv ouˈniːl ouˈniːl | | 2.2.ðə tuːˈiləstreit ˈiləstreit ðə ðə ˈtrædʒədi ˈtrædʒədi ‖‖ tuː siksˈtiːn ənd ə ˈhɑːf | ənd iz ˈdʒɔb ˈprɔspekts ə ˈnil ‖ hiːz ˌÈsikstiùn «n iz ðə ˈmeil riˈpiːts ˈmisiz ˈθætʃəz ˌdekləˈreiʃņ« | ðət ðɛǝ kən biː ˈnou ˈmirəkl̩« ˈkjuə ‖ ˈɔːl ðə ˈpeipəz əˈgriː | ðə ˈfigəz ə ˈʃɔkiŋ ‖ bət əˈpinjənz əˈbaut ˈhuːz ət ˈfɔːlt | ən ˈwɔt ʃud bi ˈdʌn | ˈvɛǝri ‖

20

0. ˈteligrɑːf ˈsez ˈsez its its ðəðəˈbitə ˈbitə ˈhɑːvist ˈhɑːvist| | . ðəðə ˈteligrɑːf əv ðə ˈfɔliz əv aə ˈmɑːstəz ouvə ˈmeni ˈjiəz | ænd it ˈkɔːlz ɔn ðə ˈgʌvənmənt | tə ˈstænd ˈfǝːm ɔn its ˈprezņt ˈpɔlǝsiz ‖ « ðə ˈtaimz meinˈteinz ðət ˈounli ə ˈpɔlǝsi | ˈeimd ət ˈbriŋiŋ ˈdaun inˈfleiʃṇ« | wil prəˈvaid ə lɔŋ ˈtǝːm kjuə fər ˌʌnimˈplɔimənt ‖ ən ðɛǝz ə ˈsimǝlə ˈsentimənt | in ðə ˈsʌn ‖

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3. »di˘»nQSn« ´laizd »ind´striz 1

. A- ‖ ˈnau ‖ ˈwɔt həv ðə ˈfɔlouiŋ ˈindəstriz in ˈkɔmən ‖ ðə ˈreilweiz | ˈroud ˈpæsindʒə ˈtrænspɔːt | iˌlekˈtrisǝti dʒenəˈreiʃņ« | ðə ˈdɔks | ðə ˈpoust | ˈsivl̩« ˌeiviˈeiʃņ… ‖ « ði ˈ ɑːnsə ‖ ðɛǝr ˈɔːl ˈbiːiŋ ˌdiːˈnæʃņəlaizd ˈraund ði ˈedʒiz ‖ «

5

.. təˈdei təˈdeiǀ ǀwiːl wiːl ˈwitnəs ˈwitnəs ðə ðə ˈθǝːd ˈθǝːd ˈri:diŋ ˈri:diŋ in in ðə ðə ˈkɔmənz ˈkɔmənz|| əv ðə ˈsivl̩« ˌeiviˈeiʃņ« ˈbil ǀ witʃ | ˈwen it biˈkʌmz ən ˈækt | wil pǝˈmit ðə ˈseil tə ðə ˈpʌblik əv ˈʃɛǝz ɪn ˈbritiʃ ˈɛǝweiz ‖ ði ˈɛǝlain wil biˈkʌm ˈbritiʃ ˈɛǝweiz ˈlimitid ‖ ˈɑːθə ˈriːd | ˈɛǝ ˌkɔrəˈspɔndənt fə ðə ˈtaimz | ˈtould ǀ ˈniːl ˈberǝt ǀ ˈhau ðə ˈgʌvņmənt inˈtendz tə ˈgou əbaut ˈðis ‖ «

11

1.B-‖‖ði ði aiˈdiər aiˈdiər iziz ðǝt ðǝt itit wil wil biˈkʌm biˈkʌm əə ˈpraivit ˈpraivit ˈkʌmpəni ˈkʌmpəni|| 1.Bwið ˈhouldiŋ ˈhʌndrəd ˈsent ˈʃɛǝz ˈtǝːm ‖ pəpə ˈsent əvəv ðəðə ˈʃɛǝz in in ðəðə ˈ ˈʃɔːt wið ðə ðə ˈgʌvņmənt ˈgʌvņmənt ˈhouldiŋ ˈwʌn ˈwʌn ˈhʌndrəd pə ˈsent əv ðə ˈʃɛǝz in ðə ˈ ´ ˈhʌndrəd « ˈʃɔːt ˈtǝːm ‖ ən ˈðen | ət ə ˈdeit witʃ iz tə biː əˈnaunst | ən ˈðen | ət ə ˈdeit witʃ iz tə biː əˈnaunst | ðə ˈgʌvṇmənt wil ˈɔːfər ə maiˈnɔrǝti ‖ « priˈzjuːməbli əˈbaut ˈfɔːti ˈnain pə ˈsent əv ðə ˈʃɛǝz ɔn ði ˈoupņ« ˈmɑːkit | fɔːr ˈenibɔdi | ˈmembəz əv ðə ˈpʌblik ɔː ˌkɔːpəˈreiʃņz tə ˈbai ‖ «

17

. A-‖ 7. A-‖ˈhæz ˈhæz ðəðə ˈgʌvņmənt ˈgʌvņməntˈsed ˈsedˈhau ˈhauˈðis ˈðisˈseil ˈseilizizˈgouiŋ ˈgouiŋtətəˈteik ˈteikˈpleis ˈpleis‖ ‖ ˈhau ˈmeni ˈʃɛǝz ˈiːtʃ ˌindiˈvidjuəl ˈpǝːtʃisə wil bi əˈlaud tə ˈbai | fər igˈzɑːmpl̩« ‖ capl̩

90

4. »hç˘ti«k√ltS´ 1

1. Atə ˈdʒein ˈouvə ðə ˈpɑːst ˈjiər ɔː ˈsou | 1A- ‖ ˈnau | ˈlisņiŋ « ɔn ðə ˈsʌbdʒikt əv ˈgɑːdņiŋ | « ˈaiv ˈfaund hə sistǝˈmætik kæmˈpein əv diˈstrʌkʃņ« | əv ˈɔːl ði ikˈskjuːsiz aiv ˈkɛǝfǝli ˈnǝːtʃəd | fə ˈnɔt duːiŋ ˈdʒɔbz əˈraund ðə ˈgɑːdņ« | rɑːðə | disˈteistfl̩« ənd ˈhǝːtfl̩« ‖

6

. hauˈevə 6. hauˈevə||ai ai ˈθɔːt ˈθɔːt ðət ðət ˈspreiiŋ ˈspreiiŋ ˈʃrʌbz ˈʃrʌbz fə fəˈgriːnflai ˈgriːnflaiǀ ǀ wəz əə ˈpriti ˈpriti ˈseif ˈseif təˈbuː təˈbuː ‖‖ wəz it inˈvɔlvd ˈdiːliŋ wið ˈdeindʒərəs ˈpɔizņz « | witʃ ai mait ˈspil ɔn maiˈself ‖

. ititinˈvɔlvd inˈvɔlvdˈwɛǝriŋ ˈwɛǝriŋˈrʌbə ˈrʌbəˈglʌvz ˈglʌvz| | 10. 10. witʃ t « tfəfəˈmi witʃwud wudˈmeik ˈmeikititˈveri ˈveriˈdifikl̩ ˈdifikl̩ ˈmiː tə ˈhændl̩« ˈθiŋz | ən | ˈeniwei | ai ˈkudṇt faind ðə ˈgriːnflai | « ˈiːvn« if ai ˈwɔntid tuː ‖ ai ˈhæv ə ˈnɑːsti ˈfiːliŋ ˈðou ǀ ðət ˈfilis | ðə ˈfiəlis ˌhɔːtiˈkʌltʃǝrəlist | iz ˈdʒʌst əˈbaut tə ˈput ˈpeid tu əˈnʌðə ˈkʌmftəbl̩« ˈfikʃņ« ‖

16 16.B-B- ‖ ˈai ˈæm ǀ bikəz juː ˈnou | ˈspreiiŋ iz ˈriəli ˈwʌn əv ðouz ˈdʒɔbz ðət izṇt ˈniəli əz ˈdifikl̩« t əz it ˈsiːmz ‖ ai diˈskʌvəd ˈðæt |ˈwen ai ˈwɔtʃt ən ikˈsperimənt in ˈspreiiŋ | ˈdʌn ˈriːsņtli bai ə ˈblaind ˈgɑːdnə | wið ðə ˈhelp əv ə ˈsaitid ˈwʌn | « huːz ˈɔːlsou ə ˈregjulə ˈtjuːtər ət ði ˈænjuːəl ˈgɑːdņiŋ ˈwiːkend ˈkɔːsiz ‖ «

21 21. . ˈwɔt ˈwɔtjuːjuːˈniːd ˈniːd| iz | izˈeni ˈeniˈkaind ˈkaindəvəvˈspreiə ˈspreiə| | ðət juː kən ˈhould wið ˈwʌn ˈhænd | bikəz ði ˈʌðə ˈhænd iz ˈniːdid tə ˈgaid juː əˈraund ðə ˈbuʃ ɔː ˈʃrʌb ‖

91

5. »√nj´nz v´˘s´s S´»lçts 1

6

A ‖ ˈnau ǀ tu ə ˈbit əv ˈkukiŋ ‖ 1. AAðəz ˈskɛǝsli ə ˈseivəri ˈresǝpi ðət ˈdʌzņt ˈkɔːl « ən ði ˈʌnjən ən its ˈklous ˈrelətivz ǀ laik ðə ɑːr əˈmʌŋ ði ˈouldǝst ˈvedʒtəbļz ǀ əˈpærəntli « ən ˈðɛǝr ɑːr ˈɔːl ˈsɔːts əv trəˈdiʃņz əˈtætʃt tə «

fər ə ˈlitl̩« ˈʌnjən ‖ ˈliːk | ˈnoun tu əs ‖ ðəm ‖

. ˈʌnjənz in 6. ˈʌnjənz wə wə ˈgivņ ˈgivņ əz ˈwediŋ ˈwediŋ ˈprezņts ˈprezņts in ˈeinʃņt ˈeinʃņt ˈgriːs ‖‖ « əz « « ˈgriːs ˈstreindʒ ‖‖ ˈstreindʒ ˈwediŋ ˈwediŋ ˈprezņts ˈprezņts « bət əˈpærəntli ðei wə biˈliːvd tə ˈhæv ˌæfrəˈdiziæk ˈkwɔlǝtiz ‖ ən ˈliːks əv biːn əˈraund sins ðə ˈtaimz əv ðə ˈfɛǝrouz ‖

. ˈpæt 10 10. ˈpætˈteiləz ˈteiləzbin binˈtɔːkiŋ ˈtɔːkiŋˈʌnjənz ˈʌnjənzwið wiðˈhoum ˈhoumiˈkɔnəmist iˈkɔnəmistǀ ˈkeit ǀ ˈkeitˈhæstrɔp ˈhæstrɔp‖ ‖ æn ænʃi ʃibiˈgæn biˈgænbai baiˈɑːskiŋ ˈɑːskiŋ| |ˈwɔt ˈwɔtˈɑːˈɑːðəðəˈmembəz ˈmembəzəvəvðiðiˈʌnjən ˈʌnjənˈfæmǝli ˈfæmǝli‖ ‖

ˈou| |ˈwiə ˈwiə ˈtɔːkiŋ ˈtɔːkiŋ əˈbaut əˈbaut ˈʌnjənz ˈʌnjənz inin ˈɔːl ˈɔːl its its ˌvɛǝriˈeiʃņz ˌvɛǝriˈeiʃņz BB-‖-‖ˈou « ‖‖ liːks | | ˈgɑːlik ˈgɑːlik | | ˈtʃaivz ˈtʃaivz | | ˈspriŋ ˈspriŋ ˈʌnjənz ˈʌnjənz | |ən ən əv əv ˈkɔːs ˈkɔːs | | ʃəˈlɔts ʃəˈlɔts ‖‖ ˈliːks ən ðə ˌvɛǝriˈeiʃņ« əv ðə ˈspriŋ ˈʌnjən ðət ˈluks ǝ ˈbit laik ə ʃəˈlɔt | witʃ iz ə ˈwelʃ ʌnjən ǀ witʃ iz ˈwel ˈwǝːθ ˈhæviŋ in ðə ˈgɑːdņ« | bikəz ˈðæts ə pəˈreniəl ‖

17 17.AA- ‖ ˈwɔts ðə ˈdifrəns biˈtwiːn ə ʃəˈlɔt ənd ən ˈʌnjən ‖ BB- ‖ ˈwel | ə ʃəˈlɔt ˈgrouz in ˈklʌmps təˈgeðə | ən ˈspriŋz ˈaut frəm ðə ˈsaid frəm ə ˈsentrəl ˈbʌlb ‖ ən ðɛǝ ˈdʒenərl̩« i ˈjuːzd in ðis ˈkʌntri fə ˈpikliŋ | ən ðei ˈʃudņt biː kənˈfjuːzd wið ðə ˈlitl̩« beibi ˈʌnjən ‖ «

AA- ‖ ṃ« ‖ ai ˈθiŋk ˈmeni ˈpiːpl̩« ˈduː in ˈfækt ‖ 23 23. B-B- ‖ ˈðæts ˈrait ‖ beibi ˈʌnjənz ə nɔt ɔːtəˈmætikli ʃəˈlɔts ‖ ən ˈpikliŋ ˈʌnjənz ɑː ˈjuːʒuəli ə ˈnais | ˈraund ǀ ˈʃeip | ðət ˈɑːr ə ˈsmɔːl vəˈraiəti witʃ əv bin ˈgroun in ˈrɑːðə ˈpɔː ˈsɔil | æn ˈsou ðət ðei ˈdount ˈgrou ˈintə ðə ˈbig ˈbʌlbəs ˈwʌnz | ðət wi ˈwɔnt in ðə ˈmʌtʃ ǀ ju ˈnou ǀ ˈbigə ˈkukiŋ ˈʌnjən ‖ ðə ʃəˈlɔts ə ˈmʌtʃ ˈmaildə | ˈmʌtʃ ˈmɔː ˈdelikət | ən ˈmʌtʃ ˈmɔː ˈsuːtəbl̩« fə ˈdelikət ˈfleivəd ˈfuːdz ‖

92

6. Di ´»merik´n ik»spi´ri´ns 1

1. ‖…ˈwel | ˈnou ‖ ði əˈmerikənz hæv ˈdifrņt « təˈbuːz tu ˈʌs ‖ ai ˈmiːn ǀ ðɛǝ ˈmɔː ˈfraitņd ˈstil əv ˈθiŋz | « wiə ˈnɔt sou ˈfraitņd ˈɔf ˈhiə ‖ « bət… | ˈən…| əː…| bət…ǀ ai ˈmiːn ǀ ðei ˈdount laik ˈdʒouks əˈbaut ˈdeθ in ə ˈwɛǝz ˈwiː ˈrɑːðə ˈrevl̩ ‖ n əˈmerikə | ˈwɛǝz ˈwiː ˈrɑːðə ˈrevl̩« ‖ ˈstɔːriz əˈbaut ˈʌndəteikəz əv ˈɔːlweiz ˈgɔn ˈdaun ǀ əˈtriːt in ˈbritņ« ‖ ai ˈdount ˈnou ˈwai it ˈiz ‖

8

. ˈæn… 8. ˈæn…| |ǝː… ǝː…| |ðei ðei ˈdount ˈdount| |ˈdount ˈdountˈlaik ˈlaik ˈsekʃuǝl ˈsekʃuǝl ˈrefrənsiz ˈrefrənsizininðəðəˈseim ˈseimˈwei ˈwei‖ ‖ ðei ðei ˈdount ˈdount ˈmaind ˈmaind ˈgeinəs ˈgeinəs | | bət bət itit ˈhæs ˈhæs tətə ˈbiː ˈbiː inin ə ə ˈmɔː ˈmɔːˈsʌtl̩ ˈsʌtl̩« wei wei‖ ‖ ən ðɛǝ wəz ˈsʌtʃ ə ˈgruːp əv ˈtæləntid pəˈfɔːməz | ənd sou ˈmeni əv ˈʌs ˈraitəz ‖ ðə wə »fifti˘n ˌfifˈtiːn əv əs ˈɑːftər ˈɔːl | ˈwækiŋ ˈaut ðiːz ˈʃouz ǀ ˌfifˈtiːn »fifti˘n ˈminits ə ˈwiːk | əː…| ðət it wəz | ai ˈmiːn | juː ˈhæd tə biː ə tekˈniʃņ« tə ˈwǝːk ˈðɛə | bət ai ˈræðǝ ˈlaikt it ‖

15 15. . Di ðəðəprəˈdjuːsə prəˈdjuːsəˈdidņ ˈdidņ ˈlaikəsəs| |tətəˈgou ˈgouˈaut ˈauttətəˈlʌntʃ ˈlʌntʃ‖ ‖ « ˈlaik hiː hiːˈjuːst ˈjuːsttətəˈsend ˈsendˈfuːd ˈfuːdˈinˈin| |ənənðəðəˈraitəz ˈraitəz| |ititwəz wəzˈlaik ˈlaik ə ˈfæktri ˈfɑːm ‖ ænd ai ˈsed | ai ˈhævņ« ˈkʌm ˈeit ˈθauzņ« ˈmailz ˈnɔt tə ˈhæv ˈlʌntʃ | ai ˈsed tə ðəm | wið ðis ˈterəbl̩« ˈbritiʃ ˈvɔis ‖ ən ðei ˈjuːst | |tətə ˈʃaut ˈʃaut ǀ ǀwen wen ˈai ˈai ˈkeim ˈkeim intə intə ðə ðə ˈbildiŋ ˈbildiŋ inin ðə ðə ˈmɔːniŋ | ðə ˈbritiʃ ə ˈkʌmiŋ ‖ ðə ˈbritiʃ ə ˈkʌmiŋ ‖

93

7. »kçm´di »raitiN A1 1. AA ‖ ˈjɔː ǀ ˈjɔː ˈfɔːtei ǀ ˈɔbviəsli ǀ wəz ˈraitiŋ fər ǀ ˈʌðə ˈpiːpl̩« | ən iˈspeʃl̩« i fə ˈkenəθ ˈhɔːn ‖ in | ˈfǝːst əv ˈɔːl | biˈjɔnd ˈɑː ˈken | ən ˈðen ǀ ˈraund ðə ˈhɔːn ‖ B- ‖ jɛə ‖ A- ‖ nau... ǀ juː ˈrout wið ˈmɑːti ˈfeldmən ˈðæt ˈsekənd ˈsiəriːz | ˈdidṇt juː ‖ « B- ‖ jɛə ‖ A- ‖ ˈiz it ˈæktʃuǝli ə ˈgud aiˈdiə fə ˈkɔmədi ˈraitiŋ | tə ˈbauns aiˈdiəz ˈɔf ˈsʌmbədi ˈels ‖

9 9. BB-‖ ˈjes ‖ ai ˈθiŋk its iˈsenʃl̩« ‖

ðə ˈhoul ˈpɔint əˈbaut ˈhjuːmər iz ðət ǀ ʌnˈles juː ˈget ə ˈlɑːf ǀ juː ˈhævṇt ˈmeid ə ˈdʒouk ‖ ai ˈmiːn | if juː ˈsei ˈsʌmθiŋ « ən ˈnoubədi ˈlɑːfs | ˈðæts ˈnɔt ə ˈdʒouk | ˈðæts ˈdʒʌst ə ˈsteitmənt ‖ ˈæn ði ədˈvɑːntidʒ əv ˈraitiŋ in ˈpɑːtnəʃip ǀ iz ðət ði ˈʌðə ˈpɑːtnə | huːˈevər iz ˈkrækiŋ ðə ˈdʒouk | ði ˈʌðə ˈwʌn wil ˈgou | ˈhei | ˈjes | ˈðæts ˈfʌni | ai kwait ˈlaik ˈðæt ‖

16 16. ˈʌðəˈwǝːdz ˈwǝːdz| |ˈjɔː ˈjɔːˈgetiŋ ˈgetiŋˈsʌm ˈsʌmˈwɔ:mθ ˈwɔ:mθ| |ˈsʌm ˈsʌmriˈspɔns riˈspɔnsˈbæk ˈbæk‖ ‖ . ininˈʌðə jU´rrˈeditiŋ ˈeditiŋjɔːˈself jɔːˈself| | ən ˈɔːlsou ǀ jɔːr ˈputiŋˈeni ˈeniould ouldˈgɑːbidʒ təˈgeðə | sou ðət jɔː ˈnɔtɔtˈputiŋ jɔː ˈriəli ˈwǝːkɪŋ it ˈaut ‖ ai ˈmiːn ǀ ˈmɑːti ˈfeldmənz ǀ ə ˈmoust inˈtelidʒənt ˈmæn | ə ˈgiftid ˈmæn in ˈevri ˈwei ‖ ˈaim ˈnɔt ǀ kəmˈpliːtli ˈstjuːpid | təˈgeðə ǀ wiː wǝːkt ‖

. ənənˈmɑːti ǀ its 23 23. ˈmɑːtiˈsed ˈsed ǀ itsˈnɔt ˈnɔtˈʌsˈʌsðəts ðətsˈraitiŋ ˈraitiŋ| | its ə ˈnjuː ˈkriːtʃə ˈkɔːld ˈbæri ˈfeldmən ‖ ə ǀ ˈʃæl wi ˈkɔːl im ˈmɑːti ˈtuk ‖ A-‖ ˈmɑːti ˈtuk | ˈjeə ‖ B-‖ igˈzæktli ‖ ən ˈhiː did ðə ˈraitiŋ ‖ bət ˈraund ðə ˈhɔːn wəz ˈwʌndəfl̩ f l« | bikəz it ˈsaundz ˈlaik ˈevri ˈʃou biz ˈθiŋ juːv ˈevə ˈhǝːd ‖ bət its ˈæbsļuːtli ˈtruː | ðɛǝ wǝz ˈnevər ə ˈhɑːʃ ˈwǝːd ‖ «

94

8. »kçntQkt »lenziz 1

5

. A- ‖ ˈtʃildrən uː ˈhæf tə ˈwɛǝ ˈspektəkl̩« z | kən ˈɔfņ« ˈget ˈsiŋgl̩«d ˈaut | fə ˈrʌf ˈtriːtmənt frəm ðɛǝ ˈklɑːsmeits ‖ ðə ˈwʌnz huː iˈskeip ˈlaitli ǀ kən ˈstil biː ˈsædl̩« d wið ˈnikneimz | ˈlaik... ǀ ˈfɔːr ˈaiz ǀ ɔː ˈspeks ǀ ɔːr ˈiːvņ« ˈwǝːs ‖ . ˈlɔːd ˈsiːgļ« ˈreizd ðə ˈsʌbdʒikt əv ˈsensǝtiv ˈtʃildrən in ðis pəˈziʃņ« ǀ huː ˈmait ˈbenǝfit ǀ if ˈkɔntækt ˈlenziz wər əˈveiləbl̩« ɔn priˈskripʃņ« | fə ˌsaikəˈlɔdʒikl̩« ˈriːzņz ‖ « ət ðə ˈmoumənt ǀ juː kən ˈounli ˈget ðəm ɔn ðə ˈnæʃņl̩ « « ˈhelθ | ət ˈsiks paundz ˈtwenti ˈfaiv ə ˈtaim ǀ fə ˈklinikl̩« ˈriːzņz ‖ «

10

0.BB- ‖ ˈmeni ˈtʃildrən | ə ˈveri... ǀ əˈwɛǝ ǀ ðət ðei ˈsiːm tə bi ˈrɑːðə »difrnt ˈdifrņ « « frəm ðɛǝ ˈfelou... ǀ ˈstjuːdņts in ðə ˈklɑːs ‖ « ˈmeni əv ðəm ˈfiːl ˌʃɔːtˈsaitid | ðei ˈteik ə... ǀ ˈlɔt əv ˈtaim tu əˈdæpt ðəmˈselvz ‖ it kən əˈfekt ðɛǝ ˈriːdiŋ ‖ ðei fiːl ðɛǝ ˈgouiŋ tə biː kənˈdemd tə wɛǝ ˈglɑːsiz | fə ðə ˈrest əv ðɛǝ ˈlaivz | əz inˈdiːd ˈðei ˈɑː ‖ bət wið ðə ˈwɛəriŋ əv ˈkɔntækt ˈlenziz ǀ ˈɔ:l ðis ʃud ˌdisəˈpiə ‖

17

7.AA- ‖ ˈduː ˈjuː ˈθiŋk | ˈðou | ðət ˈtʃildrən ˈkæn bi: ˈtrʌstid wið ˈkɔntækt ˈ t ˈlenzizˈlenziz ‖ 7. A- ‖ ˈduː ˈjuː ˈθiŋk | ˈðou | ðət ˈtʃildrən ˈkæn bi: ˈtrʌstid wið ˈkɔntækt ‖ ðɛə ˈnɔt ˈiːzi tə ˈfit | ən ðɛə ˈnɔt iːzi tə ˈput ˈin ən ˈteik ˈaut ‖

25

B- ‖ ˈou | ˈjes | əv ˈkɔːs ‖ ˈðæts wɛə ðə ˈdifəkl̩«ti əˈraiziz ‖ bət in ðə ˈkeis əv ˈjʌŋ tʃildrən | ðə ˈpɛərənts ʃud ˈnætʃərl̩« i ˈteik ə ˈklous ˈintrǝst in ðɛə ˈtʃaildz ˈfjuːtʃə… | ˈskuːl kəˈriə… | meidʒə kəˈriə ən ˈlaif | ˈʃudbi: bi:ˈgivņ ˈgivņ« ðiː ðiː| |ǝːǝː| |ˌɔpəˈtʃuːnǝti ˌɔpəˈtʃuːnǝtiəvəvˈfitiŋ ˈfitiŋðəðəˈglɑːsiz ˈglɑːsizðəm ðəmˈselvz ‖ ˈʃud ˈtʃaildʃud ʃudˈteik ˈteikənənˈintrǝst ˈintrǝstininˈhæviŋ ˈhæviŋtətəˈwɛə ˈwɛəðəm ðəm| | .5.ðəðəˈtʃaild ənˈtil ˈsʌtʃ ə ˈtaim əz ðə ˈtʃaild | kņ« bi ˈeibl̩« | wen hiː ˈriːtʃiz hiz ˈtiːnz | ˈleitə ˈtiːnz | tuː...| məˈnipjuleit ðə ˈkɔntækt ˈlenziz himˈself ‖

95

9. »nçvl« tiz 1

1. AA- …‖ it ˈiz | hauˈevə | ˈgouiŋ tə ˈbæn ðə ˈseilz əv ˈsǝːtņ« ˈnɔvl̩« tiz | in pəˈtikjǝlə | ˈlɑːdʒ ˈstiŋk ˈbɔmz | ˈtiə ˈgæs ˈkæpsjuːlz | ən bəˈluːn meikiŋ ˈkɔmpaundz ‖ ˈnau | ai ˈdount ˈnou ˈwɔt ˈgouz ɔn in ðə ˈhauziz əv ˈpɑːlǝmənt | bət ai ˈθiŋk juːl əˈgriː | ðɛə ˈlɔːdʃips | diˈspleid ə ˈgreit fəmiliˈærǝti wið ðiːz ˈɔbdʒikts | wen ˈlɔːd trefˈgɑːn diˈfaind ˈnɔvl̩« tiz in ðə ˈhaus ‖ ˈpʌblik skuːl ˈmemǝriz əv ˈtriks ɑːftə ˈlaits ˈaut in ðə ˈdɔːm | ai ˈwʌndə ‖

10

10.B-B- ‖ Di ðə ˈwǝːd ˈnɔvl̩« ti | iz ˈjuːzd ˈjuːʒəli tə diˈskraib ðə ˈrelətivli inikˈspensiv ˈprɔdʌkts | fɔː ˈpɑːstaimz ɔː ˈdʒouks | witʃ ˈsʌmtaimz ə diˈzaind tə kriːˈeit əˈmjuːzmənt ət ðiː ikˈspens əv ʌnsəˈspektiŋ ˈviktimz ‖ ˈtipikl̩« igˈzɑːmpl̩« z A˘r ər ˈitʃiŋ ən ˈsniːziŋ paudəz... | ˈfeik ˈlʌmps əv ˈʃugə... | ˈfuːd ˈmeid frəm ˈplæstik... | ˈglɑːsiz ðət ˈliːk ðɛə ˈkɔntents... ænd | ˈblʌd ˈsteind ˈbændidʒiz ‖

17

17.C-C- ‖ ˈhiə | ˈhiə ‖

BB- ‖ ˈnʌn əv ðiːz ˈprɔdʌkts iz ˈlaikli tuː ˈɔfə

23

96

səbˈstænʃl̩« ˈrisks əv ˈpǝːsņl̩ « « ˈindʒəri ‖ hauˈevə | ðə ˈθriː ˈaitəmz ˈkʌvəd bai ðiːz ˌregjǝˈleiʃņz « | ˈɑː biˈliːvd tuː ˈɔfə sʌtʃ ə ˈrisk ‖ ðə bəˈluːn meikiŋ ˈkɔmpaund | bikǝz əv ðə ˈprezņs əv ˈbenziːn | ə ˈwel ˈnoun ˈkɑːsinədʒən ǀ « 23. ænd| |ðəðəˈtiə ˈtiəˈgæs ˈgæsˈkæpsuːlz ˈkæpsuːlz| |ənənˈlɑːdʒ ˈlɑːdʒˈstiŋk ˈstiŋkbɔmz bɔmz| | . ænd bikǝz əv ðə ˈrisk əv ˈindʒəri | frəm ðə ˈkemikl̩« z ˈjuːzd | tə ðə ˈfeis | iˈspeʃl̩« i ǀ ði ˈaiz ǀ ənd ˈʌðə ˈsensǝtiv ˈpɑːts əv ðə ˈbɔdi ‖

10. ´ »Sç˘t »dai´lçg 1

. ‖ ˈneiəmi ˈfiʃə wəz ˈweitiŋ ət ˈtʃestə ˈteris wen ˈkærən gɔt ˈhoum ‖ ðə ˈmɔːniŋ ˈruːm wɛə ðei həd ˈput həː | wəz ə ˈbliːk | ˈrestləs ˈpleis | wɛə ˈnoubədi ˈevə ˈsetl̩« d ‖ ðə ˈgæs ˈfaiə wəz ˈseldəm ˈɔn ‖ tə biː ˈput in ˈhiə bai ə ˈsǝːvənt | ˈʃoud ðə ˈsǝːvənts diˈstiŋkʃņ« | biˈtwiːn ˈbiːɪŋ ˈʃoun ˈin | ən biːiŋ ˈɑːskt tə ˈweit ‖

7

ˈneiəmiz ˈæŋkʃəs ˈæŋkʃəs ˈbraun ˈbraun ˈaiz ˈaiz ən ən ˈhʌmbl̩ ˈhʌmbl̩ ˈmænə|| .. ˈneiəmiz « ˈmænə ˈmʌst ˈmʌst həv həv ˈled ˈled ðəm ðəm tə tə ˈθiŋk ˈθiŋk ðɛə ðɛə ˈmʌst ˈmʌst biː biː ˈsʌmθiŋ ˈsʌmθiŋ ʃiː ˈwɔntid | ən ˈðɛəfɔː ʃiː wəz ˈnou ˈleidi ‖ ˈwɔt ʃiː ˈdid ˈwɔnt | ən ˈwɔntid ˈbædli | wəz tə ˈsiː ˈkærən ‖ ə ˈniːd | ˈsou ˈpresiŋ | əz tə ˈbiː wiˈðaut ˈgreis ‖ sou ˈhiə ʃiː ˈwɔz | ˈsitiŋ ɔn ði ˈedʒ əv ə ˈkould | ˈleðər ˈɑːmtʃɛə ‖

13

.3.jɔːjɔːˈfeis ˈfeisiz izˈkould ˈkould| |sed sedˈkærən ˈkærən‖ ‖itsitsˈterǝbli ˈterǝbliˈkould ˈkouldininˈhiə ˈhiə‖ ‖ aiaihəv ˈǝːli həvˈkʌm ˈkʌmˈtuː ˈtuː ˈǝːli‖ ‖ ˈnou ‖ ˈwai | sed ˈkærən | ˈpuliŋ ˈɔf hə ˈglʌvz ‖ ju ˈmʌst bi ˈtaiəd | ˈneiəmi sed | ˈæŋkʃəs ‖ ai ˈslept in ðə ˈtrein ‖ ˈhau ˈlɔŋ əv juː ˈbin in ˈlʌndən ‖ ˈdʒʌst ˈfɔː ˈdeiz ‖ ˈnekst ˈtjuːzdei wiː ˈmʌst ˈgou ˈbæk ‖

ˈneiəmi ˈspouk wið ən ˌʌnriˈproutʃəbl̩« ˈsædnəs | ðət ˈmeid ˈkærən ikˈskleim | ˈwai ˈdidṇt juː ˈlet miː ˈnou ‖ ai ˈniːdṇt « « həv bin əˈwei ‖

97

11. »pri˘ ri»tai´m´nt »kç˘siz 1

5

10

15

98

. AA- ‖ ai ˈθiŋk jɔː ˈgouiŋ tə ˈtʃeindʒ ðə ˈtaitl̩« ðou | ˈɑːnt juː | frəm ˌpriːriˈtaiəmənt ǀ bikəz ˈpiːpl̩« ə riˈtaiəriŋ ǀ ˈǝːliər ən ˈǝːliə ˈðiːz deiz ‖ ənd ˈiːvņ« fə ˈðouz ˈpiːpl̩« hu mei ˈnɔt ˈwɔnt tə biː riˈtaiəd | . ˈmei biː biːiŋ ˈmeid riˈdʌndənt fə ˈwʌn ˈriːzņ« ɔːr əˈnʌðə | ˈðiːz ˈleʒə ˈtaim ækˈtivǝtiz | ai ˈθiŋk ɑː | ˈkruːʃl̩« ət ˈðis pəˈtikjǝlə ˈtaim ‖ ˈiːvlin ˈælən ˈmenʃņd ðət ˈmæntʃistə « həd bin ˈrʌniŋ ðiːz ˈpriː riˈtaiəmənt ˈkɔːsiz fə sʌm ˈtaim ‖ ˈhæv juː ˈnoutist | ˈkwait ən ˈiŋkriːs in ðə ˈnʌmbər əv ˈpiːpl̩« əˈtendiŋ ‖ 0.B-B- ‖ ˈjes ‖ ðɛə ˈhæz biːn ə ˈstedi iN»kri˘s ˈiŋkri:s | bət ai wud ˈlaik tə ˈteik ʌp ˈælənz ˈpɔint ðət in ˈfækt | riˈtaiəd ˈpiːpl̩« | əv wɔtˈevər eidʒ | ǝ ˈwelkəm wiðin ðə touˈtælǝti prəˈviʒṇ« ‖ ai ˈθiŋk its imˈpɔːtņt « ˈnɔt tə ˈhæv | ˈsɔːt əv ˈspeʃl̩« ˈɛəriəz əv prəˈviʒņ « | ˈdʒʌs fə ðə riˈtaiəd | ˈdʒʌs fə ðə ˈjʌŋ ˈpiːpl̩« | itˈsetrə ‖ 5. ˈθiŋkitsitsimˈpɔːtənt imˈpɔːtəntðət ðətwiː wiːhæv hævənənˈintigreitid ˈintigreitidˈsǝːvis ˈsǝːvis| | . aiaiˈθiŋk ˈsǝːtņli ðəˈmoumənt ˈmoumənt| |ininˈmæntʃistə ˈmæntʃistə| | ənənˈsǝːtņli « | |ətətðə ðɛə ˈstil ˈiz | ə ˈveri ˈhelθi prəˈviʒņ« əv ˈdei kɔːsiz | witʃ ˈpiːpl̩« wið ˈtaim ɔn ðɛə ˈhænz | biˈkɔz ðei ˈɑː ritaiəd | wud biː ˈeibl̩« tə ˈdʒɔin | ən ˈteik ədˈvɑːntidʒ ˈɔv | ən ˈmiks wið | ˈɔːl ˈsɔːts əv ˈeidʒ gruːps | frmÿ « wiˈðin ðə kəˈmjuːnəti ‖

12. »hE´stail 1

5

. A-‖ ˈwen ðə kɔmpəˈtiʃņ« wəz ˈfǝːst əˈnaunst | it wəz ˈsʌmθiŋ ðət ai ˈwɔntid tə duː | biˈfɔː ðə ˈbou ˈderik | biˈkeim ˈsou ˈwel ˈnoun ‖ ænd ai ˈniəli ˈtʃeindʒd mə ˈmaind | bət ai ˈθɔːt | ˈnou | ai ˈwount ‖ È ail ˈduː it ‖ 5. ˈsɔː ititˈfǝːst ˈfǝːst əv əv ˈɔːl ˈɔːlǀ ǀðə... ðə... ˈwiːviŋ ˈwiːviŋ in in ðə ðə ˈwest ˈwest ˈindiz ˈindiz ‖‖ . aiai ˈsɔː ˈɔːl ðə ˈdɑːk ˈgǝːlz ˈðɛə | ˈwɔːkiŋ əˈraund ǀ wið ðis ˈtaip əv ˈhɛəstail ‖ sou ai ˈθɔːt ǀ ˈwel | ai ˈθiŋk if ai ˈduː it ˈwel | ai ˈmait ˈstænd ə ˈtʃæns ‖ sou ai ˈθɔːt | ˈjɛə | ˈgou ɔn ǀ ˈduː it ‖ ˈstik tu it ‖ ænd sou ai ˈdid ‖

10

0.BB- ‖ ˈwel | ət ˈliːst its æmˈbiʃəs | bət ai səˈpouz tə ˈbiː fɛə | if ˈɔːl ðə ˈgǝːlz ə ˈlisņiŋ ˈθiŋkiŋ | « ˈai ˈmait həv ə ˈgou ət ˈðæt miˈself | nɔt ˈevriˌbɔdi iz ˈsuːtid | ɔː kud ˈwɛər ə ˈbou ˈderik ˈstail ˈhɛəduː ‖

14

4. | ˈnou| ˈnou | ˈnou ɑː ˈθiŋk bi ˈveri əˈtræktiv tə ˈðis ˈwɛə‖ ˈðis ‖ . A-A-‖ ‖ouou| ˈnou ‖ ɑː‖ˈθiŋk juːv juːv ˈgɔt ˈgɔt tə bitəˈveri əˈtræktiv tə ˈwɛə itsitsˈveri ˈveriˈhɑːd ˈhɑːd‖ ‖

99

13. D´ »geim ´v »tSikin 1

. AA- ‖ ˈwel ǀ if juːv ˈgɔt ˈtʃildrən ǀ juːl ˈnɔt ˈniːd ˈmiː tuː riˈmaind ˈjuː ǀ ðət ðei ˈget ˈʌp tuː ˈɔːl ˈsɔːts əv ˈθiŋz | mɔːr iˈspeʃl̩« i ˈdjuəriŋ ðə ˈlɔŋ ˈsʌmə ˈhɔlǝdeiz ‖ bət ˈwʌn əv ðə ˈmoust ˈdeindʒǝrəs ˈpɑːstaimz ðei kən get inˈvɔlvd ˈin | iz ðə ˈgeim əv ˈtʃikin ‖

6

. juː ˈprɔbəbli ˈnou ðə ˈgeim | wɛə ˈjʌŋstəz ˈdæʃ in ˈfrʌnt əv ˈkɑːz | ɔː ˈtreinz ‖ ən ˈnɔt ˈlɔːŋ əˈgou | ə ˈtʃaild wəz ˈkild niə ˈbʌkstən ‖ ənd in ðə ˈgrindl̩« fəd ˈɛəriə | ˈreilwei ˌemˈplɔiiːz ǀ həv ˈsiːn ˈʌðə ˈtʃildrən ˈpleiiŋ ðə ˈgeim ‖ pəˈliːs in ˈdɑːbiʃər ə kənˈsǝːnd z | ðət mɔːr ˈæksidņts kud əˈkǝː ˈdjuəriŋ ðiːz ˈsʌmə ˈhɔlǝdeiz ‖ «

13

ˈwel| aim | aimˈdʒɔind ˈdʒɔindɔnɔnðəðəˈtelifoun ˈtelifounˈlain ˈlainˈnau ˈnaubai baiˌsuːpərinˈtendənt ˌsuːpərinˈtendənt .3.ˈwel ˈsidniˈtɔmsņ ˈtɔmsņ|« əv | əvˈdɑːbiʃə ˈdɑːbiʃəpəˈliːs pəˈliːs‖ ‖ ˈsidni ˈgud ˈmɔːniŋ ‖ B- ‖‖ ˈgud ˈgud ˈmɔːniŋ ˈmɔːniŋ ‖‖ BA- ‖‖ ðis ðis ˈmʌst ˈmʌst biː biː fə fə ðə ðə pəˈliːs pəˈliːs əə ˈveri ˈveriǀǀǀˈsiəriəs ˈsiəriəsǀǀǀˈbiznǝs ǀ ˈbiznǝs ˈbiznǝs‖‖‖ Aˈsiəriəs

18

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8.BB- ‖ ˈjes ‖ it ˈiz ‖ it iz əˈlɑːmiŋ tə ˈsei ðə ˈliːst əv it ‖ ˈit iz ˈsʌmθiŋ witʃ iz ˈɔːlwiz in ˈpiːpl̩« z ˈmaindz | ˈreilwei ˈlainz ən ˈtʃildrən ‖ bət ðis ˈleitǝst ˈæksidənt | ðis | ǝː…| ˈtʃikin ˈbiznǝs | witʃ ˈtuk ˈpleis ˈaut ət ˈgrindl̩« fǝd | ˈbaiðəðəˈwei ˈwei| |ðɛə ðɛəwəz wəzˈounli ˈounliˈwʌn ˈwʌnˈinstəns ˈinstəns| | ənənˈbai aimˈnɔt ˈnɔtˈtraiiŋ ˈtraiiŋtətəˈsei ˈseiitsitsˈsʌdņli ˈsʌdņli biˈkʌmə əˈfæʃņ ˈfæʃņ .3.aim biˈkʌm « « | | ərərˈeniθiŋ ˈeniθiŋlaik laikˈðæt ˈðæt| |bət bətititˈdʒʌs ˈdʒʌsˈmeid ˈmeidmiː miːˈwʌri ˈwʌriˈðæt ˈðæt bit ˈmɔː | juː ˈnou | wið ðə ˈhint əv ˈnais ˈweðər... | ən ðə ˈsʌmə ˈhɔlǝdeiz... | ðət | ǝː…| ˈtʃildrən kud ˈget ɔntə ˈreilwei ˈlainz ən kud ˈget ðəmˈselvz | ˈwel | jə ˈnɔt ˈtɔːkiŋ əˈbaut ðǝm biːiŋ ˈsiəriəsli ˈhǝːt ‖ ðə ˈfækt ˈiz | ðei ˈget ˈkild ‖

14. ´ »v´˘dikt ´v »mQn«slç˘t´ 1

A-- ‖ ˈɑː ju ˈseiiŋ ðət ðis ˈdʒʌdʒ | in ðə ˈkeis əv ˈkiːθ ˈdʒounz | riˈtǝːnə əˈvǝːdikt ˈvǝːdiktəvəvˈmænˌslɔːtər ˈmænˌslɔːtərizizˈriəli ˈriəli| |ˈbendiŋ ˈbendiŋ tə əriˈtǝːn ɔː | ˌmisinˈtǝːpritiŋ ðə ˈlɔː ‖

4

11

B- ‖ aim in ˈnou pəˈziʃņ« tə ˈsei ˈðæt | bikəz ai hævņt « siːn ðə ˈkɔːt ˈpeipəz ‖ ai hævņt « siːn ðə ˈtrænskript ‖ ˈɔːl ai ˈnou əˈbaut ðis ˈkeis | iz ˈwɔt aiv ˈred in ðə ˈnjuːspeipəz ‖ ˈðɛəfɔː | ai kudņt « ˈdʒʌdʒ ðis pəˈtikjulə ˈkeis ‖ bət ˈsɛətņli | in ˈwɔt ai ˈred | ˈðɛə ˈsiːmz ˈnou ˈɔbviəs ˈriːzņ« tə ˈθiŋkz | « ðət ðis wəz ə ˈkeis in ˈlɔːr əv ˈmænˌslɔːtə ˈrɑːðə ðən ˈmǝːdə ‖ ˈhɒlǝd ˈwɔt iz ˈpǝːfiktli ˈpɔsǝbļ« | bət ai ˈdount nou | iz ðət ðə ˈdʒʌdʒ wəz ˈæŋkʃəs | ðət ðis ˈmæn ʃudņt z | « bi ˈsentənst tə ˈlaif imˈprizņmənt « ən ˈðen ˈlet ˈaut ə ˈʃɔːt ˈtaim ˈleitə ‖ ˈhɒlǝd ðət hiː ˈniːdid səm ˈhelp | ən ˈðɛəfɔːr | ˈɔːt tə biː ˈput ɔn prəˈbeiʃņ« | ən hæv ðə ˈbenifit əv ði ədˈvais əv ə prəˈbeiʃņ« ˈɔfisə ‖ ən ði ˈounli ˈwei ju kud əˈtʃiːv ˈðæt | wud bi tu... | inˈʃɔː... ðət hiːz kənˈviktid əv ˈmænslɔːtə ‖ wɛə ju hæv... | ðə diˈskreʃņ« əv ˈputiŋ im ɔn prəˈbeiʃņ« | ˈrɑːðə ðən ˈmǝːdə | wɛə ju hæv tə ˈgiv im ə ˈlaif ˈsentəns ‖ ˈðæts ə ˈpɔsǝbļ« ˌekspləˈneiʃņ« | bət ai ˈemfəsaiz | ai ˈdount nou ðə ˈfækts ‖

20

A- ‖ ðis iz ˈnɔt ðə ˈfǝːst taim ðət ə ˈmǝːsi ˈkilə həz biːn ˈlet ˈɔf ‖ djuːˈsiː ˈsiːðis ðisəz əzəəˈtrend ˈtrendðəts ðətsˈhæpəniŋ ˈhæpəniŋˈnau ˈnauin inðis ðisˈkʌntri ˈkʌntri‖‖ djuː

22

B- ‖ ai ˈdount ˈθiŋk hiː wəz ˈlet ˈɔf ‖ hiː wəz kənˈviktid ‖ ənd hiː həz bin ˈput ɔn prəˈbeiʃņ« | ən hiːl ˈnau ˈget ðə ˈhelp ðət hiː ˈniːdz ‖ « ‖ṃ « ‖ ai wud ˈhoup | ðət wiː ʃəl ˈnɔt ˈget intu ə ˈsteit | wɛə ˈmǝːsi ˈkiliŋ biˈkʌmz in sʌm ˈsens ə ˈseprət ən ˈnjuː əˈfens | ˈdifrənt | frəm ðə trəˈdiʃņļ « « ˈwʌnz əv ˈmǝːdər ən ˈmænˌslɔːtə ‖

101

15. »iNgl´nd ´n Di »i˘ »ju˘ 1

A- ‖ ˈnau ail ˈspɛə juː ði ˈjuərouˌdʒɑːgən ‖ bət ʌndə ˈðæt ˈsistəm | ðə ˈmʌni iz ˈrʌniŋ ˈʌp ˈnaintiːn ˈeiti ˈwʌn | ənd its ðə ðə ˈkɔst ˈkɔst əv əvði ðiˌægriˈkʌltʃərļ ˌægriˈkʌltʃərļ ˈpɔlǝsi| witʃ | witʃˈteiks ˈteiks ˈsevņti pəˈsent ˈbʌdʒit ˈsevņti əv əv ðə ðə ˈbʌdʒit ‖ ‖ « ˈpɔlǝsi « pəˈsent ɪt ‖ ‖‖ əz |»simpl ˈsimpl̩Ç |´z | əz əz»DQt ˈðæt ´z ˈsimpl̩ || ˈðæt bət biˈliːv ˈjuː ˈmiː | ðə ˈfɑːm ˈlɔbiz ǀ əz ˈvigərəs əz ˈevər in ðæt juərəˈpiːən ˈpɑːlǝmənt | ðə ˈhændz ə ˈstretʃt ˈaut fə ˈjet ˈmɔː prəˈtekʃņ« ˈhiə | ˈsʌbsǝdiz ˈðɛə | ˈprais ˈiŋkriːsiz ˈðɛə ‖ ˈsou | ˈdʒɔn | ai ˈθiŋk ðə ˈkrʌntʃ iz ˈkʌmiŋ ‖ juː kən ˈhæpǝli riˈlæks | its ˈkʌmiŋ ˈveri ˈkwikli ‖

10

B.- ‖ bət jɔː ˈðɛə tə ˈhelp ˈsɔːt it ˈaut fər ʌs | aim ˈʃɔː ˈbɑːbrə ˈkɑːsļ« ‖ ˈteri ˈwougən ‖

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C.- ‖ ai ˈdount ˈnou ˈhau aim ikˈspektid tə ˈkæp ˈbɑːbrə ˈkɑːsļ« | ɔː ˈrɔbət ˈdʒæksņ« | bət ai dount ˈθiŋk ðət ði ˈiː iː ˈsiː iz gouiŋ tə ˈfɔːl əˈpɑːt ‖ ai ˈnevə səˈspektid ˈdʒɔn ˈmɔːtimər əv biːiŋ ə ˈlitļ« ˈingləndə ‖ ənd ai ˈθiŋk wiə gɔnə biː in ˈjuərəp | ai ˈθiŋk wiː həv ˈnou ɔːlˈtǝːnətiv ‖ wiː hæv tə ˈstei ˈðɛə | ˈnau ðət wiə ˈðɛə ‖ ai ˈθiŋk ðɛər ˌægriˈkʌltʃərļ« ˈpɔlǝsi həz biːn | in ˈkɔmən wið | ˈsei | ði ˌægriˈkʌltʃərļ« ˈpɔlǝsi əv ðə juˈnaitid ˈsteits ‖ it ˈsiːmz tə biː ˈgiəd tǝˈwɔːdz ˌouvəprəˈdʌkʃņ« | biˈkɔz its iˈfiʃņt « ‖ biˈkɔz ði ˌægriˈkʌltʃərļ« ˈindəstri ˈiz iˈfiʃņt « ‖ its prəˈdjuːsiŋ ˈfuːd | its prəˈdjuːsiŋ ˈwain | ˈbʌtə ˈmauntinz | ˈwain ˈleiks | ðɛə prəˈdjuːsiŋ ˈtuː ˈmʌtʃ ‖ ðei ˈhæv tə bi ˌɑːtiˈfiʃəli səˈsteind bai ˈðæt ‖ ˈpraisiz ˈhæv tə bi ˈheld ˈʌp | ən ðis iz ˈwɔt ˈhæpənz ‖ ənd ˈevriθiŋ ˈkɔsts ˈmɔː ðən it ˈɔːt tuː ‖ ðəz ˈtuː ˈmʌtʃ biːiŋ prəˈdjuːst | ˈægrikʌltʃər iz ˈtuː iˈfiʃņt « ǀ if ˈwʌn kən ˈsei ˈðæt ‖ in ˈaiələnd | ai riˈmembər ə ˈkʌpļ« əv ˈjiəz əˈgou | ðə ˈkɔmən ˌægriˈkʌltʃərļ« ˈpɔlǝsi wəz ən iˈnɔːməs ˈbuːn ‖ ˈenibɔdi huː ˈhæd ə ˈhʌndrəd ˈeikəz wəz ˈvǝːtʃuǝli ə ˌmiljəˈnɛə | bikəz juː wər ˈeibļ« tə ˈsel jɔːr ˈeikəridʒ fə ˈfaiv ˈθauzņd « ˈpaundz ən ˈeikə ‖ ˈnau ˈðæts biːn riˈvaizd…‖ its ˈmeid ə trəˈmendəs ˈdifrəns tə ði ˈairiʃ ˈfɑːmə ‖ it ˈhæzņt « ˈmeid ə trəˈmendəs ˈdifrəns tə ðə ˈbritiʃ ˈfɑːmə | bikəz ðə ˈbritiʃ ˈfɑːmər iz ˈmɔːr iˈfiʃņt « ‖ biˈkɔz hiːz ˈbetər ˈɔːgənaizd ‖

16. »g´˘l »tç˘k 1

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AA. - ‖ ˈsuːzi ˈhʌʃ | huː ˈmei | ə mei ˈnɔt duː ˈdæmidʒ wið ǝː ˈnjuː ˈkɔmǝdi ˈsiəriːz ɔn ˈai ˈtiː ˈviː | witʃ iz ˈsevņ« hɑːf ˈɑː ˈkɔmǝdiz ˈritņ« bai ˈsevņ« ˈwimin | iz ˈnau əˈbaut tə biː inˈterəgeitid bai ˈbǝːnəd ˈfɔːlk ‖ ˈgǝːl ˈtɔːk | ðə ˈsiəriːz iz ˈkɔːld ‖ BB.- ‖- ‖itsits | ǝː | its ə ˈsiəriːz ˈkɔmǝdi hɑːf ˈprougræmz | ˈritņ ˈsevņ ˈwimin | ǝː | its ə ˈsiəriːz əvəv ˈkɔmǝdi hɑːf ˈɑː ˈɑː ˈprougræmz | ˈritņ ˈsevņ ‖ ‖ « baibai « ˈwimin itsits ə sistǝˈmætik | ikˈstrɔːdņrǝli ˈfʌni əˈtæk əˈpɔn ˈmen ‖ aiˈθiŋk ˈθiŋk ə sistǝˈmætik | ikˈstrɔːdņrǝli ˈfʌni əˈtæk əˈpɔn ˈmen ‖ « ˈhau wud juː diˈskraib jɔː ˈsiəriːz | ˈsuːzi ‖ C.- ‖ ai wudņt « diˈskraib it laik ˈðæt | its ˈnɔt ˈment tə biː ən əˈtæk ə ˈtɔːl ‖ ˈwɔt its ˈment tə biː | iz ə ˈkaind əv | ˈɑːnsər | ˈɑːftər ˈɔːl ˈðiːz ˈjiəz { tu ˈɔːl ðə ˈpiːpļ« huː ˈsei | ˈwimin ɑːnt ˈfʌni ‖ ˈwɛər ə ðə ˈwimin ˈstænd ʌp ˈkɔmiks ǀ etˈsetrə ǀ etˈsetrə ‖ ðei ɑː ˈðɛə | ðei ɑː ˈwǝːkiŋ ‖ bət in ə ˈmɔː ˈdʒenǝrļ« ˈsens | ˈwimin ər ˈæktʃuəli ikˈstriːmli ˈfʌni ‖ pəˈtikjuləli ˈwen ðei ə ˈtɔːkiŋ tu iːtʃ ˈʌðə ‖ ən ðɛə ˈhjuːmə | ai ˈθiŋk | iz ikˈstriːmli ˈbreiv | ikˈstriːmli kəˈreidʒəs ‖ ˈwimin kən diˈskraib tə juː ðə ˈmoust əˈpɔːliŋ ˈlaivz | ðə ˈmoust əˈpɔːliŋ ˈkaindz əv ˈtraiəlz ən ˈtrauməz | ən ˈmeik it əˈmjuːziŋ ‖ əndaiaiˈθiŋk ˈθiŋkˈðæts ˈðætsə ˈnæk ə ˈnæk ə ˈlɔt ˈwimin | ənd ˈlɔtˈmen əv ˈmen ‖ ənd ðətðət ə ˈlɔt əv əv ˈwimin ˈhævˈhæv | ənd ə ˈlɔtəəv meibimeibi ˈdountˈdount ‖ ˈsou ˈtaim | ˈðis ˈhitˈhit ðə ˈskriːn ‖ ‖ ˈsouaiaiˈdʒʌst ˈdʒʌstˈθɔːt ˈθɔːtit itwəz wəz ˈtaim | ˈðis ðə ˈskriːn aim ˈɔːlsou ˈveri ˈæŋgri əˈbaut… | wel | juː ˈlisņ« tə ˈmen ˈstændʌp ˈkɔmiks | ən ðei ˈtel ˈdʒouks əˈbaut | ˈwimin hu ə ˈgriːdi... | rəˈpeiʃəs... | əˈpɔːliŋ... | məˈnipjulətiv... | ənd… ‖ wiə ˈsou kənˈdiʃņd « | bikəz ðə ˈruːliŋ ˈnɔːm əv səˈsaiəti iz dikˈteitid bai ˈmen | ðət wiː ˈlɑːf əz ˈwel ‖ ənd ai ˈlɑːf əz ˈwel ‖ B- ‖ ˈjɛə ‖ C- ‖ ˈɑːftər ˈɔːl ˈðiːz ˈjiəz ǀ ai ˈdʒʌst ˈgɔt| |ˈæŋgri ˈæŋgriəbaut əbautitit| | B- ‖ ˈjɛə | ˈjɛə ‖ C- | ənd it ˈdʒʌst əˈnɔiz mi ˈnau | ənd ai ˈθiŋk its ˈtaim wiː hæd ðə ˈrait əv riˈplai ‖ its ə ˈveri ˈmainə ˈrait əv riˈplai | ai ˈmiːn | its ˈθriː hɑːf ˈauəz in ə | ˈweltər əv ˈauəz əv ˈteliviʒņ« witʃ priˈdɔminəntli biˈlɔŋ tə ˈmen ‖ pəˈtikjuləli in ˈhjuːmə ‖ B.- ‖ ai ˈræŋ ˈʌp ə ˈpæl əv ˈmain | huːz ə ˈstænd ʌp ˈkɔmik | ən ˈsed | Bdjuː ˈnou ˈeni ˈfɑːðərinlɔː gægz ‖ ən hiː kudņt « ˈθiŋk əv ˈwʌn ‖ ən hiː ˈsed | ˈiːvņ« if hiː ˈdid θiŋk əv ˈwʌn | ðɛə ˈnɔt ˈfʌni ‖

103

17. »du˘ »fem´nists »fç˘l in »l√v 1

AA.- ‖ ˈduː ˈfemǝnists ˈfɔːl in ˈlʌv əz ˈwel ‖ BB.- ‖ ˈou | aim ˈʃɔː | ˈjes ‖

7

ai dount ˈθiŋk ˈfemǝnists ər ˈeni ˈmɔːr | iˈmjuːn tu it ðən ˈenibɔdi ˈels ‖ ai ˈθiŋk its fænˈtæstikli ˈstrɔŋ ‖ ai ˈmiːn | its ˈnɔt ˈriəli ˈveri səˈpraiziŋ ju ˈθiŋk | ˈevriθiŋ əˈraund juː | juː ˈtǝːn ˈɔn ðə ˈreidiou | ən ˈpik ʌp ˈeni ˈɔːdņri ˈwiminz ˌmægəˈziːn | « ðə ˈmesidʒ ðəts biːiŋ ˈput ˈaut iz ðət | ju ˈnou | if ju ˈfaind ðə ˈrait ˈpǝːsņ« | ˈðen juːl bi ˈhæpi ‖ ənd if ju ˈdount ˈfaind ðə ˈrait ˈpǝːsņ« | juː ˈwount biː ‖ ənd its ˈwʌn ˈpǝːsņ« | ənd it ˈʃud biː fərˈevə ‖ ai ˈmiːn | ˈɔːl ˈðouz ˈmiθs ðət ˈrʌn ˈsou ˈstrɒŋli θruː aə səˈsaiəti ‖

12

AA.- ‖ ˈdjuː ˈθiŋk ðəz ˈeniwei əˈraund ðæt ðen ǀ ˈgivņ« ðǝt ˈpiːpļz «

iˈmouʃnz‘ « ər ˈɔbviəsli | ˈθiŋz ðət ðei kɑːnt ˈriəli kənˈtend wið | ˈwʌns ˈsʌmθiŋz gɔt ˈstɑːtid | witʃ iz ðə ˈfiːl… | ðə ˈkaindz əv ˈfiːliŋz ðət ˈpiːpļ« hæv wen ðɛə ˈfɔːliŋ in ˈlʌv ‖ iz it ˈlaikli ðət ˈmen ən ˈwimin wil biː ˈeibļ« tə hæv riˈleiʃņʃips « in ˈeni ˈʌðə ˈwei ‖

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26

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B- ‖ ˈwel ǀ ˈɔbviəsli ǀ ai ˈθiŋk ðət | ˈpɑːt əv ðə ˈprɔbləm iz | ðǝt B.in ˈlɔts əv riˈleiʃņʃips | ðə ˈmen ˈriəli ˈduː hæv ˈmɔː ˈpauə ‖ « ðət ðɛə ˈmɔː ˈlaikli tə hæv ˈbetə ˈpeid ˈdʒɔbz ‖ ņ« ðə ˈhoul səˈsaiəti wud ˈsæŋkʃņ« | ðə ˈkʌpļ« ˈmuːviŋ ə ˈhʌzbəndz ˈdʒɔb wɔz ˈwɛə ˈdʒɔb wɔz ‖‖ ‖ ˈwɛə ðə ðə ˈhʌzbəndz ˈhʌzbəndz ˈdʒɔb wɔz z ˈlaif ˈkʌmiŋ ˈfǝːst | ən ˈwumən ˈsɔːt əv…| ənd »hiz iz ˈlaif ˈkʌmiŋ ˈfǝːst | ən ðə ðə ˈwumən ˈsɔːt əv…| ˈɔːl ðouz ðouz ˈkaind ˈkaind əv əv ˈθiŋz ˈθiŋz witʃ witʃ ai ai ˈθiŋk ˈθiŋk || ˈæktʃuəli ˈæktʃuəli || ˈmeik ˈmeik itit ˈveri ˈveri ˈdifikļt ˈdifikļt ˈɔːl « fə riˈleiʃņʃips | biˈtwiːn ˈmen ən ˈwimin tə ˈwǝːk | ˈeniwei ‖ « bət | wiːv ˈgɔtˈgɔt tə ˈstɑːt ˈteikiŋ əˈpɑːt | | bət ai aisəˈpouz səˈpouz| |aiaiˈθiŋk ˈθiŋkðət ðət | wiːv tə ˈstɑːt ˈteikiŋ əˈpɑːt ði ju ju ˈhæv tə ˈstɑːt ˈθiŋkiŋ əbaut ˈɔːl ðə ˈelimənts ði aiˈdiər aiˈdiərəv əvrouˈmæns rouˈmæns| ənd | ənd ˈhæv tə ˈstɑːt ˈθiŋkiŋ əbaut ˈɔːlˈdifrənt ðə ˈdifrənt ˈelimənts in | ˈlaik… | fər ˈinstəns | if juː ˈfænsi ˈsʌmbədi | dʌz ˈðæt ˈmiːn ðət ðɛə ˈriəli ˈgouiŋ tə biː ˈsʌmbədi juː ˈwɔnt tə biː wið in jɔːr ˈould ˈeidʒ ‖ ənd | əv ˈkɔːs | ˈwen ju ˈstɑːt ˈθiŋkiŋ əbaut it | juː ˈθiŋk ðəz | ˈnou ˈtest ə ˈtɔːl əv ˈweðə ˈsʌmbədi | jɔːr ˈæktʃuəli gouiŋ tə ˈlaik ˈsʌmbədi if ðei ˈmeik juː ˈkaind əv ˈflætəri əˈkrɔs ə ˈdɑːns flɔː ‖ ðəz ˈnou ˌgærənˈti: ju: kud ˈæktȓəli ˈhæv əə ˌkɔnvəˈseiȓn͎ ˌkɔnvəˈseiȓn͎« əv əv ˈmɔː ˈmɔːðən ðənˈten ˈten ˈwəːdz ˈwəːdzwið wið‖‖ ˈhæv

18. »trQNkwilaiz´z 1

6

12

18

25

29

A- ‖ ˈɑː | ˈgud ˌmɔːniŋ | misiz ˈrɔbinsǝn ‖ ən ˈsit…| ˈsit daun wount ˈjuː ‖ B- ‖ ˈθæŋk juː ˈdɔktǝ ‖ aim ˈsɔri tə ˈteik ʌp jɔː ˈtaim | bət…| aim ˈgetiŋ intə ə ˈsteit əˈgein ‖ A- ‖ ˈou ‖ BB- ‖ its ǝ ˈsɔːt ǝv ˈθiŋ… ‖ ai ˈkɑːnt ˈkoup ‖ ai ˈdʒʌst ˈfiːl ðət mai ˈdʒɔb iz ˈtuː ˈmʌʧ fǝ ˈmiː ‖ its ˈnɔt aim diˈprest ‖ ai get ˈtens ˈɔːl ˈwǝːkt ˈʌp ‖ its ˈnɔt ˈdʒʌst ðə ˈdʒɔb ‖ aim ðə ˈseim wið ðǝ ˈʧildrən ‖ ai…| get sou ˈkrɔs wið ðem ‖ A- ‖ ˈjɛə | ai ˈsiː ‖ B- ‖ ˈæn wið mai ˈhʌsbənd ˈtuː ‖ ai…| A- ‖ ˈjɛə | ai ˈsiː ounli tuː ˈwel ‖ bət ˈwɔt kṇ« ə ˈdɔktǝ ˈduː z | t´ »put |»raIt tə ˈput ˈrait ´ə ˈlaif ðəts ˈdʒʌst ə ˈbit əv ə ˈmes ‖ wiːv ˈtraid hɒlǝdˈevriθiŋ ouvə ðə ˈjiǝz | inˌvestiˈgeiʃṇz | riˈfəːrəlz tə ˈspeʃl̩ i sts | ˈmæridʒ ˈgaidəns | ðə ˈlɔt ‖ « « ai ˈsəpouz wɔt it ˈkʌmz ˈdaun tu it iz ðət | evri ˈnau ən əˈgen | ʃiː ˈwɔnts tə ˈkʌm intə ðə ˈsəːdʒəri | ˈdʒʌs ˈpɔːr it ˈɔːl ˈaut | ən ˈðen ˈwɔːk aut wið ðə prəˈskripʃṇ« | fər ə ˈtræŋkwilaizə ‖ B- ‖ sou wət ˈai wəz ˈwʌndəriŋ | ˈdɔktǝ | wǝz…| ˈwel | kud juː priˈskraib ˈsʌmθiŋ fə ˈmiː ‖ ˈdʒʌs ˈsʌmθiŋ tə ˈhelp miː til ai ˈfiːl ə bit ˈbetə ‖ A- ‖ ˈhiə wiː ˈgou əˈgen… | ʃi ˈwɔnts ə ˈtræŋkwilaizə ‖ ən it is ˈdʒʌstifaid ai səˈpouz | if itl̩« ˈhelp əː θruː ðə ˈneks fjuː ˈwiːks ‖ ouˈkei ðen ‖ ˈvæliəm ‖ ˈhiə ju ˈɑː ˈðen | misiz ˈrɔbinsǝn ‖ its…| əː…|ˈvæliəm ‖ B- ‖ ˈɑː… | ˈθæŋk juː ˈdɔktǝ ‖ ˈsevṛḷ« əv mai ˈfrendz ˈɑːr ɔn it ‖ A- ‖ ai ˈbet ðei ˈɑː ‖ B- ‖…ən ˈsʌmwʌn ət ˈwǝːk ˈsʌmtaimz ˈgivz miː hǝːz | ðei meik mi ˈfiːl ˈmʌʧ betǝ ‖ C- ‖ ˈwel | ˈjes ‖ ən ˈlɑːst jiǝ ˈfæmili ˈdɔktǝz ˈrout ˈaut ˈmɔː ðən ˈθriː ˈmiljən prəˈskripʃṇs « fə ˈvæliəm əˈloun | tə ˈmeik ˈpiːpḷ« laik misiz ˈɑː ˈfiːl betǝ ‖ ǝnd ˌouvərˈɔːl | ˈfɔːti ˈtuː ˈmiljən prəˈskripʃṇs « wə ˈritṇ« aut fə ˈtræŋkwilaizəz ən ˈsedǝtivz | ǝt ǝ ˈkɔst ǝv ˈmɔː ðən ˈfɔːti ˈmiljən ˈpaundz ‖ ˈteikiŋ əˈsaid ðə ˈkwesȷṇ« əv ðə ˈniːd fə ˈsʌȷ ˈwaidspred prǝˈskraibiŋ ǝv ˈmuːd ˈɔːlteriŋ ˈdrʌgz | ˈwɔt əbaut ðɛə ˈkɔst ‖ nau wen ə ˈdrʌg z ˈfəːst prəˈdjuːst | ðə ˌpeitənt ˈlɔːz | ˈgiv its ˌmænjəˈfækȷərə » ði iksˈkluːsiv ˈrait tə ˈmeik ən ˈmɑːkit it fər ə ˈnʌmbər əv ˈjiəz | ˈnou wʌn ˈels kən prəˈdjuːs it ɔːr ˈjuːz its ˈbrænd neim…‖

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7.1.2 Further samples of quantitative transcription 7.1.2.1 ‘Simplified’ This is used as an extra-broad type of transcription devised by D. Jones in 1931 for learners not concerned with comparative phonetics. He used it in The Phoneme (1950). It was also employed by some of his disciples such as N. Scott (English Conversation in Simplified Phonetic Transcription, 1942), E. L. Tibbits (A Phonetic Reader for Foreign Learners of English, 1946), etc. It is a totally phonemic and extremely economic type of transcription where only seven different symbols are used. SIMPLIFIED TYPE MONOPHTHONGS i˘ ñ i u ñ u˘ e

´˘ñ´

oño˘

a

√

a˘

DIPHTHONGS i´ u´ ei ou e´ oi ai au

Transcription samples: A. The North Wind and the Sun The North Wind and the Sun were disputing which was the stronger, when a traveller came along wrapped in a warm cloak. They agreed that the one who first succeeded in making the traveller take his cloak off should be considered stronger than the other. Then the North Wind blew as hard as he could, but the more he blew the more closely did the traveller fold his cloak around him; and at last the North Wind gave up the attempt. Then the Sun shone out warmly, ad immediately the traveller took off his cloak. And so the North Wind was obliged to confess that the Sun was the stronger of the two. (The Principles of the International Phonetic Association, 1912)

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Phonetic transcription: A.‖ ðǝ 'noːθ 'wind ǝn ðǝ 'sʌn w ‖ ðǝ 'noːθ 'wind ǝn ðǝ 'sʌn wǝ dis'pjuːtiŋ 'witʃ wǝz ðǝ 'stroŋgǝ | wen ǝ 'travlǝ keim ǝ 'loŋ 'rapt in ǝ 'woːm 'klouk. ‖ ðǝi ǝ'griːd ðǝt ðǝ 'wʌn huː 'fǝːst sǝk'siːdid in 'meikiŋ ðǝ 'travlǝ 'teik iz 'klouk of | ʃʊd bi kǝn'sidǝd 'stroŋgǝ ðǝn ði 'ʌðǝ ‖

‖ 'ðǝn ðǝ 'noːθ 'wind 'bluː ǝz 'haːd ǝz i kud | bǝt ðǝ 'moː i bluː ðǝ moː 'klousli did ðǝ 'travlǝ 'fould iz 'klouk ǝ'raund im ‖ ǝn ǝt 'laːst ðǝ 'noːθ 'wind 'geiv ʌp ði ǝ'tempt ‖ ‖ 'ðen ðǝ 'sʌn 'ʃon aut 'woːmli ǝnd i'midʒǝtli ðǝ 'travlǝ 'tuk oːf iz 'klouk ‖ ‖ ǝn 'sou ðǝ 'noːθ 'wind wǝz ǝ'blaidʒd tǝ kǝn'fes ðǝt ðǝ 'sʌn wǝz ðǝ 'stroŋgeǝr ǝv ðǝ 'tuː ‖

B. A pair of scissors I should like to know who took my scissors. They were quite an old pair, but they were good enough for cutting paper and that is what I used them for. They are not in their usual place, and of course, nobody has touched them. It is most provoking. I suppose Jane will say it was the cat. Cats may have a taste for crockery, but why they should go for scissors is beyond me. Oh, I am making too much of a fuss, am I? You cannot see that what I care for is not an old pair of scissors but the sacred cause of tidiness. ‘Sacred fiddlesticks’ did you say? Well, I am surprised. (W. Ripman, A First English Book, p. 138)

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Phonetic transcription: B. ´ »pair ´v »siz´z ‖ ai ʃud 'laik tǝ 'nou huː 'tuk mai 'sizǝz ‖ ðei wǝ 'kwait ǝn 'oul 'peǝ | bǝt ðei wǝ 'gud i'nʌf fǝ 'kʌtiŋ 'peipǝ | ǝn 'ðæts wot ai 'juːzd ǝm foː ‖ ‖ ðeǝ not in ðeǝ 'juːʒl 'pleis | ǝn | ǝv 'koːs | 'noubǝdi 'tʌtʃt ðǝm its 'moust prǝ'voukiŋ ‖ ai sǝ'pouz 'dʒein wil 'sei it wǝz ðǝ 'kat ‖ ‖ 'kats 'mei hǝv ǝ 'teist fǝ 'krokǝri | bǝt wai ðei ʃud 'gou fǝ 'sizǝz iz bi'jond 'miː ‖ ‖ 'ou, aim meikiŋ 'tuː 'mʌtʃ ǝv ǝ 'fʌs, 'æm ai ‖ juː 'kaːnt siː ðǝt wot 'ai keǝ fǝ | iz not ǝn 'oul peǝr ǝv 'sizǝz | bǝt ðǝ 'seikrid 'koːz ǝv 'taidinis ‖ ‖ 'seikrid 'fidlstiks did juː sei? | wel, ai 'æm sǝ'praizd ‖



Exercises a. Transcribe the following words using a simplified type of transcription thought ……… feet ……… spiritual ……… alien ……… murmur ………

108

smart ……… awful ……… spinach ……… foreign ……… circular ………

matter ……… couln’t ……… pram ……… aloud ……… choir ………

something ……… complaining ……… provoke ……… chair ……… savings ………

compact ……… morning ……… override ……… alternation ……… pronounce ………

really ……… your ……… bear ……… jet ……… fear ………

b. Now do the same with the text below The vicar was explaining the difference between knowledge and faith ……… ……… ……… ……… ……… ……… ……… ……… to his congregation. ……… ……… ……… ‘In the front row’, he said, ‘we have Mr Heather with his wife and three children.. ……… ……… ……… ……… ……… ……… ……… ……… ……… ……… Now, she knows they are her children: that is knowledge. He believes they are his ……… ……… ……… ……… ……… ……… ……… ……… ……… ……… children: that’s faith. ……… ……… ……… It was reported this afternoon that a man in Cornwall was partially electrocuted. ……… ……… ……… ……… ……… ……… ……… ……… ……… After his recovery, the man said: ‘It came as something of a shock’. ……… ……… ……… ……… ……… ……… ……… ………

7.1.2.2 Simplified (MacCarthy, 1944–1965 ) This notational system is a variant of the simplified type of transcription in which the only peculiarity is the use of a double grapheme to indicate the length of the long monophthongs instead of the use of a colon. Such a procedure does not conform with the principles of the IPA although it can be highly pedagogical in contexts in which the learner may have problems with the length of certain vowels. The system is simple and phonemic. MacCarthy only made use of it in the following books: – English Pronunciation, 1944 – English Pronunciation Vocabulary, 1945 – English Conversation Reader, 1956 – A Practice Book of English Speech, 1965 More recently, Kreidler (1989) has partially used this system in his Pronunciation of English. A Course Book in Phonology. London: Blackwell. 109

Some examples A. The North Wind and the Sun (Text in ordinary spelling on page 106) ‖ ðǝ 'nooθ 'wind ǝn ðǝ 'sʌn w

‖ ðǝ 'nooθ 'wind ǝn ðǝ 'sʌn wǝ dis'pjuutiŋ 'witʃ wǝz ðǝ 'stroŋgǝ | wen ǝ 'travlǝ keim ǝ'loŋ in ǝ 'woom 'klouk. ‖ ðei ǝ'griid ðǝt ðǝ 'wʌn huu 'fǝǝst sǝk'siidid in 'meikiŋ ðǝ 'travlǝ 'teik iz 'klouk of | ʃʊd bi kǝn'sidǝd 'stroŋgǝ ðǝn ði 'ʌðǝ ‖ ‖ 'ðen ðǝ 'nooθ 'wind 'bluu ǝz 'haad ǝz i kud | bǝt ðǝ 'moo i bluu ðǝ moo 'klousli did ðǝ 'travlǝ 'fould iz 'klouk ǝ'raund im ‖ ǝn ǝt 'laa.ːst ðǝ 'nooθ 'wind 'geiv ʌp ði ǝ'tempt ‖ ‖ 'ðen ðǝ 'sʌn 'ʃon aut 'woomli ǝnd i'midʒǝtli ðǝ 'travlǝ 'tuk oof iz 'klouk ‖ ‖ ǝn 'sou ðǝ 'nooθ 'wind wǝz ǝ'blaidʒd tǝ kǝn'fes ðǝt ðǝ 'sʌn wǝz ðǝ 'stroŋgǝr ǝv ðǝ 'tuu ‖

B. A pair of scissors (Text in ordinary spelling on page 107) ´ pe´r ´v »siz´z ‖ ai ʃud 'laik tǝ 'nou huu 'tuk mai 'sizǝz | ðei wǝ 'kwait ǝn 'oul 'peǝ | bǝt ðei wǝ 'gud i'nʌf fǝ 'kʌtiŋ 'peipǝ | ǝn 'ðæts wot ai 'juuzd ǝm foo ‖ ‖ ðeǝ not in ðeǝ 'juuʒl 'pleis | ǝn | ǝv 'koos | 'noubǝdi 'tʌtʃt ðǝm ‖ its 'moust prǝ'voukiŋ ‖ ai sǝ'pouz 'dʒein wil 'sei it wǝz ðǝ 'kat ‖

‖ 'kats 'mei hæv ǝ 'teist fǝ 'krokǝri | bǝt wai ðei ʃud 'gou fǝ 'sizǝz iz bi'jond 'mii ‖ ‖ 'ou, aim meikiŋ 'tuu 'mʌtʃ ǝv ǝ 'fʌs, 'æm ai ‖ juu 'kanːt sii ðǝt wot 'ai keǝ fǝ iz not ǝn 'oul peǝr ǝv 'sizǝz | bǝt ðǝ 'seikrid 'kooz ǝv 'taidinis ‖ ‖ 'seikrid 'fidlstiks did juu sei? | wel, ai 'æm sǝ'praizd ‖

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Exercises a. Transcribe the vowels appearing in the words below using MacCarthy’s model. father……… used ……… reduced ……… cream ……… good ……… train ……… student ……… product ………

means ……… army ……… section ……… cases ……… polite ……… blow ……… morning ……… making ………

knife ……… change ……… morning ……… news ……… acute ……… vowel ……… beer ……… objects ………

abstract ……… coffee ……… anyhow ……… contact ……… lant ……… language ……… sources ……… yesterday ………

b. Transcribe the text below (MacCarthy’s model). Why should you never put ripe bananas next to cut flowers ………………………………………………………………… Very ripe bananas are one of the more productive sources of ………………………………………………………………… ethene and leaving them next to a vase of cut flowers is probably ………………………………………………………………… best avoided. Incidentally, using a ripe banana will be a more ………………………………………………………………… efficient means of speeding up the ripening of your tomatoes than ………………………………………………………………… a ripe tomato. ………………

7.1.2.3 The Bloch & Trager / Trager & Smith system (1941, 1951) Used more commonly in a North American context than in English RP representation, this notational system is characterized by the fact that it considers long vowels as diphthongs, with the second element of mid and low vowels being represented by [h] (car = /kahd/, call /kohl/, bird /b´hd/), and that of the high by [ j] (week /wijk/) and [w] (two /tuw/). In this way, the system is extremely economic, as it only uses seven vowel symbols. Bloch and Trager used this model in 1942 in their book Outline of Linguistic Analysis (Baltimore: Waverly Press) and, a year 111

previous, Trager and Bloch in ‘The syllabic phonemes of English’ (Language, vol. 17, pages 223– 46). In 1951, Trager and H. L. Smith presented a more refined version – the one offered here – to serve as a base for diverse adaptations. It consists of nine monophthongs, a set of nine diphthongs with a final y, another set of diphthongs ending in w, and an additional nine with a final h that represents both the second element of the centring diphthongs (finishing in /´/) and the length of the long low monophthongs. The following text – taken from Abercrombie (1964: 120), who, in turn, took it from H. E. Palmer (1925) – is transcribed according to the Trager & Smith model (RP version, though /a / is kept to represent /Å /). ət 'wat 'taym ǝ juw 'gowiŋ tǝ ði ˌeksi'biʃn ay 'θɔht 'hǝhd juw 'tel jɔh 'brʌðǝ ðis 'mɔhniŋ ðǝt juw ik'spektid tǝ 'miyt im 'ðehr ǝt ǝ'bawt 'tuw. jes, wud 'juw layk tǝ dʒoyn ǝs ðeh ay wud, wið pleʒǝ, bǝt ay m 'nat 'ʃuh weðǝ ay 'kæn. In 'eni 'keys ay mǝst 'liyv 'ǝhli tǝ 'kætʃ ðǝ 'foh 'treyn. ay 'downt 'liv hih 'naw. ay 'liv in ðǝ 'sʌbǝhbz ǝnd ay 'want tǝ get 'howm bifohr its 'dahk. 'ah ju 'rihli in 'sʌtʃ ǝ 'hʌri tǝ get 'howm, 'mʌst juw if its 'sowlli an ðæt ǝ'kawnt, wiy kǝn 'teyk ju 'bæk in awǝ 'kah. 'kæn juw, ðæt l bi 'splendid. 'ohl 'rayt.

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7.2 Qualitative Models

Along with the ‘broad’ transcription models that Jones considered more appropriate for the teaching of English to non-native speakers, more ‘narrow’ models have been used with identical purpose,although, admittedly, they have been more favoured for the study and analysis of the language on the part of speakers of English as a first language. For that reason, they put the emphasis on quality as the main differentiating element, relegating quantity to background as supposedly a less problematic factor in an indigenous context. This ‘narrow IPA transcription’ (IPA narrow) as called by Jones, was used by L. E. Armstrong in 1923 (An English Phonetic Reader – in fact, at the request of D. Jones). Also I. Ward used it in her Phonetics of English, 1928. On the continent, A. Cohen used it in The Phonemes of English. A Phonemic Study in the Vowels and Consonants of standard English 1971 [1962]. The Hague: Martinus Nijhoff. More recently, Wells and Colson made use of it in their Practical Phonetics (1971), G. M. Miller in BBC Pronouncing Dictionary of British Names (1971, re-edited in 1983 by G. E. Pointon), as well as P. Ladefoged (Course in Phonetics, 1975), and Finch and Ortiz (A Course in English Phonetics for Spanish Speakers, 1982) among others. But the two best known adaptations of Jones’ work in the context of British English are Abercrombie’s English Phonetic Texts (1964) and Windsor Lewis’ People Speaking (1977), books written with a different audience in mind: Abercrombie targeted students “either native English-speaking or foreign, whose interest is in English phonetics and phonology rather than in learning English pronunciation” (1964: 36), whereas Windsor Lewis focused on the foreign student.

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7.2.1 The Edinburgh System (Abercrombie, 1964; Ladefoged, 1975) This type of representation, known as the ‘Edinburgh transcription’ for being very popular in the Department of Phonetics of this university, was first used by Abercrombie in his book English Phonetic Texts (1964) and three years later in Elements of General Phonetics (Edinburgh University Press). Based on E. Armstrong’s model, who also borrowed it from D. Jones, differs from his standard system and other narrow systems in the following: •

•

114

Use of /a/ instead of /ae/. Abercrombie justifies this preference alleging that /ae/ began to be used to highlight the different quality that the English vowel displays, as opposed to its nearest equivalent in French and German (1964: 36–37), a reason that certainly has limited weight in a mother tongue context. But it should be added that a tendency towards centralization in the south of England was noticed by Gimson in 1962 (“heard in the children…and maintained by many young people”, 1962: 109). Jones himself used /a/ instead of /ae/ in The Pronunciation of English, 1909. Much more recently, Roach et al. write in the Introduction to the 17th edition of the EPD that “the quality of this vowel [æ] is more open than it used to be, and the symbol /a/ might one day be considered preferable” (2009: ix). Use ofl /ɷ/ instead of /U/. This typesetter peculiarity certainly calls the attention. In reality, such use was within the purest orthodoxy of the IPA in whose Principles we read that “the letters /I/ and /U/ may be used as alternatives to /i/ and /U/. /i/ and /U/ are, however, preferable forms, the others being unsatisfactory in italic and sanserif fonts of type” (The Principles of the International Phonetic Association, 1972: 8, note 1). Irrespective of this rather trivial opinion, not subscribed to by the IPA any more, it is obvious that the symbols suggested by the IPA were much less common than the corresponding Greek characters, making the symboll /ɷ/ at present an untenable traditionalism, as Windsor Lewis rightly pointed out.

Characteristics •

•

•

Abercrombie defines his transcription as complex and multilateral, with a total of 15 different symbols to represent the vowels. It is allophonic in the representation of the first elements of the diphthongss /eɩ/ and /oɷ/,, a policy that takes native speakers with accents other than RP into account (Standard Scottish in particular), otherwise it is phonemic. It is a qualitative transcription, thought of for the native speakers who study the phonetics of their own language rather than for those who teach English as a foreign language.

Fig. 7. Edinburgh Model: BritE monophthongs.

Fig. 8. Edinburgh Model: BritE diphthongs.

115

This style of transcription was also used by Ladefoged in the first edition of his Course in Phonetics (1975), except for a couple of typographical changes (Abercrombie’s ÅI, a → çI, æ, respectively). However, in the fifth edition of the book (2006) he has adhered to the style of transcription found in Wells’ LPD-2 and EPD-16, except for the use of the length mark and the substitution of [E] for [e]. The symbols of this model are also very much like those used by Kenyon and Knott in their Pronouncing Dictionary of American Englishy (1953), the only differences being the use of [e] for [eɩ], [o] forr [oɷ], [U] forr [ɷ] and – like Ladefoged – [çI] for [ÅI] as shown on the following table: Abercrombie (1964)

i

ei

ai

r a[ɷ]

Åi

ro[ɷ]

a

çI

Ladefoged (1975) Kenyon & Knott (1953)

Å

r [ɷ]

æ

I

e

aI

aU

çI

o

æ

A

U

bit

may

my

now

boy

no

bat

not

put

Table 4. Typographical differences between Abercrombie’s (1964), Ladefoged’s (1975) and Kenyon/Knott’s (1953) vowel representation. The remaining vowels are transcribed by all these authors in the same way.).

Exercises a. Transcribe the vowels appearing in the words below using Abercrombie’s (a), Ladefoged’s (b) and Kenyon/Knott’s (c) models. accent

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

without

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

boy

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

element

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

lower

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

follows

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

practice

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

rein

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

dancing

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

116

added

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

trusted

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

speaking

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

learning

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

language

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

however

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

scarcely

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

melody

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

employ

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

same

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

discount

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

connection (a) /. . . . . / (b) /. . . . . . / (c) /. . . . . . /

always

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

through

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

absurd

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

hardly

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

meaning

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

written

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

human

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

monday

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

perpetual (a) /. . . . . ./ (b) /. . . . . . / (c) /. . . . . . /

process

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

country

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

perhaps

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

national (a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

master

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

second

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

ordering (a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

beauty

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

where

(a) /. . . . . . / (b) /. . . . . . / (c) /. . . . . . /

117

b. Transcribe the strong and weak forms of the words in bold type (articles, adjectives and pronouns). 1. The /. . . . / man ate an /. . . . / apple 2. Let’s /. . . / see what he /. . . / wants. 3. Tell them /. . . . / I’ve got some /. . . . . / good news for him /. . . . / 4. Show me /. . . . / her /. . . . / dress. 5. Guess who’s /. . . . / coming tonight 6. She /. . . . / met a /. . . / friend from /. . . . . / León in Madrid. 7. He had her /. . . / hat in his /. . . . / hand 8. Take him /. . . . / out until /. . . . . . / we /. . . . / finish this job. 9. Their /. . . . / aunt told us /. . . . / she would come to see them /. . . . . / today. 10. He /. . . / called the servant in, and told him /. . . . / to ask every gentleman his /. . . / name as he /. . . . / arrived. 11. Some /. . . . / of /. . / us /. . . / would prefer your /. . . . . / wine. 12. She /. . . / was with some /. . . . . / men. 13. Your /. . . . / flat can’t be compared with her /. . . / house

118

7.2.1.1 Phonetic Texts (Edinburgh System) The corresponding ordinary spelling on pages 63–80. Comments to the sample transcriptions on pages 191 to 221.

1. D´ »wED´ »fçkAst 1

. ‖1‖ an ˈnaɷ ðə ˈwɛðə ˈfɔkɑst ‖ ən aɩ ˈhoɷp jɷ ɩnˈdʒɒɩd ðə ˈsʌmə ˈjɛstədeɩ ǀ bɩˈkɒz ɩt ˈmeɩ nɒt ˈlɑst ˈmʌtʃ ˈlɒŋgə ‖ ˈɩŋglənd ən ˈweɩlz wɩl ˈstɑt ˈdrɑɩ ən ˈsʌnɩ ǀ bət ˈklaɷdz wɩl ɩnˈkris ɩn ðə ˈwɛst ðɩs ˈmɔnɩŋ ǀ wɩð ˈreɩn ɩn ˈpleɩsɩz ˈsprɛdɩŋ ˈist tɷ ˈɔl ˈpɑts bɑɩ ðɩs ˈivnɩŋ ‖ ˈreɩnfɔl əˈmaɷnts wɩl bɩ ˈvɛrɩ ˈsmɔl ɩn ðə ˈsaɷθ | ˈmɛnɩ ˈpleɩsɩz ˈsteɩɩŋ ˈdraɩ | bət ðɛǝ ˈmeɩ bɩ səm ˈhɛvɩər ˈaɷtbreɩks | ɩn ˈnɔθwɛst ˈɩŋglənd ‖

10

. ˈreɩn tnÇ ˈskɒtlənd 0. ˈreɩn ˈhɛvɩ ˈhɛvɩ ɩnɩn ˈpleɩsɩz ˈpleɩsɩz ɩnɩn ˈwɛstņ ˈwɛstņ ˈskɒtlənd ən ən ˈnɔðən ˈnɔðən ˈaɩələnd ˈaɩələnd | | wɩl ˈsprɛd tɷ ˈistən ˈskɒtlənd ðɩs ˈmɔnɩŋ | ˈfɒlоɷd baɩ ˈbraɩtə ˈwɛðə wɩð ˈʃaɷəz ‖ ˈtɛmprətʃəz | ˈsɩmələ tu | ɔr ə ˈlɩtl̩ tlÇ ˈhaɩə ðən ˈjɛstədeɩz ‖ ˈwɩndz | ˈlaɩt ɔ ˈmɒdərət ˈsʌðəlɩ ‖

15

5. ˈaɷtlɷk‖‖ ə ə ˈfju ˈfju ˈʃaɷəz ˈʃaɷəz ɩnɩn ðə ðə ˈnɔθ ˈnɔθ ətət ˈfɜst ˈfɜst ‖‖ . ðɩðɩˈaɷtlɷk bət ˈɔlˈɔl ˈpleɩsɩz ˈpleɩsɩz bɩˈkʌmɩŋ bɩˈkʌmɩŋ ˈdraɩ ˈdraɩ| | ˈsʌnɩ ˈsʌnɩ ənd ənd ˈwɔm ˈwɔm | | bət ɔlˈðоɷ ˈleɩtə səm ˈaɷtbreɩks əv ˈhɛvɩ ˈreɩn meɩ ˈsprɛd tɷ ˈsʌðən ˈdɩstrɩkts ‖

119

2. «√nim»plÅim´nt 1

5

. ‖1 də ˈstɑk ˈfakt ðət ˌʌnɩmˈplɒɩmənt ɩn ˈbrɩtņ« | həz ˈnaɷ ˈritʃt | ˈwʌn ˈpɒɩnt ˈnaɩn ˈmɩljən | ə ˈlɛvl̩« ˈnɒt ˈsin sɩns ðə ˈmɩd ˈθɜtɩz | prəˈvaɩdz ðɩs ˈmɔnɩŋz ˈpeɩpəz wɩð ðɛǝ ˈmeɩn ˈθim ‖ ðə ˈdeɩlɩ ˈdeɩlɩ ɩkˈsprɛs ɩkˈsprɛsˈsʌmz ˈsʌmz ɩtɩt ˈʌp ˈʌp ‖‖ əə ˈdʒɒb ˈdʒɒb ˈlɒst ˈlɒst ˈɛvrɩ ˈɛvrɩ ˈtwɛntɩ ˈtwɛntɩ ˈsɛkəndz ˈsɛkəndz ‖‖ . . ðə ən ðə ˈmɩrə ˈfɔkɑsts ðət baɩ ˈkrɩsməs | ˈtu ˈmɩljən wɩl bi ˈaɷt əv ˈwɜk | ɩˈnʌf tə ˈfɔm ə ˈdоɷl ˈkju ˈstrɛtʃɩŋ frəm ˈlandz ˈɛnd tə ˈdʒɒn əˈgrоɷts ‖ ðə ˈtaɩmz ˈsɛz ðə ˈfɩgəz ər ˈɔl ðə ˈwɜs | fə ˈhavɩŋ aɷtˈpeɩst ðə ˈmоɷst pɛsəˈmɩstɩk ˈfɔkɑsts ‖

12

ˈdeɩlɩˈstɑ ˈstɑ| ˈjuzɩz | ˈjuzɩzðəðəˈpɩktʃər ˈpɩktʃərəvəvˈjʌŋ ˈjʌŋˈstiv ˈstivoɷ oɷˈnil ˈnil| | .2.ðəðəˈdeɩlɩ ˈɩləstreɩtðəðəˈtradʒədɩ ˈtradʒədɩ‖ ‖ tutuˈɩləstreɩt hiz ˌsɩkˈstin Èsikstin ənd «n ə ˈhɑf | ənd «n ɩz ˈdʒɒb ˈprɒspɛkts ə ˈnɩl ‖ ðə ˈmeɩl rɩˈpits ˈmɩsɩz ˈθatʃəz ˌdɛkləˈreɩʃņ« | ðət ðɛǝ kən bi ˈnоɷ ˈmɩrəkl̩« ˈkjɷə ‖ ˈɔl ðə ˈpeɩpəz əˈgri | ðə ˈfɩgəz ə ˈʃɒkɩŋ ‖ bət əˈpɩnjənz əˈbaɷt ˈhuz ət ˈfɔlt | ən ˈwɒt ʃɷd bɩ ˈdʌn | ˈvɛәrɩ ‖

20

. ðəðəˈtɛlɩgrɑf 0. ˈtɛlɩgrɑfˈsɛz ˈsɛzɩtsɩtsðəðəˈbɩtə ˈbɩtəˈhɑvɩst ˈhɑvɩst| | əv ðə ˈfɒlɩz əv aə ˈmɑstəz оɷvə ˈmɛnɩ ˈjɩəz | and ɩt ˈkɔlz ɒn ðə ˈgʌvənmənt | tə ˈstand ˈfɜm ɒn ɩts ˈprɛzņt « ˈpɒlәsɩz ‖ ðə ˈtaɩmz meɩnˈteɩnz ðət ˈоɷnlɩ ə ˈpɒlәsɩ | ˈeɩmd ət ˈbrɩŋɩŋ ˈdaɷn ɪnˈfleɩʃņ« | wɩl prəˈvaɩd ə lɒŋ ˈtɜm kjɷə fər ˌʌnɩmˈplɒɩmənt ‖ ən ðɛәz ə ˈsɩmәlə ˈsɛntɩmənt | ɩn ðə ˈsʌn ‖

120

3. »di »naSn« ´laizd »ind´striz 1

A- ‖ ˈnaɷ ‖ ˈwɒt həv ðə ˈfɒlоɷɩŋ ˈɩndəstrɩz ɩn ˈkɒmən ‖ . Aðə ˈreɩlweɩz | ˈrоɷd ˈpasɩndʒə ˈtranspɔt | ɩˌlɛkˈtrɩsәtɩ dʒɛnəˈreɩʃņ« | ðə ˈdɒks | ðə ˈpоɷst | ˈsɩvl̩« ˌeɩvɩˈeɩʃņ… ‖ « ðɩ ˈ ɑnsə ‖ ðɛǝr ˈɔl ˈbiɩŋ ˌdiˈnaʃņəlaɩzd ˈraɷnd ðɩ ˈɛdʒɩz ‖ «

5

.. təˈdeɩ təˈdeɩǀ ǀwil wil ˈwɩtnəs ˈwɩtnəs ðə ðə ˈθɜd ˈθɜd ˈridɩŋ ˈridɩŋ ɩn ɩn ðə ðə ˈkɒmənz ˈkɒmənz || əv ðə ˈsɩvl̩« ˌeɩvɩˈeɩʃņ« ˈbɩl ǀ wɩtʃ | ˈwɛn ɩt bɩˈkʌmz ən ˈakt | wɩl pəˈmɩt ðə ˈseɩl tə ðə ˈpʌblɩk əv ˈʃɛәz ɪn ˈbrɩtɩʃ ˈɛәweɩz ‖ ðɩ ˈɛәlaɩn wɩl bɩˈkʌm ˈbrɩtɩʃ ˈɛәweɩz ˈlɩmɩtɩd ‖ ˈɑθə ˈrid | ˈɛә ˌkɒrəˈspɒndənt fə ðə ˈtaɩmz | ˈtоɷld ǀ ˈnil ˈbɛrәt ǀ ˈhaɷ ðə ˈgʌvņmənt ɩnˈtɛndz tə ˈgоɷ əbaɷt ˈðɩs ‖ «

11

1.BB- ‖ ðɩ aɩˈdɩər ɩz ðәt ɩt wɩl bɩˈkʌm ə ˈpraɩvɩt ˈkʌmpənɩ | wɩð ðə ˈgʌvņmənt ˈhоɷldɩŋ ˈwʌn ˈhʌndrəd ˈsɛnt ˈʃɛәz ´ ˈhʌndrəd pə pə ˈsɛnt əv əv ðə ðə ˈʃɛәz ɩn ɩn ðə ðə ˈ ˈʃɔt ˈtɜ « ə ˈʃɔt ˈtɜm ‖ ən ˈðɛn | ət ə ˈdeɩt wɩtʃ ɩz bi tə bi əˈnaɷnst əˈnaɷnst | | ən ˈðɛn | ət ə ˈdeɩt wɩtʃ ɩz tə bi əˈnaɷnst | ðə ˈgʌvṇmənt wɩl ˈɔfər ə maɩˈnɒrәtɩ ‖ « prɩˈzjuməblɩ əˈbaɷt ˈfɔtɩ ˈnaɩn pə ˈsɛnt əv ðə ˈʃɛǝz ɒn ðɩ ˈоɷpņ« ˈmɑkɩt | fɔr ˈɛnɩbɒdɩ | ˈmɛmbəz əv ðə ˈpʌblɩk ɔ ˌkɔpəˈreɩʃņz « tə ˈbaɩ ‖

17

7.AA-‖ ˈhaz ðə ˈgʌvņmənt ˈsɛd ˈhaɷ ˈðɩs ˈseɩl ɩz ˈgоɷɩŋ tə ˈteɩk ˈpleɩs ‖ « ˈhaɷ ˈmɛnɩ ˈʃɛǝz ˈitʃ ˌɩndɩˈvɩdjɷəl ˈpɜtʃɩsə wɩl bɩ əˈlaɷd tə ˈbaɩ | fər ɩgˈzɑmpl̩« ‖

121

4. »hçti«k√ltS´ 1

. AA- ‖ ˈnaɷ | ˈlɩsņɩŋ tə ˈdʒeɩn ˈoɷvə ðə ˈpɑst ˈjɩər ɔ ˈsоɷ | « ɒn ðə ˈsʌbdʒɩkt əv ˈgɑdņɩŋ | « ˈaɩv ˈfaɷnd hə sɩstәˈmatɩk kamˈpeɩn əv dɩˈstrʌkʃņ« | əv ˈɔl ðɩ ɩkˈskjusɩz aɩv ˈkɛǝfәlɩ ˈnɜtʃəd | fə ˈnɒt duɩŋ ˈdʒɒbz əˈraɷnd ðə ˈgɑdņ« | rɑðə | dɩsˈteɩstfl̩« ənd ˈhɜtfl̩« ‖

6

.. haɷˈɛvə haɷˈɛvə || aɩ aɩ ˈθɔt ˈθɔt ðət ðət ˈspreɩɩŋ ˈspreɩɩŋ ˈʃrʌbz ˈʃrʌbz fə fə ˈgrinflaɩ ˈgrinflaɩ || wəz ə ˈprɩtɩ ˈseɩf təˈbu ‖ ɩt ɩnˈvɒlvd ˈdilɩŋ wɩð ˈdeɩndʒərəs ˈpɒɩzņz « | wɩtʃ aɩ maɩt ˈspɩl ɒn maɩˈsɛlf ‖

10

.0.ɩtɩtɪnˈvɒlvd ɪnˈvɒlvdˈwɛǝrɩŋ ˈwɛǝrɩŋˈrʌbə ˈrʌbəˈglʌvz ˈglʌvz| | wɩtʃ t « tfəfəˈmˈmi tə ˈhandl̩« ˈθɩŋz | wɩtʃwɷd wɷdˈmeɩk ˈmeɩkɩtɩtˈvɛrɩ ˈvɛrɩˈdɩfɩkl̩ ˈdɩfɩkl̩ ən | ˈɛnɩweɩ| aɩ ˈkɷdṇt faɩnd ðə ˈgrinflaɩ | « ˈivṇ« ɩf aɩ ˈwɒntɩd tu ‖ aɩ ˈhav ə ˈnɑstɩ ˈfilɩŋ ˈðоɷ ǀ ðət ˈfɩlɩs | ðə ˈfɩəlɩs ˌhɔtɩˈkʌltʃǝrəlɩst | ɩz ˈdʒʌst əˈbaɷt tə ˈpɷt ˈpeɩd tɷ əˈnʌðə ˈkʌmftəbl̩« ˈfɩkʃņ« ‖

16

6.BB- ‖ ˈaɩ ˈam ǀ bɩkəz ju ˈnоɷ | ˈspreɩɩŋ ɩz ˈrɩəlɩ ˈwʌn əv ðоɷz ˈdʒɒbz ðət ɩzņt ˈnɩəlɩ əz ˈdɩfɩkl̩« t əz ɩt ˈsimz ‖ aɩ dɩˈskʌvəd ˈðat |ˈwɛn aɩ ˈwɒtʃt ən ɩkˈspɛrɩmənt ɪn ˈspreɩɩŋ | dʌn ˈrisņtlɩ baɩ ə ˈblaɩnd ˈgɑdnə | wɩð ðə ˈhɛlp əv ə ˈsaɩtɩd ˈwʌn | « huz ˈɔlsоɷ ə ˈrɛgjɷlə ˈtjutər ət ðɩ ˈanjuəl ˈgɑdņɩŋ ˈwikɛnd ˈkɔsɩz ‖ «

21

.1.ˈwɒt ˈwɒtjujuˈnid ˈnid| |ɩzɩzˈɛnɩ ˈɛnɩˈkaɩnd ˈkaɩndəvəvˈspreɩə ˈspreɩə| | ðət ju kən ˈhоɷld wɩð ˈwʌn ˈhand | bɩkəz ðɩ ˈʌðə ˈhand ɩz ˈnidɩd tə ˈgaɩd ju əˈraɷnd ðə ˈbɷʃ ɔ ˈʃrʌb ‖

122

5. »√nj´nz vŒs´s S´»lÅts 1

. AA- ‖ ˈnaɷ | tɷ ə ˈbɩt əv ˈkɷkɩŋ ‖ ðəz ˈskɛǝslɩ ə ˈseɩvərɩ ˈrɛsәpɩ ðət ˈdʌzņt ˈkɔl fər ə ˈlɩtl̩« ˈʌnjən ‖ « ən ðɩ ˈʌnjən ən ɩts ˈklоɷs ˈrɛlətɩvz ǀ laɩk ðə ˈlik | ɑr əˈmʌŋ ðɩ ˈоɷldәst ˈvɛdʒtəbļz ǀ əˈparəntlɩ ˈnоɷn tɷ əs ‖ « ən ˈðɛǝr ɑr ˈɔl ˈsɔts əv trəˈdɩʃņz əˈtatʃt tə ðəm ‖ «

6

. ˈʌnjənz wə ˈgɩvņ« əz ˈwɛdɩŋ ˈprɛzņts ɩn ˈeɩnʃņt « « ˈgris ‖ ˈstreɩndʒ ˈwɛdɩŋ ˈprɛzņts ‖ bət əˈparəntlɩ ðeɩ wə bɩˈlivd tə ˈhav ˌafrəˈdɩzɩak ˈkwɒlәtɩz ‖ ən ˈliks əv bin əˈraɷnd sɩns ðə ˈtaɩmz əv ðə ˈfɛǝrоɷz ‖

10

ˈpatˈteɩləz ˈteɩləzbɩn bɩnˈtɔkɩŋ ˈtɔkɩŋˈʌnjənz ˈʌnjənzwɩð wɩðˈhоɷm ˈhоɷmɩˈkɒnəmɩst ɩˈkɒnəmɩstǀ ˈkeɩt ǀ ˈkeɩtˈhastrɒp ˈhastrɒp‖ ‖ .0.ˈpat an ʃɩ bɩˈgan baɩ ˈɑskɩŋ | ˈwɒt ˈɑ ðə ˈmɛmbəz əv ðɩ ˈʌnjən ˈfamәlɩ ‖ B-‖ ˈоɷ ǀ ˈwɩə ˈtɔkɩŋ əˈbaɷt ˈʌnjənz ɩn ˈɔl ɩts ˌvɛǝrɩˈeɩʃņz ‖ « ˈliks | ˈgɑlɩk | ˈtʃaɩvz | ˈsprɩŋ ˈʌnjənz | ən əv ˈkɔs | ʃəˈlɒts ‖ ən ðə ˌvɛǝrɩˈeɩʃņ« əv ðə ˈsprɩŋ ˈʌnjən ðət ˈlɷks ә ˈbɩt laɩk ə ʃəˈlɒt | wɩtʃ ɩz ə ˈwɛlʃ ʌnjən ǀ wɩtʃ ɩz ˈwɛl ˈwɜθ ˈhavɩŋ ɩn ðə ˈgɑdņ« | bɩkəz ˈðats ə pəˈrɛnɩəl ‖

17

7.AA- ‖ ˈwɒts ðə ˈdɩfrəns bɩˈtwin ə ʃəˈlɒt ənd ən ˈʌnjən ‖ B- ‖ ˈwɛl | ə ʃəˈlɒt ˈgrоɷz ɩn ˈklʌmps təˈgɛðə | ən ˈsprɩŋz ˈaɷt frəm ðə ˈsaɩd frəm ə ˈsɛntrəl ˈbʌlb ‖ ən ðɛǝ ˈdʒɛnərl̩« ɩ ˈjuzd ɩn ðɩs ˈkʌntrɩ fə ˈpɩklɩŋ | ən ðeɩ ˈʃɷdņt bi kənˈfjuzd wɩð ðə ˈlɩtl̩« beɩbɩ ˈʌnjən ‖ « A- ‖ ṃ« ‖ aɩ ˈθɩŋk ˈmɛnɩ ˈpipl̩« ˈdu ɩn ˈfakt ‖

23

23. ‖ ˈðats ˈraɩt beɩbɩˈʌnjənz ˈʌnjənzə nɒt ə nɒtɔtəˈmatɩklɩ ɔtəˈmatɩklɩʃəˈlɒts ʃəˈlɒts‖ ‖ . B- B‖ ˈðats ˈraɩt ‖ ‖ beɩbɩ ən ˈpɩklɩŋ ˈʌnjənz ɑ ˈjuʒɷəlɩ ə ˈnaɩs | ˈraɷnd | ˈʃeɩp | ðət ˈɑr ə ˈsmɔl vəˈraɩətɩ wɩtʃ əv bɩn ˈgrоɷn ɩn ˈrɑðə ˈpɔ ˈsɒɩl | an ˈsоɷ ðət ðeɩ ˈdоɷnt ˈgrоɷ ˈɩntə ðə ˈbɩg ˈbʌlbəs ˈwʌnz | ðət wɩ ˈwɒnt ɩn ðə ˈmʌtʃ ǀ jɷ ˈnоɷ ǀ ˈbɩgə ˈkɷkɩŋ ˈʌnjən ‖ ðə ʃəˈlɒts ə ˈmʌtʃ ˈmaɩldə | ˈmʌtʃ ˈmɔ ˈdɛlɩkət | ən ˈmʌtʃ ˈmɔ ˈsutəbl̩« fə ˈdɛlɩkət ˈfleɩvəd ˈfudz ‖

123

6. Di ´»merik´n ik»spi´ri´ns 1

. ‖…ˈwɛl | ˈnоɷ ‖ ðɩ əˈmɛrɩkənz hav ˈdɩfrņt təˈbuz tɷ ˈʌs ‖ « aɩ ˈmin ǀ ðɛǝ ˈmɔ ˈfraɩtņd ˈstɩll əv ˈθɩŋz | « wɩә ˈnɒt sоɷ ˈfraɩtņd ˈɒf ˈhɩə ‖ « bət…| ˈən… | ɜ…| bət…ǀ aɩ ˈmin ǀ ðeɩ ˈdоɷnt laɩk ˈdʒоɷks əˈbaɷt ˈdɛθ ɩn əˈm ˈwɛǝz ˈwi ˈrɑðə ˈrɛvl̩ ‖ n əˈmɛrɩkə | ˈwɛǝz ˈwi ˈrɑðə ˈrɛvl̩« ‖ ˈstɔrɩz əˈbaɷt ˈʌndəteɩkəz əv ˈɔlweɩz ˈgɒn ˈdaɷn ǀ əˈtrit ɩn ˈbrɩtņ« ‖ aɩ ˈdоɷnt ˈnоɷ ˈwaɩ ɩt ˈɩz ‖

8

. ˈan…| ɜ…| ðeɩ ˈdоɷnt | ˈdоɷnt ˈlaɩk ˈsɛkʃɷәl ˈrɛfrənsɩz ɩn ðə ˈseɩm ˈweɩ ‖ ðeɩ ˈdоɷnt ˈmaɩnd ˈgeɩnəs | bət ɩt ˈhas tə ˈbi ɩn ə ˈmɔ ˈsʌtl̩« weɩ ‖ ən ðɛǝ wəz ˈsʌtʃ ə ˈgrup əv ˈtaləntɩd pəˈfɔməz | ən sоɷ ˈmɛnɩ əv ˈʌs ˈraɩtəz ‖ ðə wə »fiftin ˌfɩfˈtin əv əs ˈɑftər ˈɔl | ˈwakɩŋ ˈaɷt ðiz ˈʃоɷz ǀ ˌfɩfˈtin »fiftin ˈmɩnɩts ə ˈwik | ɜ…| ðət ɩt wəz | aɩ ˈmin | ju ˈhad tə bi ə tɛkˈnɩʃņ« tə ˈwɜk ˈðɛə | bət aɩ ˈraðǝ ˈlaɩkt ɩt ‖

15

. ðə DIðə prəˈdjusə 5. prəˈdjusə ˈdɩdņ ˈdɩdņ ˈlaɩk« əs əs||tətə ˈgоɷ ˈgоɷ ˈaɷt ˈaɷt tə tə ˈlʌntʃ ˈlʌntʃ ‖‖ « ˈlaɩk hihiˈjust ˈjust tətə ˈsɛnd ˈsɛndˈfud ˈfud ˈɩn ˈɩn| |ən ən ðə ðə ˈraɩtəz ˈraɩtəz || ɩtɩt wəz wəz ˈlaɩk ˈlaɩk əə ˈfaktrɩ ˈfɑm ‖ and aɩ ˈsɛd | aɩ ˈhavņ« ˈkʌm ˈeɩt ˈθaɷzņ« ˈmaɩlz ˈnɒt tə ˈhav ˈlʌntʃ | aɩ ˈsɛd tə ðəm | wɩð ðɩs ˈtɛrəbl̩« ˈbrɩtɩʃ ˈvɒɩs ‖ ən ðeɩ ˈjust||tə təˈʃaɷt ˈʃaɷtǀ ǀwɛn wɛn ˈaɩ ˈaɩ ˈkeɩm ˈkeɩm ɩntə ɩntə ðə ðə ˈbɩldɩŋ ˈbɩldɩŋ ɩn ɩn ðə ðə ˈmɔnɩŋ | ðə ˈbrɩtɩʃ ə ˈkʌmɩŋ ‖ ðə ˈbrɩtɩʃ ə ˈkʌmɩŋ ‖

124

7. »kÅm´di »raitiN 1

. AA- ‖ ˈjɔ ǀ ˈjɔ ˈfɔteɩ | ˈɒbvɩəslɩ | wəz ˈraɩtɩŋ fər ǀ ˈʌðə ˈpipl̩« | ən ɩˈspɛʃl̩« ɩ fə ˈkɛnəθ ˈhɔn ‖ ɩn | ˈfɜst əv ˈɔl | bɩˈjɒnd ˈɑ ˈkɛn | ən ˈðɛn ǀ ˈraɷnd ðə ˈhɔn ‖ B- ‖ jɛə ‖ A- ‖ naɷ... ǀ ju ˈrоɷt wɩð ˈmɑtɩ ˈfɛldmən ˈðat ˈsɛkənd ˈsɩəriz | ˈdɩdṇt ju ‖ « B- ‖ jɛə ‖ A- ‖ ˈɩz ɩt ˈaktʃɷәlɩ ə ˈgɷd aɩˈdɩə fə ˈkɒmədɩ ˈraɩtɩŋ | tə ˈbaɷns aɩˈdɩəz ˈɒf ˈsʌmbədɩ ˈɛls ‖

9

. BB-‖ ˈjɛs ‖ aɩ ˈθɩŋk ɩts ɩˈsɛnʃl̩« ‖ ðə ˈhоɷl ˈpɒɩnt əˈbaɷt ˈhjumər ɩz ðət ǀ ʌnˈlɛs ju ˈgɛt ə ˈlɑf ǀ ju ˈhavņt ˈmeɩd ə ˈdʒоɷk ‖ aɩ ˈmin | ɩf ju ˈseɩ ˈsʌmθɩŋ « ən ˈnоɷbədɩ ˈlɑfs | ˈðats ˈnɒt ə ˈdʒоɷk | ˈðats ˈdʒʌst ə ˈsteɩtmənt ‖ ˈan ðɩ ədˈvɑntɩdʒ əv ˈraɩtɩŋ ɩn ˈpɑtnəʃɩp ǀ ɩz ðət ðɩ ˈʌðə ˈpɑtnə | huˈɛvər ɩz ˈkrakɩŋ ðə ˈdʒоɷk | ðɩ ˈʌðə ˈwʌn wɩl ˈgоɷ | ˈheɩ | ˈjɛs | ˈðats ˈfʌnɩ | aɩ kwaɩt ˈlaɩk ˈðat ‖

16

6. ˈʌðəˈwɜdz ˈwɜdz| |ˈjɔˈjɔˈgɛtɩŋ ˈgɛtɩŋˈsʌm ˈsʌmˈwɔmθ ˈwɔmθ| |ˈsʌm ˈsʌmrɩˈspɒns rɩˈspɒnsˈbak ˈbak‖ ‖ . ɩnɩnˈʌðə tʃɷәlɩ j ˈɛdɩtɩŋ rˈɛdɩtɩŋ ən jɔˈsɛlf || | ənˈɔlsоɷ ˈɔlsоɷǀ ǀjɔr jɔr jɔˈsɛlf ˈɛdɩtɩŋ jɔˈsɛlf sоɷ ðət jɔ ˈnɒt ˈpɷtɩŋ ˈɛnɩ оɷld ˈgɑbɩdʒ təˈgɛðə | jɔ ˈrɩəlɩ ˈwɜkɩŋ ɩt ˈaɷt ‖ aɩ ˈmin ǀ ˈmɑtɩ ˈfɛldmənz ǀ ə ˈmоɷst ɩnˈtɛlɩdʒənt ˈman | ə ˈgɩftɩd ˈman ɩn ˈɛvrɩ ˈweɩ ‖ ˈaɩm ˈnɒt ǀ kəmˈplitlɩ ˈstjupɩd | təˈgɛðə ǀ wi ˈwɜkt ‖

23 23. . ənənˈmɑtɩ | ɩts ˈmɑtɩˈsɛd ˈsɛd | ɩtsˈnɒt ˈnɒtˈʌsˈʌsðəts ðətsˈraɩtɩŋ ˈraɩtɩŋ| | ɩts ə ˈnju ˈkritʃə ˈkɔld ˈbarɩ ˈfɛldmən ‖ ə ǀ ˈʃal wɩ ˈkɔl ɩm ˈmɑtɩ ˈtɷk ‖ A-‖ ˈmɑtɩ ˈtɷk | ˈjɛə ‖ B-‖ ɩgˈzaktlɩ ‖ ən ˈhi dɩd ðə ˈraɩtɩŋ ‖ bət ˈraɷnd ðə ˈhɔn wəz ˈwʌndəfl̩« | bɩkəz ɩt ˈsaɷndz ˈlaɩk ˈɛvrɩ ˈʃоɷ bɩz ˈθɩŋ juv ˈɛvə ˈhɜd ‖ bət ɩts ˈabsļutlɩ ˈtru | ðɛә wәz ˈnɛvər ə ˈhɑʃ ˈwɜd ‖ «

125

8. »kÅntakt »lEnziz 1

5

. A- ‖ ˈtʃɩldrən u ˈhaf tə ˈwɛә ˈspɛktəkl̩« z | kən ˈɒfņ« ˈgɛt ˈsɩŋgl̩« d ˈaɷt | fə ˈrʌf ˈtritmənt frəm ðɛә ˈklɑsmeɩts ‖ ðə ˈwʌnz hu ɩˈskeɩp ˈlaɩtlɩ | kən ˈstɩl bi ˈsadl̩« d wɩð ˈnɩkneɩmz | ˈlaɩk... | ˈfɔr ˈaɩz ǀ ɔ ˈspɛks ǀ ɔr ˈivņ« ˈwɜs ‖ . ˈlɔd ˈsigļ« ˈreɩzd ðə ˈsʌbdʒɩkt əv ˈsɛnsǝtɩv ˈtʃɩldrən ɩn ðɩs pəˈzɩʃņ« ǀ hu ˈmaɩt ˈbɛnǝfɩt | ɩf ˈkɒntakt ˈlɛnzɩz wər əˈveɩləbl̩« ɒn prɩˈskrɩpʃņ« | fə ˌsaɩkəˈlɒdʒɩkl̩« ˈrizņz ‖ « ət ðə ˈmоɷmənt | ju kən ˈоɷnlɩ ˈgɛt ðəm ɒn ðə ˈnaʃņl̩ « « ˈhɛlθ | ət ˈsɩks paɷndz ˈtwɛntɩ ˈfaɩv ə ˈtaɩm ǀ fə ˈklɩnɩkl̩« ˈrizņz ‖ «

10

0.AB- ‖ ˈmɛnɩ ˈtʃɩldrən | ə ˈvɛrɩ... | əˈwɛǝ ǀ ðət ðeɩ ˈsim tə bɩ ˈrɑðə ˈdɩfrņt « « frəm ðɛǝ ˈfɛlоɷ ˈstjudņts ɩn ðə ˈklɑs ‖ « ˈmɛnɩ əv ðəm ˈfil ˌʃɔtˈsaɩtɩd | ðeɩ ˈteɩk ə... ǀ ˈlɒt əv ˈtaɩm tɷ əˈdapt ðəmˈsɛlvz ‖ ɩt kən əˈfɛkt ðɛǝ ˈridɩŋ ‖ ðeɩ ˈfil ðɛǝ ˈgoɷɩŋ tə bi kənˈdɛmd tə wɛә ˈglɑsɩz | fə ðə ˈrɛst əv ðɛә ˈlaɩvz | əz ɩnˈdid ˈðeɩ ˈɑ ‖ bət wɩð ðə ˈwɛәrɩŋ əv ˈkɒntakt ˈlɛnzɩz ǀ ˈɔl ðɩs ʃɷd ˌdɩsəˈpɩə ‖

17

7. A-‖ˈdu ˈduˈjuˈjuˈθɩŋk ˈθɩŋk| ˈðоɷ | ˈðоɷ | ðət ˈtʃɩldrən ˈtrʌstɩd ˈkɒntakt ˈlɛnzɩz . A-‖ | ðət ˈtʃɩldrən ˈkanˈkan ˈbi ˈbi ˈtrʌstɩd wɩð wɩð ˈkɒntakt ˈlɛnzɩz ‖ ‖ ðɛә ˈnɒt ˈizɩ tə ˈfɩt | ən ðɛǝ ˈnɒt izɩ tə ˈpɷt ˈɩn ən ˈteɩk ˈaɷt ‖

25

126

B- ‖ ˈоɷ | ˈjɛs | əv ˈkɔs ‖ ˈðats wɛǝ ðə ˈdɩfəkl̩« tɩ əˈraɩzɩz ‖ bət ɩn ðə ˈkeɩs əv ˈjʌŋ tʃɩldrən | ðə ˈpɛǝrənts ʃɷd ˈnatʃərl̩« ɩ ˈteɩk ə ˈklоɷs ˈɩntrәst ɪn ðɛǝ ˈtʃaɩldz ˈfjutʃə…| ˈskul kəˈrɩə…| meɩdʒə kəˈrɩə ən ˈlaɩf | ˈʃɷd ˈʃɷdbibiˈgɩvņ ˈgɩvņ« ðiði| |ɜ ɜ | |ˌɒpəˈtʃunәtɩ ˌɒpəˈtʃunәtɩ əvəv ˈfɩtɩŋ ˈfɩtɩŋ ðəðə ˈglɑsɩz ˈglɑsɩz ðəmˈsɛlvz ðəmˈsɛlvz ‖‖ . ðəðəˈtʃaɩld 5. ˈtʃaɩld ʃɷd ʃɷdˈteɩk ˈteɩk ən ənˈɩntrәst ˈɩntrәst ɩnɩn ˈhavɩŋ ˈhavɩŋ tətə ˈwɛǝ ˈwɛǝ ðəm ðəm | | ənˈtɩl ˈsʌtʃ ə ˈtaɩm əz ðə ˈtʃaɩld | kņ« bɩ ˈeɩbl̩« | wɛn hi ˈritʃɩz hɩz ˈtinz | ˈleɩtə ˈtinz | tu... | məˈnɩpjɷleɩt ðə ˈkɒntakt ˈlɛnzɩz hɩmˈsɛlf ‖

9. »nÅvl« tiz 1

. A- …‖ ɩt ˈɩz | haɷˈɛvə | ˈgоɷɩŋ tə ˈban ðə ˈseɩlz əv ˈsɜtņ« ˈnɒvl̩« tɩz | ɩn pəˈtɩkjɷlə | ˈlɑdʒ ˈstɩŋk ˈbɒmz | ˈtɩə ˈgas ˈkapsjulz | ən bəˈlun meɩkɩŋ ˈkɒmpaɷndz ‖ ˈnaɷ | aɩ ˈdоɷnt ˈnоɷ ˈwɒt ˈgоɷz ɒn ɩn ðə ˈhaɷzɩz əv ˈpɑlәmənt | bət aɩ ˈθɩŋk jul əˈgri | ðɛǝ ˈlɔdʃɩps | dɩˈspleɩd ə ˈgreɩt fəmɩlɩˈarәtɩ wɩð ðiz ˈɒbdʒɩkts | wɛn ˈlɔd trɛfˈgɑn dɩˈfaɩnd ˈnɒvl̩«tɩz ɩn ðə ˈhaɷs ‖ ˈpʌblɩk skul ˈmɛmǝrɩz əv ˈtrɩks ɑftə ˈlaɩts ˈaɷt ɩn ðə ˈdɔm | aɩ ˈwʌndə ‖

10

0.BB- ‖ ðə Di ˈwɜd ˈnɒvl̩« tɩ | ɩz ˈjuzd ˈjuʒəlɩ tə dɩˈskraɩb ðə ˈrɛlətɩvlɩ ɩnɩkˈspɛnsɩv ˈprɒdʌkts | fә ˈpɑstaɩmz ɔ ˈdʒоɷks | wɩtʃ ˈsʌmtaɩmz ə dɩˈzaɩnd tə kriˈeɩt əˈmjuzmənt ət ði ɩkˈspɛns əv ʌnsəˈspɛktɩŋ ˈvɩktɩmz ‖ ˈtɩpɩkl̩« ɩgˈzɑmpl̩« z Ar ər ˈɩtʃɩŋ ən ˈsnizɩŋ paɷdəz... | ˈfeɩk ˈlʌmps əv ˈʃɷgə... | ˈfud ˈmeɩd frəm ˈplastɩk... | ˈglɑsɩz ðət ˈlik ðɛǝ ˈkɒntɛnts...and | ˈblʌd ˈsteɩnd ˈbandɩdʒɩz ‖

17

7.CC- ‖ ˈhɩə | ˈhɩə ‖

23

B- ‖ ˈnʌn əv ðiz ˈprɒdʌkts ɩz ˈlaɩklɩ tu ˈɒfə səbˈstanʃl̩« ˈrɩsks əv ˈpɜsņl̩ « « ˈɩndʒərɩ ‖ haɷˈɛvə | ðə ˈθri ˈaɩtəmz ˈkʌvəd baɩ ðiz ˌrɛgjәˈleɩʃņz « | ˈɑ bɩˈlivd tu ˈɒfə sʌtʃ ə ˈrɩsk ‖ ðə bəˈlun meɩkɩŋ ˈkɒmpaɷnd | bɩkәz bɩkәzəvəvðəðəˈprɛzņs ˈprɛzņs ˈbɛnzin| |ə əˈwɛl ˈwɛlˈnоɷn ˈnоɷnˈkɑsɩn ˈkɑsɩnədʒən | « əvəvˈbɛnzin . and | ðə | |ənən ˈlɑdʒ | | 23. and | ðəˈtɩəˈtɩəˈgas ˈgasˈkapsulz ˈkapsulz ˈlɑdʒˈstɩŋk ˈstɩŋkbɒmz bɒmz bɩkәz əv ðə ˈrɩsk əv ˈɩndʒərɩ | frəm ðə ˈkɛmɩkl̩« z ˈjuzd | tə ðə ˈfeɩs | ɩˈspɛʃl̩« ɩ ǀ ðɩ ˈaɩz ǀ ənd ˈʌðə ˈsɛnsәtɩv ˈpɑts əv ðə ˈbɒdɩ ‖

127

10. ´ »Sçt »dai´lÅg 1

1. ‖ˈneɩəmɩ ˈfɩʃə wəz ˈweɩtɩŋ ət ˈtʃɛstə ˈtɛrɩs wɛn ˈkarən gɒt ˈhоɷm ‖ ðə ˈmɔnɩŋ ˈrum wɛǝ ðeɩ həd ˈpɷt hɜ | wəz ə ˈblik | ˈrɛstləs ˈpleɩs | wɛǝ ˈnоɷbədɩ ˈɛvə ˈsɛtl̩« d ‖ ðə ˈgas ˈfaɩə wəz ˈsɛldəm ˈɒn ‖ tə bi ˈpɷt ɩn ˈhɩə baɩ ə ˈsɜvənt | ˈʃоɷd ðə ˈsɜvənts dɩˈstɩŋkʃņ« | bɩˈtwin ˈbiɩŋ ˈʃоɷn ˈɩn | ən biɩŋ ˈɑskt tə ˈweɩt ‖

7

. ˈneɩəmɩz 7. ˈneɩəmɩz ˈaŋkʃəs ˈaŋkʃəs ˈbraɷn ˈbraɷn ˈaɩz ˈaɩz ən ən ˈhʌmbl̩ ˈhʌmbl̩ ˈmanə|| « ˈmanə ˈmʌst həv ˈlɛd ðəm tə ˈθɪŋk ðɛǝ ˈmʌst bi ˈsʌmθɩŋ ʃi ˈwɒntɩd | ən ˈðɛǝfɔ ʃi wəz ˈnоɷ ˈleɩdɩ ‖ ˈwɒt ʃi ˈdɩd ˈwɒnt | ən ˈwɒntɩd ˈbadlɩ | wəz tə ˈsi karən ‖ ə ˈnid | ˈsоɷ ˈprɛsɩŋ | əz tə ˈbi wɩˈðaɷt ˈgreɩs ‖ sоɷ ˈhɩə ʃi ˈwɒz | ˈsɩtɩŋ ɒn ðɩ ˈɛdʒ əv ə ˈkоɷld | ˈlɛðə ˈɑmtʃɛǝ ‖

. jɔjɔˈfeɩs 13 13. ˈfeɩsɩzɩzˈkоɷld ˈkоɷld| |sɛd sɛdˈkarən ˈkarən‖ ‖ɩtsɩtsˈtɛrәblɩ ˈtɛrәblɩˈkоɷld ˈkоɷldɩnɩnˈhɩə ˈhɩə‖ ‖ aɩaɩhəv həvˈkʌm ˈkʌmˈtuˈtuˈɜlɩ ˈɜlɩ‖ ‖ ˈnоɷ ‖ ˈwaɩ | sɛd ˈkarən | ˈpɷlɩŋ ˈɒf hə ˈglʌvz ‖ jɷ ˈmʌst bɩ ˈtaɩəd | ˈneɩəmɩ sɛd | ˈaŋkʃəs ‖ aɩ ˈslɛpt ɩn ðə ˈtreɩn ‖ ˈhaɷ ˈlɒŋ əv ju ˈbɩn ɩn ˈlʌndən ‖ ˈdʒʌst ˈfɔ ˈdeɩz ‖ ˈnɛkst ˈtjuzdeɩ wi ˈmʌst ˈgоɷ ˈbak ‖ ˈneɩəmɩ ˈspоɷk wɩð ən ˌʌnrɩˈprоɷtʃəbl̩« ˈsadnəs | ðət ˈmeɩd ˈkarən ɩkˈskleɩm | ˈwaɩ ˈdɩdņt ju ˈlɛt mi ˈnоɷ ‖ aɩ ˈnidņt həv bɩn əˈweɩ ‖ « «

128

11. »pri ri»tai´m´nt »kçsiz 1

5

. AA- ‖ aɩ ˈθɩŋk jɔ ˈgоɷɩŋ tə ˈtʃeɩndʒ ðə ˈtaɩtl̩« ðоɷ | ˈɑnt ju | frəm ˌprirɩˈtaɩəmənt ǀ bɩkəz ˈpipl̩« ə rɩˈtaɩərɩŋ ǀ ˈɜlɩər ən ˈɜlɩə ˈðiz deɩz ‖ ənd ˈivņ« fə ˈðоɷz ˈpipl̩« hɷ meɩ ˈnɒt ˈwɒnt tə bi rɩˈtaɩəd | . ˈmeɩ bi biɩŋ ˈmeɩd rɩˈdʌndənt fə ˈwʌn ˈrizņ« ɔr əˈnʌðə | ˈðiz ˈlɛʒə ˈtaɩm akˈtɩvәtɩz | aɩ ˈθɩŋk ɑ | ˈkruʃl̩« ət ˈðɩs pəˈtɩkjәlə ˈtaɩm ‖ z | ˈivlɩn ˈalən ˈmɛnʃņd ðət ˈmantʃɩstə « həd bɩn ˈrʌnɩŋ ðiz ˈpri rɩˈtaɩəmənt ˈkɔsɩz fə sʌm ˈtaɩm ‖ ˈhav ju ˈnоɷtɩst | ˈkwaɩt ən ˈɩŋkris ɩn ðə ˈnʌmbər əv ˈpipl̩« əˈtɛndɩŋ ‖

10

0.AB- ‖ ˈjɛs ‖ ðɛǝ ˈhaz bin ə ˈstɛdɩ iNÈkris ˈɩŋkris | bət aɩ wɷd ˈlaɩk tə ˈteɩk ʌp ˈalənz ˈpɒɩnt ðət ɩn ˈfakt | rɩˈtaɩəd ˈpipl̩« | əv wɒtˈɛvər eɩdʒ | ə ˈwɛlkəm wɩðɩn ðə tоɷˈtalәtɩ prəˈvɩʒņ« ‖ aɩ ˈθɩŋk ɩts ɩmˈpɔtņt ˈnɒt tə ˈhav | ˈsɔt əv ˈspɛʃl̩« ˈɛǝrɩəz əv prəˈvɩʒņ« | « ˈdʒʌs fə ðə rɩˈtaɩəd | ˈdʒʌs fə ðә ˈjʌŋ ˈpipl̩« | ɩtˈsɛtrə ‖

15

. aɩaɩˈθɩŋk 5. ˈθɩŋkɩtsɩtsɩmˈpɔtənt ɩmˈpɔtəntðət ðətwi wiˈhav ˈhavənənˈɩntɩgreɩtɩd ˈɩntɩgreɩtɩdˈsɜvɩs ˈsɜvɩs| | ənənˈsɜtņlɩ | ət ðə ˈmоɷmənt | ɩn ˈmantʃɩstə | ˈsɜtņlɩ | ət ðə ˈmоɷmənt | ɩn ˈmantʃɩstə | « ðɛǝ ˈstɩl ˈɩz | ə ˈvɛrɩ ˈhɛlθɩ prəˈvɩʒņ« əv ˈdeɩ kɔsɩz | wɩtʃ ˈpipl̩« wɩð ˈtaɩm ɒn ðɛǝ ˈhanz | bɩˈkɒz ðeɩ ˈɑ rɩtaɩəd | wɷd bi ˈeɩbl̩« tə ˈdʒɒɩn | ən ˈteɩk ədˈvɑntɩdʒ ˈɒv | ən ˈmɩks wɩð | ˈɔl ˈsɔts əv ˈeɩdʒ grups | frṃ« wɩˈðɩn ðə kəˈmjunətɩ ‖

129

12. »hE´stail 1

5

. A-‖ ˈwɛn ðə kɒmpəˈtɩʃņ n« wəz ˈfɜst əˈnaɷnst | ɩt wəz ˈsʌmθɩŋ ðət aɩ ˈwɒntɩd tə du | bɩˈfɔ ðə ˈbоɷ ˈdɛrɩk | bɩˈkeɩm ˈsоɷ ˈwɛl ˈnоɷn ‖ and aɩ ˈnɩəlɩ ˈtʃeɩndʒd mə ˈmaɩnd | bət aɩ ˈθɔt | ˈnоɷ | aɩ ˈwоɷnt ‖ » aɩl ˈdu ɩt ‖

. aɩ 5. aɩ ˈsɔ ˈsɔ ɩtɩt ˈfɜst ˈfɜst əv əv ɔl ɔl ǀǀ ðə... ðə... ˈwivɩŋ ˈwivɩŋ ɩn ɩn ðə ðə ˈwɛst ˈwɛst ˈɩndɩz ˈɩndɩz ‖‖ ˈɔl ðə ˈdɑk ˈgɜlz ˈðɛǝ | ˈwɔkɩŋ əˈraɷnd ǀ wɩð ðɩs ˈtaɩp əv ˈhɛǝstaɩl ‖ sоɷ aɩ ˈθɔt ǀ ˈwɛl | aɩ ˈθɩŋk ɩf aɩ ˈdu ɩt ˈwɛl | aɩ ˈmaɩt ˈstand ə ˈtʃans ‖ sоɷ aɩ ˈθɔt | ˈjɛǝ | ˈgоɷ ɒn ǀ ˈdu ɩt ‖ ˈstɩk tɷ ɩt ‖ and sоɷ aɩ ˈdɩd ‖

10

0.BB- ‖ ˈwɛl | ət ˈlist ɩts amˈbɩʃəs | bət aɩ səˈpоɷz tə ˈbi fɛǝ | ɩf ˈɔl ðə ˈgɜlz ə ˈlɩsņɩŋ ˈθɩŋkɩŋ | « ˈaɩ ˈmaɩt həv ə ˈgоɷ ət ˈðat mɩˈsɛlf | nɒt ˈɛvrɩˌbɒdɩ ɩz ˈsutɩd | ɔ kɷd ˈwɛǝr ə ˈbоɷ ˈdɛrɩk ˈstaɩl ˈhɛǝdu ‖

14

4. | ˈnоɷ| |ˈnоɷ ˈnоɷ‖ ɑ‖ˈθɩŋk ɑ ˈθɩŋk tə ˈvɛrɩ bɩ ˈvɛrɩ əˈtraktɩv tə ˈwɛǝ . A-A-‖ ‖оɷоɷ| ˈnоɷ juvjuv ˈgɒtˈgɒt tə bɩ əˈtraktɩv tə ˈwɛǝ ˈðɩs ‖ˈðɩs ɩtsˈvɛrɩ ˈvɛrɩˈhɑd ˈhɑd‖ ‖ ɩts

130

13. D´ »geim ´v »tSikin 1

A- ‖ ˈwɛl | ɩf juv ˈgɒt ˈtʃɩldrən | jul ˈnɒt ˈnid ˈmi tu rɩˈmaɩnd ˈju | . Aðət ðeɩ ˈgɛt ˈʌp tu ˈɔl ˈsɔts əv ˈθɩŋz | mɔr ɩˈspɛʃl̩«ɩ ˈdjɷәrɩŋ ðə ˈlɒŋ ˈsʌmə ˈhɒlәdeɩz ‖ bət ˈwʌn əv ðə ˈmоɷst ˈdeɩndʒǝrəs ˈpɑstaɩmz ðeɩ kən gɛt ɩnˈvɒlvd ˈɩn | ɩz ðə ˈgeɩm əv ˈtʃɩkɩn ‖

6

. ju ˈprɒbəblɩ ˈnоɷ ðə ˈgeɩm | wɛǝ ˈjʌŋstəz ˈdaʃ ɩn ˈfrʌnt əv ˈkɑz | ɔ ˈtreɩnz ‖ ən ˈnɒt ˈlɔŋ əˈgоɷ | ə ˈtʃaɩld wəz ˈkɩld nɩə ˈbʌkstən ‖ ənd ɩn ðə ˈgrɩndl̩«fəd ˈɛǝrɩə | ˈreɩlweɩ ˌɛmˈplɒɩiz | həv ˈsin ˈʌðə ˈtʃɩldrən ˈpleɩɩŋ ðə ˈgeɩm ‖ pəˈlis ɩn ˈdɑbɩʃər ə kənˈsɜndz | ðət mɔr ˈaksɩdņts kɷd əˈkɜ ˈdjɷәrɩŋ ðiz ˈsʌmə ˈhɒlәdeɩz ‖ «

13

ˈwɛl| |aɩm aɩm ˈdʒɒɩnd ˈdʒɒɩndɒn ɒnðəðəˈtɛlɩfоɷn ˈtɛlɩfоɷnˈlaɩn ˈlaɩnˈnaɷ ˈnaɷbaɩ baɩˌsupərɩnˈtɛndənt ˌsupərɩnˈtɛndənt .3.ˈwɛl ˈsɩdnɩ ˈsɩdnɩˈtɒmsņ ˈtɒmsņ«| |əvəvˈdɑbɩʃə ˈdɑbɩʃəpəˈlis pəˈlis‖ ‖ ˈgɷd ˈmɔnɩŋ ‖ B- ‖ ˈgɷd ˈmɔnɩŋ ‖ A- ‖ ðɩs ˈmʌst bi fə ðə pəˈlis ə ˈvɛrɩ ǀǀ ˈsɩərɩəs ˈsɩərɩəsǀǀǀˈbɩznәs ˈbɩznәs ‖‖

18

23

8. ˈjɛs ‖ ‖ ɩtɩt ˈɩzˈɩz‖ ‖ ɩtɩtɩsɩsəˈlɑmɩŋ əˈlɑmɩŋ tətə ˈseɩ ˈseɩ ðəðə ˈlist ˈlist əvəv ɩtɩt‖ ‖ . B-B- ‖‖ˈjɛs ˈɩt ɩs ˈsʌmθɩŋ wɩtʃ ɩz ˈɔlwɩz ɩn ˈpipl̩« z ˈmaɩndz | ˈreɩlweɩ ˈlaɩnz ən ˈtʃɩldrən ‖ bət ðɩs ˈleɩtәst ˈaksɩdənt | ðɩs | ɜ…| ˈtʃɩkɩn ˈbɩznәs | wɩtʃ ˈtɷk ˈpleɩs ˈaɷt ət ˈgrɩndl̩« fәd | ənənˈbaɩ ˈbaɩðəðəˈweɩ ˈweɩ| |ðɛǝ ðɛǝwəz wəzˈоɷnlɩ ˈоɷnlɩˈwʌn ˈwʌnˈɩnstəns ˈɩnstəns| | .3.aɩm bɩˈkʌm aɩmˈnɒt ˈnɒtˈtraɩɩŋ ˈtraɩɩŋtətəˈseɩ ˈseɩɩtsɩtsˈsʌdņlɩ ˈsʌdņlɩ bɩˈkʌmə əˈfaʃņ ˈfaʃņ « « | | ərərˈɛnɩθɩŋ ˈɛnɩθɩŋlaɩk laɩkˈðat ˈðat| |bət bətɩtɩtˈdʒʌs ˈdʒʌsˈmeɩd ˈmeɩdmimiˈwʌrɩ ˈwʌrɩˈða ˈðat bɩt ˈmɔ | ju ˈnоɷ | wɩð ðə ˈhɩnt əv ˈnaɩs ˈwɛðər... | ən ðə ˈsʌmə ˈhɒlәdeɩz... | ðət | ɜ…| ˈtʃɩldrən kɷd ˈgɛt ɒntə ˈreɩlweɩ ˈlaɩnz ən ˈkɷd gɛt ðəmˈsɛlvz | ˈwɛl | jə ˈnɒt ˈtɔkɩŋ əˈbaɷt ðәm biɩŋ ˈsɩərɩəslɩ ˈhɜt ‖ ðə ˈfakt ˈɩz | ðeɩ ˈgɛt ˈkɩld ‖

131

14. ´ »vŒdikt ´v »man«slçt´ 1

A- ‖ ˈɑ jɷ ˈseɩɩŋ ðət ðɩs ˈdʒʌdʒ | ɩn ðə ˈkeɩs əv ˈkiθ ˈdʒоɷnz | tə rɩˈtɜn ə ˈvɜdɩkt əv ˈmanˌslɔtər ɩz ˈrɩəlɩ | ˈbɛndɩŋ « ɔ | ˌmɩsɩnˈtɜprɩtɩŋ ðə ˈlɔ ‖

4

B- ‖ aɩm ɩn ˈnоɷ pəˈzɩʃņ« tə ˈseɩ ˈðat | bɩkəz aɩ ˈhavņ‘« t sin ðə ˈkɔt ˈpeɩpəz ‖ aɩ ˈhavņt sin ðə ˈtranskrɩpt ‖ « ˈɔl aɩ ˈnоɷ əˈbaɷt ðɩs ˈkeɩs | ɩz ˈwɒt aɩv ˈrɛd ɩn ðə ˈnjuspeɩpəz ‖ ˈðɛǝfɔ | aɩ kɷdņt ˈdʒʌdʒ ðɩs pəˈtɩkjɷlə ˈkeɩs ‖ « bət ˈsɜtņlɩ | ɩn ˈwɒt aɩ ˈrɛd | ˈðɛǝ ˈsimz ˈnоɷ ˈɒbvɩəs ˈrizņ« tə ˈθɩŋk z | « hɒlǝd ðət ðɩs wəz ə ˈkeɩs ɩn ˈlɔr əv ˈmanˌslɔtə ˈrɑðə ðən ˈmɜdə ‖ ˈwɒt ɩz ˈpɜfɩktlɩ ˈpɒsәbļ« | bət aɩ ˈdоɷnt nоɷ | ɩz ðət ðə ˈdʒʌdʒ wəz ˈaŋkʃəs | ðət ðɩs ˈman ʃɷdņt z | « bɩ ˈsɛntənst tə ˈlaɩf ɩmˈprɩzņmənt « hɒlǝd ən ˈðɛn ˈlɛt ˈaɷt ə ˈʃɔt ˈtaɩm ˈleɩtə ‖ ðət hi ˈnidɩd səm ˈhɛlp | ən ˈðɛǝfɔr | ˈɔt tə bi ˈpɷt ɒn prəˈbeɩʃņ« | ən hav ðə ˈbɛnɩfɩt əv ðɩ ədˈvaɩs əv ə prəˈbeɩʃņ« ˈɒfɩsə ‖ ən ðɩ ˈоɷnlɩ ˈweɩ jɷ kɷd əˈtʃiv ˈðat | wɷd bɩ tɷ...| ɩnˈʃɔ... | ðət hiz kənˈvɩktɩd əv ˈmanˌslɔtə ‖ wɛǝ jɷ hav... | ðə dɩˈskrɛʃņ« əv ˈpɷtɩŋ ɩm ɒn prəˈbeɩʃņ« ˈrɑðə ðən ˈmɜdə | wɛǝ jɷ hav tə ˈgɩv ɩm ə ˈlaɩf ˈsɛntəns ‖ ˈðats ə ˈpɒsәbļ« ˌɛkspləˈneɩʃņ« | bət aɩ ˈɛmfəsaɩz | aɩ ˈdоɷnt nоɷ ðə ˈfakts ‖

11

20

A- ‖ ðɩs ɩz ˈnɒt ðə ˈfɜst taɩm ðət ə ˈmɜsɩ ˈkɩlə həz bin ˈlɛt ˈɒf ‖ djuˈsi ˈsiðɩs ðɩsəz əz« əəˈtrɛnd ˈtrɛnd ðəts ðətsˈhapənɩŋ ˈhapənɩŋˈnaɷ ˈnaɷɩn ɩnðɩs ðɩsˈkʌntrɩ ˈkʌntrɩ‖‖ dju

22

B- ‖ aɩ ˈdоɷnt ˈθɩŋk hi wəz ˈlɛt ˈɒf ‖ hi wəz kənˈvɩktɩd ‖ ənd hi həz bɩn ˈpɷt ɒn prəˈbeɩʃņ« | ən hil ˈnaɷ ˈgɛt ðə ˈhɛlp ðət hi ˈnidz ‖ ‖ṃ « ‖ aɩ wɷd ˈhоɷp | ðət wi ʃəl ˈnɒt ˈgɛt ɩntɷ ə ˈsteɩt | wɛǝ ˈmɜsɩ ˈkɩlɩŋ bɩˈkʌmz ɩn sʌm ˈsɛns ə ˈsɛprət ən ˈnju əˈfɛns | ˈdɩfrənt | frəm ðə trəˈdɩʃņļ « « ˈwʌnz əv ˈmɜdər ən ˈmanˌslɔtə ‖

132

15. »iNgl´nd ´n D´ »i »ju 1

A-‖ ˈnaɷ aɩl ˈspɛǝ ju ðɩ ˈjɷərоɷˌdʒɑgən ‖ bət ʌndə ˈðat ˈsɩstəm | ðə ˈmʌnɩ ɩz ˈrʌnɩŋ ˈʌp ˈnaɩntin ˈeɩtɩ ˈwʌn | ənd ɩts ðə ˈkɒst əv ðɩ ˌagrɩˈkʌltʃərəl pəˈsɛnt əv ðə ˈbʌdʒɩt ‖ rl« ˈpɒlәsɩ | wɩtʃ ˈteɩks ˈsɛvņtɩ « ə ˈbʌdʒɩt ‖ əz | ˈsɩmpl̩« | əz | ˈðat ‖ bət bɩˈliv ˈju ˈmi | ðə ˈfɑm ˈlɒbɩz ǀ əz ˈvɩgərəs əz ˈɛvər ɩn ðat jɷərəˈpiən ˈpɑlәmənt | ðə ˈhandz ə ˈstrɛtʃt ˈaɷt fə ˈjɛt ˈmɔ prəˈtɛkʃņ« ˈhɩə | ˈsʌbsәdɩz ˈðɛǝ | ˈpraɩs ˈɩŋkrisɩz ˈðɛǝ ‖ ˈsоɷ | ˈdʒɒn | aɩ ˈθɩŋk ðə ˈkrʌntʃ ɩz ˈkʌmɩŋ ‖ ju kən ˈhapәlɩ rɩˈlaks | ɩts ˈkʌmɩŋ ˈvɛrɩ ˈkwɩklɩ ‖

10

B-‖ bət jɔ ˈðɛǝ tə ˈhɛlp ˈsɔt ɩt ˈaɷt fər ʌs | aɩm ˈʃɔ ˈbɑbrə ˈkɑsļ« ‖ ˈtɛrɩ ˈwоɷgən ‖

CC-- ‖ aɩ ˈdоɷnt ˈnоɷ ˈhaɷ aɩm ɩkˈspɛktɩd tə ˈkap ˈbɑbrə ˈkɑsļ« | ɔ ˈrɒbət ˈdʒaksņ |

16

23

32

bət aɩ dоɷnt ˈθɩŋk ðət ðɩ ˈi i ˈsi ɩz gоɷɩŋ tə ˈfɔl əˈpɑt ‖ aɩ ˈnɛvə səˈspɛktɩd ˈdʒɒn ˈmɔtɩmər əv biɩŋ ə ˈlɩtļ« ˈɩngləndə ‖ « ənd aɩ ˈθɩŋk wɩə gɒnə bi ɩn ˈjɷərəp | aɩ ˈθɩŋk wi həv ˈnоɷ ɔlˈtɜnətɩv ‖ wi hav tə ˈsteɩ ˈðɛǝ | ˈnaɷ ðət wɩə ˈðɛǝ ‖ aɩ ˈθɩŋk ðɛǝr ˌagrɩˈkʌltʃərļ« ˈpɒlәsɩ həz bin | ɩn ˈkɒmən wɩð | ˈseɩ | ðɩ ˌagrɩˈkʌltʃərļ« ˈpɒlәsɩ əv ðə jɷˈnaɩtɩd ˈsteɩts ‖ ɩt ˈsimz tə bi ˈgɩəd tәˈwɔdz ˌоɷvəprəˈdʌkʃņ« | bɩˈkɒz ɩts ɩˈfɩʃņt ‖ bɩˈkɒz ðɩ ˌagrɩˈkʌltʃərļ« ˈɩndəstrɩ ˈɩz ɩˈfɩʃņt « ‖ ɩts prəˈdjusɩŋ ˈfud | ɩts prəˈdjusɩŋ ˈwaɩn | ˈbʌtə ˈmaɷntɩnz | ˈwaɩn ˈleɩks | ðɛǝ prəˈdjusɩŋ ˈtu ˈmʌtʃ ‖ ðeɩ ˈhav tə bɩ ˌɑtɩˈfɩʃəlɩ səˈsteɩnd baɩ ˈðat ‖ ˈpraɩsɩz ˈhav tə bɩ ˈhɛld ˈʌp | ən ðɩs ɩz ˈwɒt ˈhapənz ‖ ənd ˈɛvrɩθɩŋ ˈkɒsts ˈmɔ ðən ɩt ˈɔt tu ‖ ðəz ˈtu ˈmʌtʃ biɩŋ prəˈdjust | ˈagrɩkʌltʃər ɩz ˈtu ɩˈfɩʃņt « ǀ ɩf ˈwʌn kən ˈseɩ ˈðat ‖ ɩn ˈaɩələnd | aɩ rɩˈmɛmbər ə ˈkʌpļ« əv ˈjɩəz əˈgоɷ | ðə ˈkɒmən ˌagrɩˈkʌltʃərļ« ˈpɒlәsɩ wəz ən ɩˈnɔməs ˈbun ‖ˈɛnɩbɒdɩ hu ˈhad ə ˈhʌndrəd ˈeɩkəz wəz ˈvɜtʃɷәlɩ ə ˌmɩljəˈnɛǝ | bɩkəz ju wər ˈeɩbļ« tə ˈsɛl jɔr ˈeɩkərɩdʒ fə ˈfaɩv ˈθaɷzņd « ˈpaɷndz ən ˈeɩkə ‖ ˈnaɷ ˈðats bin rɩˈvaɩzd…‖ ɩts ˈmeɩd ə trəˈmɛndəs ˈdɩfrəns tə ðɩ ˈaɩrɩʃ ˈfɑmə ‖ ɩt ˈhazņt « ˈmeɩd ə trəˈmɛndəs ˈdɩfrəns tə ðə ˈbrɩtɩʃ ˈfɑmə | bɩkəz ðə ˈbrɩtɩʃ ˈfɑmər ɩz ˈmɔr ɩˈfɩʃņt « ‖ bɩˈkɒz hiz ˈbɛtər ˈɔgənaɩzd ‖

133

16. »gŒl »tçk 1

5

10

18

27

34

134

A.-‖ ˈsuzɩ ˈhʌʃ | hu ˈmeɩ | ə meɩ ˈnɒt du ˈdamɩdʒ wɩð ɜ ˈnju Aˈkɒmәdɩ ˈsɩəriz ɒn ˈaɩ ˈti ˈvi | wɩtʃ ɩz ˈsɛvņ« hɑf ˈɑ ˈkɒmәdɩz ˈrɩtņ« baɩ ˈsɛvņ« ˈwɩmɩn | ɩz ˈnaɷ əˈbaɷt tə bi ɩnˈtɛrəgeɩtɩd baɩ ˈbɜnəd ˈfɔlk ‖ ˈgɜl ˈtɔk | ðə ˈsɩəriz ɩz ˈkɔld ‖ BB.- ‖ ɩts | ɜ | ɩts ə ˈsɩəriz əv ˈkɒmәdɩ hɑf ˈɑ ˈprоɷgramz | ˈrɩtņ« baɩ ˈsɛvņ« ˈwɩmɩn ‖ aɩ ˈθɩŋk ɩts ə sɩstәˈmatɩk | ɩkˈstrɔdņrǝlɩ ˈfʌnɩ əˈtak əˈpɒn ˈmɛn ‖ « ˈhaɷ wɷd ju dɩˈskraɩb jɔ ˈsɩəriz | ˈsuzɩ ‖ CC.- ‖ aɩ wɷdņt « dɩˈskraɩb ɩt laɩk ˈðat | ɩts ˈnɒt ˈmɛnt tə bi ən əˈtak ə ˈtɔl ‖ ˈwɒt ɩts ˈmɛnt tə bi | ɩz ə ˈkaɩnd əv | ˈɑnsər | ˈɑftər ˈɔl ˈðiz ˈjɩəz { tɷ ˈɔl ðə ˈpipļ« hu ˈseɩ | ˈwɩmɩn ɑnt ˈfʌnɩ ‖ ˈwɛǝr ə ðə ˈwɩmɩn ˈstand ʌp ˈkɒmɩks ǀ ɛtˈsɛtrə ǀ ɛtˈsɛtrə ‖ ðeɩ ɑ ˈðɛǝ | ðeɩ ɑ ˈwɜkɩŋ ‖ bət ɩn ə ˈmɔ ˈdʒɛnәrļ« ˈsɛns | ˈwɩmɩn ər ˈaktʃɷəlɩ ɩkˈstrimlɩ ˈfʌnɩ ‖ pəˈtɩkjɷləlɩ ˈwɛn ðeɩ ə ˈtɔkɩŋ tɷ itʃ ˈʌðə ‖ ən ðɛə ˈhjumə | aɩ ˈθɩŋk | ɩz ɩkˈstrimlɩ ˈbreɩv | ɩkˈstrimlɩ kəˈreɩdʒəs ‖ ˈwɩmɩn kən dɩˈskraɩb tə ju ðə ˈmоɷst əˈpɔlɩŋ ˈlaɩvz | ðə ˈmоɷst əˈpɔlɩŋ ˈkaɩndz əv ˈtraɩəlz ən ˈtraɷməz | ən ˈmeɩk ɩt əˈmjuzɩŋ ‖ ənd aɩ ˈθɩŋk ˈðats ə ˈnak ðət ə ˈlɒt əv ˈwɩmɩn ˈhav | ənd ə ˈlɒt əv ˈmɛn meɩbɩ ˈdоɷnt ‖

ɩ ˈdоɷnt ‖

ˈsоɷ aɩ ˈdʒʌst ˈθɔt ɩt wəz ˈtaɩm | ˈðɩs ˈhɩt ðə ˈskrin ‖ aɩm ˈɔlsоɷ ˈvɛrɩ ˈaŋgrɩ əˈbaɷt… | wɛl | ju ˈlɩsņ« tə ˈmɛn ˈstandʌp ˈkɒmɩks | ən ðeɩ ˈtɛl ˈdʒоɷks əˈbaɷt | ˈwɩmɩn hɷ ə ˈgridɩ... | rəˈpeɩʃəs... | əˈpɔlɩŋ... | məˈnɩpjɷlətɩv... | ənd… ‖ wɩə ˈsоɷ kənˈdɩʃņd « | bɩkəz ðə ˈrulɩŋ ˈnɔm əv səˈsaɩətɩ ɩz dɩkˈteɩtɩd baɩ ˈmɛn | ðət wi ˈlɑf əz ˈwɛl ‖ ənd aɩ ˈlɑf əz ˈwɛl ‖ B- ‖ ˈjɛə ‖ C- ‖ ˈɑftər ˈɔl ˈðiz ˈjɩəz | aɩ ˈdʒʌst ˈgɒt| |ˈaŋgrɩ ˈaŋgrɩəbaɷt əbaɷtɩtɩt| | B- ‖ ˈjɛə | ˈjɛə ‖ C- | ənd ɩt ˈdʒʌst əˈnɒɩz mɩ ˈnaɷ | ənd aɩ ˈθɩŋk ɩts ˈtaɩm wi had ðə ˈraɩt əv rɩˈplaɩ ‖ ɩts ə ˈvɛrɩ ˈmaɩnə ˈraɩt əv rɩˈplaɩ | aɩ ˈmin | ɩts ˈθri hɑf ˈaɷəz ɩn ə | ˈwɛltər əv ˈaɷəz əv ˈtɛlɩvɩʒņ« wɩtʃ prɩˈdɒmɩnəntlɩ bɩˈlɒŋ tə ˈmɛn ‖ pəˈtɩkjɷləlɩ ɩn ˈhjumə ‖ BB.- ‖ aɩ ˈraŋ ˈʌp ə ˈpal əv ˈmaɩn | huz ə ˈstand ʌp ˈkɒmɩk | ən ˈsɛd | dju ˈnоɷ ˈɛnɩ ˈfɑðərɩnlɔ gagz ‖ ən hi kɷdņt « ˈθɩŋk əv ˈwʌn ‖ ən hi ˈsɛd | ˈivņ« ɩf hi ˈdɩd θɩŋk əv ˈwʌn | ðɛǝ ˈnɒt ˈfʌnɩ ‖

17. »du »fEm´nists »fçl in »l√v 1

AA.- ‖ ˈdu ˈfɛmәnɩsts ˈfɔl ɩn ˈlʌv əz ˈwɛl ‖ BB. -‖ ˈоɷ | aɩm ˈʃɔ | ˈjɛs ‖

7

aɩ dоɷnt ˈθɩŋk ˈfɛmәnɩsts ər ˈɛnɩ ˈmɔr | ɩˈmjun tɷ ɩt ðən ˈɛnɩbɒdɩ ˈɛls ‖ aɩ ˈθɩŋk ɩts fanˈtastɩklɩ ˈstrɒŋ ‖ aɩ ˈmin | ɩts ˈnɒt ˈrɩəlɩ ˈvɛrɩ səˈpraɩzɩŋ jɷ ˈθɩŋk | ˈɛvrɩθɩŋ əˈraɷnd ju | ju ˈtɜn ˈɒn ðə ˈreɩdɩоɷ | ən ˈpɩk ʌp ˈɛnɩ ˈɔdņrɩ ˈwɩmɩnz ˌmagəˈzin | « ðə ˈmɛsɩdʒ ðəts biɩŋ ˈpɷt ˈaɷt ɩz ðət | jɷ ˈnоɷ | ɩf jɷ ˈfaɩnd ðə ˈraɩt ˈpɜsņ« | ˈðɛn jul bɩ ˈhapɩ ‖ ənd ɩf jɷ ˈdоɷnt ˈfaɩnd ðə ˈraɩt ˈpɜsņ | ju ˈwоɷnt bi ‖ ənd ɩts ˈwʌn ˈpɜsņ« | ənd ɩt ˈʃɷd bi fərˈɛvə ‖ aɩ ˈmin | ˈɔl ˈðоɷz ˈmɩθs ðət ˈrʌn ˈsоɷ ˈstrɒŋlɩ θru aə səˈsaɩətɩ ‖

12

A.- ‖ ˈdju ˈθɩŋk ðəz ˈɛnɩweɩ əˈraɷnd ðat ðɛn ǀ ˈgɩvņ« ðǝt ˈpipļz A«

ɩˈmоɷʃņz ər ˈɒbvɩəslɩ | ˈθɩŋz ðət ðeɩ kɑnt ˈrɩəlɩ kənˈtɛnd wɩð | ˈwʌns ˈsʌmθɩŋz gɒt ˈstɑtɩd ǀ wɩtʃ ɩz ðə ˈfil… ǀ ðə ˈkaɩndz əv ˈfilɩŋz ðət ˈpipļ« hav wɛn ðɛǝ ˈfɔ:lɩŋ ɩn ˈlʌv ‖ ɩz ɩt ˈlaɩklɩ ðət ˈmɛn ən ˈwɩmɩn wɩl bi ˈeɩbļ« tə hav rɩˈleɩʃņʃɩps « ɩn ˈɛnɩ ˈʌðə ˈweɩ ‖

18

26

B. B- -‖ˈwɛl ǀ ˈɒbvɩəslɩ ǀ aɩ ˈθɩŋk ðət | ˈpɑt əv ðə ˈprɒbləm ɩz ǀ ðәt ɩn ˈlɒts əv rɩˈleɩʃņʃɩps | ðə ˈmɛn ˈrɩəlɩ ˈdu hav ˈmɔ ˈpaɷә ‖ « ðət ðɛǝ ˈmɔ ˈlaɩklɩ tə hav ˈbɛtə ˈpeɩd ˈdʒɒbz ‖ ņ« ðə ˈhоɷl səˈsaɩətɩ wɷd ˈsaŋkʃņ« | ðə ˈkʌpļ« ˈmuvɩŋ ˈwɛǝ ðəðə ˈhʌzbəndz ˈdʒɒb wɒz ‖ ‖ ˈhʌzbəndz ˈdʒɒb wɒz »hIz ɩz ˈlaɩf ˈkʌmɩŋ ˈfɜst | ən ˈwɷmən ˈsɔt əv… ənd ɩz ˈlaɩf ˈkʌmɩŋ ˈfɜst | ən ðəðə ˈwɷmən ˈsɔt əv… | | ˈɔl ðоɷz ˈkaɩnd əv ˈθɩŋz wɩtʃ aɩ ˈθɩŋk | ˈaktʃɷəlɩ | ˈmeɩk ɩt ˈvɛrɩ ˈdɩfɩkļt « fə rɩˈleɩʃņʃɩps | bɩˈtwin ˈmɛn ən ˈwɩmɩn tə ˈwɜk | ˈɛnɩweɩ ‖ « bət aɩ səˈpоɷz | aɩ ˈθɩŋk ðət | wiv ˈgɒt tə ˈstɑt ˈteɩkɩŋ əˈpɑt | ðɩ aɩˈdɩər əv rоɷˈmans | ənd jɷ ˈhav tə ˈstɑt ˈθɩŋkɩŋ əbaɷt ˈɔl ðə ˈdɩfrənt ˈɛ t ˈɛlɩmənts ɩn | ˈlaɩk… | fər ˈɩnstəns | ɩf ju ˈfansɩ ˈsʌmbədɩ | dʌz ˈðat ˈmin ðət ðɛǝ ˈrɩəlɩ ˈgоɷɩŋ tə bi ˈsʌmbədɩ ju ˈwɒnt tə bi wɩð ɩn jɔr ˈоɷld ˈeɩdʒ ‖ ənd | əv ˈkɔs | ˈwɛn jɷ ˈstɑt ˈθɩŋkɩŋ əbaɷt ɩt | ju ˈθɩŋk ðəz | ˈnоɷ ˈtɛst ə ˈtɔl əv ˈwɛðə ˈsʌmbədɩ | jɔr ˈaktʃɷəlɩ gоɷɩŋ tə ˈlaɩk ˈsʌmbədɩ ɩf ðeɩ ˈmeɩk ju ˈkaɩnd əv ˈflatərɩ əˈkrɒs ə ˈdɑns flɔ ‖ ðəz ˈnoɷ ˌgarənˈti ju kɷd ˈaktȓəlɩ ˈhav ə ˌkɒnvəˈseɩȓn͎« əv ˈmɔ ðən ˈten ˈwɜdz wɩð ‖

135

18. »traNkwilaiz´z 1

6

12

18

25

29

136

A- ‖ ˈɑ | ˈgɷd ˌmɔnɩŋ | mɩsɩz ˈrɒbɩnsǝn ‖ ən ˈsɩt…| ˈsɩt daɷn woɷnt ˈju ‖ B- ‖ ˈθaŋk ju ˈdɒktǝ ‖ aɩm ˈsɒrɩ tə ˈteɩk ʌp jɔ ˈtaɩm | bət…| aɩm ˈgɛtɩŋ ɩntə ə ˈsteɩt əˈgeɩn ‖ A- ‖ ˈoɷ ‖ B- ‖ ɩts ǝ ˈsɔt ǝv ˈθɩŋ… ‖ aɩ ˈkɑnt ˈkoɷp ‖ aɩ ˈdʒʌst ˈfil Bðət maɩ ˈdʒɒb ɩz ˈtu ˈmʌʧ fǝ ˈmi ‖ ɩts ˈnɒt aɩm dɩˈprɛst ‖ aɩ gɛt ˈtɛns ˈɔl ˈwɜkt ˈʌp ‖ ɩts ˈnɒt ˈdʒʌst ðə ˈdʒɒb ‖ aɩm ðə ˈseɩm wɩð ðǝ ˈʧɩldrən ‖ aɩ…| gɛt ˈsoɷ ˈkrɒs wɩð ðɛm ‖ A- ‖ ˈjɛə | aɩ ˈsi ‖ B- ‖ ˈan wɩð maɩ ˈhʌsbənd ˈtu ‖ aɩ…| A- ‖ ˈjɛə | aɩ ˈsi oɷnlɩ tu ˈwɛl ‖ bət ˈwɒt kṇ« ə ˈdɒktǝ ˈdu ˈpɷt|||ˈraɩt təə ˈpɷt ˈraɩt əə ˈlaɩf ðəts ˈdʒʌst ə ˈbɩt əv ə ˈmɛs ‖ wiv ˈtraɩd ˈɛvrɩθɩŋ oɷvə ðə ˈjɩǝz | ɩnˌvɛstɩˈgeɩʃṇz « | rɩˈfɜrəlz tə ˈspɛʃl̩« ɩsts | ˈmarɩdʒ ˈgaɩdəns | ðə ˈlɒt ‖ aɩ ˈsəpoɷz wɒt ɩt ˈkʌmz ˈdaɷn tɷ ɩt ɩz ðət | ɛvrɩ ˈnaɷ ən əˈgɛn | ʃi ˈwɒnts tə ˈkʌm ɩntə ðə ˈsɜdʒərɩ | ˈdʒʌs ˈpɔr ɩt ˈɔl ˈaɷt | ən ˈðɛn ˈwɔk aɷt wɩð ðə prəˈskrɩpʃṇ« | fər ə ˈtraŋkwɩlaɩzə ‖ B- ‖ soɷ wət ˈaɩ wəz ˈwʌndərɩŋ | ˈdɒktǝ | wǝz…| ˈwɛl | kɷd ju prɩˈskraɩb ˈsʌmθɩŋ fə ˈmi ‖ ˈdʒʌs ˈsʌmθɩŋ tə ˈhɛlp mi tɩl aɩ ˈfil ə bɩt ˈbɛtə ‖ A- ‖ ˈhɩə wi ˈgoɷ əˈgɛn… | ʃɩ ˈwɒnts ə ˈtraŋkwɩlaɩzə ‖ ən ɩt ɩs ˈdʒʌstɩfaɩd aɩ səˈpoɷz | ɩf ɩtl̩« ˈhɛlp ɜ θru ðə ˈnɛks fju ˈwiks ‖ oɷˈkeɩ ðɛn ‖ ˈvalɩəm ‖ ˈhɩə jɷ ˈɑ ˈðɛn | mɩsɩz ˈrɒbɩnsǝn ‖ ɩts…| ɜ…|ˈvalɩəm ‖ B- ‖ ˈɑ… | ˈθaŋk ju ˈdɒktǝ ‖ ˈsɛvṛḷ« əv maɩ ˈfrɛndz ˈɑr ɒn ɩt ‖ A- ‖ aɩ ˈbɛt ðeɩ ˈɑ ‖ B- ‖…ən ˈsʌmwʌn ət ˈwɜk ˈsʌmtaɩmz ˈgɩvz mi hɜz | ðeɩ meɩk mɩ ˈfil ˈmʌʧ bɛtǝ ‖ C- ‖ ˈwɛl | ˈjɛs ‖ ən ˈlɑst jɩǝ ˌfamɩlɩ ˈdɒktǝz ˈroɷt ˈaɷt ˈmɔ ðən ˈθri ˈmɩljən prəˈskrɩpʃṇs « fə ˈvalɩəm əˈloɷn | tə ˈmeɩk ˈpipḷ« laɩk mɩsɩz ˈɑ ˈfil bɛtǝ ‖ ǝnd ˌoɷvərˈɔl | ˈfɔtɩ ˈtu ˈmɩljən prəˈskrɩpʃṇs « wə ˈrɩtṇ« aɷt fə ˈtraŋkwɩlaɩzəz ən ˈsɛdǝtɩvz | ǝt ǝ ˈkɒst ǝv ˈmɔ ðən ˈfɔtɩ ˈmɩljən ˈpaɷndz ‖ ˈteɩkɩŋ əˈsaɩd ðə ˈkwɛsȷṇ« əv ðə ˈnid fə ˈsʌȷ ˈwaɩdsprɛd prǝˈskraɩbɩŋ ǝv ˈmud ɔltɛrɩŋ ˈdrʌgz | ˈwɒt əbaɷt ðɛə ˈkɒst ‖ naɷ wɛn ə ˈdrʌg z ˈfɜst prəˈdjust | ðə »ˌpeɩtənt ˈlɔz | ˈgɩv ɩts ˌmanjəˈfakȷərə ðɩ ɩksˈklusɩv ˈraɩt tə ˈmeɩk ən ˈmɑkɩt ɩt fər ə ˈnʌmbər əv ˈjɩəz | ˈnoɷ wʌn ˈɛls kən prəˈdjus ɩt ɔr ˈjuz ɩts ˈbrand neɩm…‖

7.2.2 Windsor Lewis’ model (1977) Characteristics •

• •

•

It is a simple and a uniliteral transcription that makes use of twelve different characters to capture the vowel spectrum of English. It is phonemic. Quality is in this system the main differentiating and, therefore, prevailing factor. Jones in 1918 already indicated that vowel length is very variable and depends on different circumstances: “short vowels […] are often quite long”, he wrote. In the end he leaned towards quantity as the main discriminating factor after using quality for two years with foreign students and verifying that the results were not very positive. Surprisingly, the same appeal to his experience with foreign students led Windwor Lewis to reject quantity, stating that the use of the colon mark as an indicators of length was “not only […] gratuitous, but grossly misleading” (1977: 6). Previously (1969), in a text published for Scandinavian students (A Guide to English Pronunciation Universitetsforlaget), he had used a mixed system (quantity plus quality) practically identical to the one used by Gimson in ‘The transmission of English’ (Supplement I of The Use of English, published by R. Quirk in 1962). The only noticeable difference consisted of the use of /o:/ instead of /u:/, a policy adopted to avoid the excessive fronting of /u/ that the Nordics apparently make. Although in principle the system offers a certain similarity with that by Abercrombie, both sharing the rejection of the length mark, the symbols used were originally harmonized, whenever possible, with those employed by Gimson in his Introduction to the Pronunciation of English (1962: 4), also a derivation from the ‘narrow transcription’ of Jones. Perhaps the most striking aspect of W. Lewis’ system is the change introduced in the symbols that refer to value : instead of adhering to the policy suggested by the IPA to use [o] 137

•

for a close variant of ‘o’, leaving [ç] for a more open variety, Windsor Lewis alters that order transcribing shot /Sot/ and short /Sçt/. The reason for this change lies in the adoption of one of the principles of the IPA (1949) that recommended the “use of ordinary roman letters […] as far as is practicable” (Principle no. 4). In this way, Windsor Lewis incorporated the letter (as Sweet or Jespersen had already done), unlike other systems (Gimson, Abercrombie, etc.) that do not include it, choosing more exotic signs instead. A further peculiarity of this system is the substitution of /A-/ for /a-/ as first element of a falling diphthong. In the Gimson’s model of 1962, diphthongs /ai/-/au/ are represented, following a clearly phonetic criterion, with different symbols (/aI/ -/AU/). Windsor Lewis, did not follow such practice, representing the first elements of these two diphthongs with script A = (/AI/ -/AU/). Such a procedure, obeys a pedagogical and certainly reversible criterion: to be the most common sign when written by hand. As we shall see below, Gimson opted for /a-/ in both cases in the 1977 EPD edition on the grounds of being the most usual symbol for ‘a’ in printed texts.

The Lewis system is used in the Concise Pronouncing Dictionary of British and American English by the same author; also in first editions of The Oxford Advanced Learner’s Dictionary (OUP), and in People Speaking, 1977 (OUP), a book for the practice of English sounds. At present, the author has adopted the EPD-14 system in a praiseworthy attempt to harmonize systems in order to achieve a greater pedagogical effectiveness.

138

Fig. 9. W. Lewis’s BritE monophthongs.

Fig. 10. W. Lewis’s BritE diphthongs.

Exercises a. Write down the corresponding orthographic forms of the following sound sequences. /mʌtʃ

/wot/

/rid/

/tʃɔɪs/

……….

……….

……….

……….

/ɪ'mzdʒən

/'gzrənti/

/dɪ'laɪtɪd/

/flʌrɪʃ/

……….

……….

……….

……….

/kən'sɜn/

/kə'pzsətɪ/

/ɜθ/

/vɜʃnz/

……….

……….

……….

……….

/ʃɔt/

/ʃɜt/

/ə'nɔɪ/

/kəm'peə/

139

b. Transcribe the vowels in the words below according to W. Lewis’s model. problem /. . . . . . /

lunch /. . . . . . /

tomorrow /. . . . . . /

boy /… /

house /. . . . . . /

second /. . . . . . /

cupboard /. . . . . . /

yes /. . . /

officiate /. . . . . . /

human /. . . . . . /

society /. . . . . . /

poet /. . . /

inspiration /. . . . . . /

breath /. . . . . . /

provision /. . . . . . /

now /. . . /

always /. . . . . . /

exact /. . . . . ./

century /. . . . . . /

girl /. . . /

beautiful /. . . . . . /

patent /. . . . . . /

suffice /. . . . . . /

son /. . . /

sufficient /. . . . . . /

capable /. . . . . . /

capacity /. . . . . . /

you /. . . /

clerk /. . . . . . /

poor /. . . /

prematurely /. . . . . . / croquery /. . . . . . /

c. Transcribe the words in bold type (W. Lewis’s model). 1. Bread and /. . . . / breakfast. As /. . . / fast as /. . . . / he could. 2. More than /. . . . / that /. . . /. He lives in that /. . . . / house 3. There /. . . . . / is no one there /. . . . . / 4. I’ll be staying there /. . . . / till /. . . / Friday. 5. It isn’t /. . . / difficult. Jump and /. . . . / catch it. 6. As /. . . / you can see, there’s /. . . . . / much more than /. . . . / that /. . . . . /. 7. I remember him very well, but /. . . . / I don’t recall his name. 8. There /. . . . / were three or /. . . / four, but /. . . . / I didn’t see their faces.

140

7.2.2.1 Phonetic texts (Windsor Lewis’ Model) The corresponding ordinary spelling on pages 63–80. Comments to the sample transcriptions on pages 191 to 221.

1. D´ »weD´ »fçkAst 1

æn ˈnɑʊ ˈnɑʊ ðə ðəˈweðə ˈweðə ˈfɔkɑst ˈfɔkɑst ‖‖ . . ‖‖1æn ən ɑɪ ˈhəʊp jʊ ɪnˈdʒɔɪd ðə ˈsʌmə ˈjestədeɪ | bɪˈkoz ɪt ˈmeɪ not ˈlɑst ˈmʌtʃ ˈloŋgə ‖ ˈɪŋglənd ən ˈweɪlz wɪl ˈstɑt ˈdrɑɪ ən ˈsʌnɪ | bət ˈklɑʊdz wɪl ɪnˈkris ɪn ðə ˈwest ðɪs ˈmɔnɪŋ | wɪð ˈreɪn ɪn ˈpleɪsɪz ˈspredɪŋ ˈist tʊ ˈɔl ˈpɑts bɑɪ ðɪs ˈivnɪŋ ‖ ˈreɪnfɔl əˈmɑʊnts wɪl bɪ ˈverɪ ˈsmɔl ɪn ðə ˈsɑʊθ | ˈmenɪ ˈpleɪsɪz ˈsteɪɪŋ ˈdrɑɪ | bət ðeǝ ˈmeɪ bɪ səm ˈhevɪər ˈɑʊtbreɪks | ɪn ˈnɔθwest ˈɪŋglənd ‖

10

0. ˈreɪnˈhevɪ ˈhevɪɪnɪnˈpleɪsɪz ˈpleɪsɪzɪnɪnÈwestn ˈwestņ ˈskotləndənənˈnɔðən ˈnɔðənˈɑɪələnd ˈɑɪələnd| | . ˈreɪn ˈwestņ Ç ˈskotlənd wɪlˈspred ˈspredtʊtʊˈistən ˈistənˈskotlənd ˈskotləndðɪs ðɪsˈmɔnɪŋ ˈmɔnɪŋ| | wɪl ˈfoləʊd bɑɪ ˈbrɑɪtə ˈweðə wɪð ˈʃɑʊəz ‖ ˈtemprətʃəz | ˈsɪmələ tu | ɔr ə ˈlɪtl̩ tlÇ ˈhɑɪə ðən ˈjestədeɪz ‖ ˈwɪndz | ˈlɑɪt ɔ ˈmodərət ˈsʌðəlɪ ‖

15

.5.ðɪðɪˈɑʊtlʊk ˈɑʊtlʊk‖ ‖ə əˈfju ˈfjuˈʃɑʊəz ˈʃɑʊəzɪnɪnðəðəˈnɔθ ˈnɔθətətˈfɜst ˈfɜst‖ ‖ bət bətˈɔlˈɔlˈpleɪsɪz ˈpleɪsɪzbɪˈkʌmɪŋ bɪˈkʌmɪŋˈdrɑɪ ˈdrɑɪ| |ˈsʌnɪ ˈsʌnɪənd əndˈwɔm ˈwɔm| | ɔlˈðəʊ ˈleɪtə səm ˈɑʊtbreɪks əv ˈhevɪ ˈreɪn meɪ ˈspred tʊ ˈsʌðən ˈdɪstrɪkts ‖

141

2.

«√nIm»plçIm´nt

1

. ‖1 də ˈstɑk ˈfækt ðət ˌʌnɪmˈplɔɪmənt ɪn ˈbrɪtņ« | həz ˈnɑʊ ˈritʃt | ˈwʌn ˈpɔɪnt ˈnɑɪn ˈmɪljən | ə ˈlevl̩« ˈnot ˈsin sɪns ðə ˈmɪd ˈθɜtɪz | prəˈvɑɪdz ðɪs ˈmɔnɪŋz ˈpeɪpəz wɪð ðeǝ ˈmeɪn ˈθim ‖

5

. ðə ˈdeɪlɪ ɪkˈspres ˈsʌmz ɪt ˈʌp ‖ ə ˈdʒob ˈlost ˈevrɪ ˈtwentɪ ˈsekəndz ‖ ən ðə ˈmɪrə ˈfɔkɑsts ðət ˈbɑɪ ˈkrɪsməs | ˈtu ˈmɪljən wɪl bi ˈɑʊt əv ˈwɜk | ɪˈnʌf tə ˈfɔm ə ˈdəʊl ˈkju ˈstretʃɪŋ frəm ˈlændz ˈend tə ˈdʒon əˈgrəʊts ‖ ðə ˈtɑɪmz ˈsez ðə ˈfɪgəz ər ˈɔl ðə ˈwɜs | fə ˈhævɪŋ ɑʊtˈpeɪst ðə ˈməʊst pesǝˈmɪstɪk ˈfɔkɑsts ‖

12

.2.ðəðəˈdeɪlɪ ˈdeɪlɪˈstɑ ˈstɑ| |ˈjuzɪz ˈjuzɪzðəðəˈpɪktʃər ˈpɪktʃərəvəvˈjʌŋ ˈjʌŋˈstiv ˈstivəʊˈnil əʊˈnil| | tutuˈɪləstreɪt ˈɪləstreɪtðəðəˈtrædʒədɪ ˈtrædʒədɪ‖ ‖ hiz ˌsɪksˈtin ɪz ˈdʒob ˈprospekts ə ˈnɪl ‖ ÈsIkstin ənd ə ˈhɑf | ənd «n Iz ðə ˈmeɪl rɪˈpits ˈmɪsɪz ˈθætʃəz ˌdekləˈreɪʃņ nÇ | ðət ðeǝ kən bi ˈnəʊ ˈmɪrəkl̩lÇ ˈkjʊə ‖ ˈɔl ðə ˈpeɪpəz əˈgri | ðə ˈfɪgəz ə ˈʃokɪŋ ‖ bət əˈpɪnjənz əˈbɑʊt ˈhuz ət ˈfɔlt | ən ˈwot ʃʊd bɪ ˈdʌn | ˈveǝrɪ ‖

20

.0.ðəðəˈtelɪgrɑf ˈtelɪgrɑfˈsez ˈsezɪtsɪtsðəðəˈbɪtə ˈbɪtəˈhɑvɪst ˈhɑvɪst| | əv ðə ˈfolɪz əv ɑə ˈmɑstəz əʊvə ˈmenɪ ˈjɪəz | ænd ɪt ˈkɔlz on ðə ˈgʌvənmənt | tə ˈstænd ˈfɜm on ɪts ˈprezņt nÇ ˈpolǝsɪz ‖ ðə ˈtɑɪmz meɪnˈteɪnz ðət ˈəʊnlɪ ə ˈpolǝsɪ | ˈeɪmd ət ˈbrɪŋɪŋ ˈdɑʊn ɪnˈfleɪʃṇ nÇ | wɪl prəˈvɑɪd ə loŋ ˈtɜm kjʊə fər ˌʌnɪmˈplɔɪmənt ‖ ən ðeǝz ə ˈsɪmǝlə ˈsentɪmənt | ɪn ðə ˈsʌn ‖

142

3. »di»nQSn« ´laIzd »Ind´strIz 1

. AA- ‖ ˈnɑʊ ‖ ˈwot həv ðə ˈfoləʊɪŋ ˈɪndəstrɪz ɪn ˈkomən | ðə ˈreɪlweɪz | ˈrəʊd ˈpæsɪndʒə ˈtrænspɔt | ɪˌlekˈtrɪsǝtɪ dʒenəˈreɪʃņ« | ðə ˈdoks | ðə ˈpəʊst | ˈsɪvl̩« ˌeɪvɪˈeɪʃņ… ‖ « ðɪ ˈ ɑnsə ‖ ðeǝr ˈɔl ˈbiɪŋ ˌdiˈnæʃņəlɑɪzd ˈrɑʊnd ðɪ ˈedʒɪz ‖ «

5

.. təˈdeɪ təˈdeɪǀ ǀwil wil ˈwɪtnəs ˈwɪtnəs ðə ðə ˈθɜd ˈθɜd ˈridɪŋ ˈridɪŋ ɪn ɪn ðə ðə ˈkomənz ˈkomənz || əv əv ðə ðə ˈsɪvl̩ ˈsɪvl̩« ˌeɪvɪˈeɪʃņ ˌeɪvɪˈeɪʃņ« ˈbɪl ˈbɪlǀ ǀwɪtʃ wɪtʃ || ˈwen ˈwen ɪtɪt bɪˈkʌmz bɪˈkʌmz ən ən ˈækt | wɪl pǝˈmɪt ðə ˈseɪl tə ðə ˈpʌblɪk əv ˈʃeǝz ɪn ˈbrɪtɪʃ ˈeǝweɪz ‖ ðɪ ˈeǝlɑɪn wɪl bɪˈkʌm ˈbrɪtɪʃ ˈeǝweɪz ˈlɪmɪtɪd ‖ ˈɑθə ˈrid | ˈeǝ ˌkorəˈspondənt fə ðə ˈtɑɪmz | ˈtəʊld ǀ ˈnil ˈberǝt ǀ ˈhɑʊ ðə ˈgʌvņmənt ɪnˈtendz tə ˈgəʊ əbɑʊt ˈðɪs ‖ «

11

B- ‖ ðɪ ɑɪˈdɪər r ɪzɪz ðǝt 1.Bðǝt ɪtɪt wɪl wɪl bɪˈkʌm bɪˈkʌm əə ˈprɑɪvɪt ˈprɑɪvɪt ˈkʌmpənɪ ˈkʌmpənɪ|| mənt ˈhəʊldɪŋ ˈwʌn ˈhʌndrəd pə ˈsent ˈ ˈʃeǝz ´ wɪð ðə ˈgʌvņmənt ˈhəʊldɪŋ ˈwʌn ˈhʌndrəd pə ˈsent əv ðə ɪn ðə ˈʃɔ ˈhʌndrəd pə ˈsent əv əv ðə ðə ˈʃeǝz ɪn ðə « ˈʃɔt ˈtɜm ‖ ən ˈðen | ət ə ˈdeɪt wɪtʃ ɪz bi tə əˈnɑʊnst bi əˈnɑʊnst | | ən ˈðen | ət ə ˈdeɪt wɪtʃ ɪz tə bi əˈnɑʊnst | ðə ˈgʌvṇmənt wɪl ˈɔfər ə mɑɪˈnorǝtɪ | « prɪˈzjuməblɪ əˈbɑʊt ˈfɔtɪ ˈnɑɪn pə ˈsent əv ðə ˈʃeǝz on ðɪ ˈəʊpņ« ˈmɑkɪt | fɔr ˈenɪbodɪ | ˈmembəz əv ðə ˈpʌblɪk ɔ ˌkɔpəˈreɪʃņz tə ˈbɑɪ ‖ «

17

7.AA-‖ ˈhæz ðə ˈgʌvņmənt ˈsed ǀ ˈhɑʊ ˈðɪs ˈseɪl ɪz ˈgəʊɪŋ tə ˈteɪk ˈpleɪs ‖ ˈhɑʊ ˈmenɪ ˈʃeǝz ˈitʃ ˌɪndɪˈvɪdjʊəl ˈpɜtʃɪsə wɪl bɪ əˈlɑʊd tə ˈbɑɪ | fər ɪgˈzɑmpl̩« ‖

143

4. »hçtI«k√ltS´ 1

. AA- ‖ ˈnɑʊ | ˈlɪsņɪŋ tə ˈdʒeɪn ˈəʊvə ðə ˈpɑst ˈjɪər ɔ ˈsəʊ | « on ðə ˈsʌbdʒɪkt əv ˈgɑdņɪŋ | « ˈɑɪv ˈfɑʊnd hə sɪstǝˈmætɪk kæmˈpeɪn əv dɪˈstrʌkʃņ« | əv ˈɔl ðɪ ɪkˈskjusɪz ɑɪv ˈkeǝfǝlɪ ˈnɜtʃəd | fə ˈnot duɪŋ ˈdʒobz əˈrɑʊnd ðə ˈgɑdņ« | rɑðə | dɪsˈteɪstfl̩« ənd ˈhɜtfl̩« ‖

6

hɑʊˈevə || ɑɪ ɑɪ ˈθɔt ˈθɔt ðət ðət ˈspreɪɪŋ ˈspreɪɪŋ ˈʃrʌbz ˈʃrʌbz fə fə ˈgrinflɑɪ ˈgrinflɑɪ || .. hɑʊˈevə wəz ə ˈprɪtɪ ˈseɪf təˈbu ‖ ɪt ɪnˈvolvd ˈdilɪŋ wɪð ˈdeɪndʒərəs ˈpɔɪzņz « | wɪtʃ ɑɪ mɑɪt ˈspɪl on mɑɪˈself ‖

10

. ɪtɪt ɪnˈvolvd 0. ɪnˈvolvd ˈweǝrɪŋ ˈweǝrɪŋ ˈrʌbə ˈrʌbə ˈglʌvz ˈglʌvz | | wɪtʃ t« t fəfə ˈmi wɪtʃ wʊd wʊd ˈmeɪk ˈmeɪk ɪtɪtˈverɪ ˈverɪ ˈdɪfɪkl̩ ˈdɪfɪkl̩ ˈmi tə ˈhændl̩« ˈθɪŋz | ən | ˈenɪweɪ | ɑɪ ˈkʊdṇt fɑɪnd ðə ˈgrinflɑɪ | « ˈivņ ɪf ɑɪ ˈwontɪd tu ‖ ɑɪ ˈhæv ə ˈnɑstɪ ˈfilɪŋ ˈðəʊ ǀ ðət ˈfɪlɪs | ðə ˈfɪəlɪs ˌhɔtɪˈkʌltʃǝrəlɪst | ɪz ˈdʒʌst əˈbɑʊt tə ˈpʊt ˈpeɪd tʊ əˈnʌðə ˈkʌmftəbl̩« ˈfɪkʃņ« ‖

16

6.BB- ‖ ˈɑɪ ˈæm ǀ bɪkəz ju ˈnəʊ | ˈspreɪɪŋ ɪz ˈrɪəlɪ ˈwʌn əv ðəʊz ˈdʒobz ðət ɪzṇt ˈnɪəlɪ əz ˈdɪfɪkl̩« t əz ɪt ˈsimz ‖ ɑɪ dɪˈskʌvəd ˈðæt | ˈwen ɑɪ ˈwotʃt ən ɪkˈsperɪmənt ɪn ˈspreɪɪŋ | ˈdʌn ˈrisņtlɪ bɑɪ ə ˈblɑɪnd ˈgɑdnə | wɪð ðə ˈhelp əv ə ˈsɑɪtɪd ˈwʌn | « huz ˈɔlsəʊ ə ˈregjʊlə ˈtjutər ət ðɪ ˈænjuəl ˈgɑdņɪŋ ˈwikend ˈkɔsɪz ‖ «

21

ˈwotjujuˈnid ˈnid| ɪz | ɪzˈenɪ ˈenɪˈkɑɪnd ˈkɑɪndəvəvˈspreɪə ˈspreɪə| | .1.ˈwot ðət ju kən ˈhəʊld wɪð ˈwʌn ˈhænd | bɪkəz ðɪ ˈʌðə ˈhænd ɪz ˈnidɪd tə ˈgɑɪd ju əˈrɑʊnd ðə ˈbʊʃ ɔ ˈʃrʌb ‖

144

5. »√nj´nz vŒs´s S´»lots 1

. AA- ‖ ˈnɑʊ ǀ tʊ ə ˈbɪt əv ˈkʊkɪŋ ‖ ðəz ˈskeǝslɪ ə ˈseɪvərɪ ˈresǝpɪ ðət ˈdʌzņt « ˈkɔl fər ə ˈlɪtl̩« ˈʌnjən ‖ ən ðɪ ˈʌnjən ən ɪts ˈkləʊs ˈrelətɪvz ǀ lɑɪk ðə ˈlik | ɑr əˈmʌŋ ðɪ ˈəʊldǝst ˈvedʒtəbļz « ǀ əˈpærəntlɪ ˈnəʊn tʊ əs ‖ ən ˈðeǝr ɑr ˈɔl ˈsɔts əv trəˈdɪʃņz əˈtætʃt tə ðəm ‖ «

6

.. ˈʌnjənz ɪn ˈʌnjənz wə wə ˈgɪvņ ˈgɪvņ əz ˈwedɪŋ ˈwedɪŋ ˈprezņts ˈprezņts ɪn ˈeɪnʃņt ˈeɪnʃņt ˈgris ‖‖ « əz « « ˈgris ˈstreɪndʒ ˈwedɪŋ ˈprezņts ‖ « bət əˈpærəntlɪ ðeɪ wə bɪˈlivd tə ˈhæv ˌæfrəˈdɪzɪæk ˈkwolǝtɪz ‖ ən ˈliks əv bin əˈrɑʊnd sɪns ðə ˈtɑɪmz əv ðə ˈfeǝrəʊz ‖

10

.0.ˈpæt ˈpætˈteɪləz ˈteɪləzbɪn bɪnˈtɔkɪŋ ˈtɔkɪŋˈʌnjənz ˈʌnjənzwɪð wɪðˈhəʊm ˈhəʊmɪˈkonəmɪst ɪˈkonəmɪstǀ ˈkeɪt ǀ ˈkeɪtˈhæstrop ˈhæstrop‖ ‖ æn ænʃɪʃɪbɪˈgæn bɪˈgænbɑɪ bɑɪˈɑskɪŋ ˈɑskɪŋ| |ˈwot ˈwotˈɑˈɑðəðəˈmembəz ˈmembəzəvəvðɪðɪˈʌnjən ˈʌnjənˈfæmǝlɪ ˈfæmǝlɪ‖ ‖ B- ‖ ˈəʊ | ˈwɪə ˈtɔkɪŋ əˈbɑʊt ˈʌnjənz ɪn ˈɔl ɪts ˌveǝrɪˈeɪʃņz « ‖ ˈliks | ˈgɑlɪk | ˈtʃɑɪvz | ˈsprɪŋ ˈʌnjənz | ən əv ˈkɔs | ʃəˈlots ‖ ən ðə ˌveǝrɪˈeɪʃņ« əv ðə ˈsprɪŋ ˈʌnjən ðət ˈlʊks ǝ ˈbɪt lɑɪk ə ʃəˈlot | wɪtʃ ɪz ə ˈwelʃ ʌnjən ǀ wɪtʃ ɪz ˈwel ˈwɜθ ˈhævɪŋ ɪn ðə ˈgɑdņ« | bɪkəz ˈðæts ə pəˈrenɪəl ‖

17

7.AA- ‖ ˈwots ðə ˈdɪfrəns bɪˈtwin ə ʃəˈlot ənd ən ˈʌnjən ‖ B- ‖ ˈwel | ə ʃəˈlot ˈgrəʊz ɪn ˈklʌmps təˈgeðə | ən ˈsprɪŋz ˈɑʊt frəm ðə ˈsɑɪd frəm ə ˈsentrəl ˈbʌlb ‖ ən ðeǝ ˈdʒenərl̩« ɪ ˈjuzd ɪn ðɪs ˈkʌntrɪ fə ˈpɪklɪŋ | ən ðeɪ ˈʃʊdņt bi kənˈfjuzd wɪð ðə ˈlɪtl̩« beɪbɪ ˈʌnjən ‖ « A- ‖ ṃ« ‖ ɑɪ ˈθɪŋk ˈmenɪ ˈpipl̩« ˈdu ɪn ˈfækt ‖

23 23.B-B- ‖ ˈðæts ˈrɑɪt ‖ beɪbɪ ˈʌnjənz ə not ɔtəˈmætɪklɪ ʃəˈlots ‖ ən ˈpɪklɪŋ ˈʌnjənz ɑ ˈjuʒʊəlɪ ə ˈnɑɪs | ˈrɑʊnd | ˈʃeɪp | ðət ˈɑr ə ˈsmɔl vəˈrɑɪətɪ wɪtʃ əv bɪn ˈgrəʊn ɪn ˈrɑðə ˈpɔ ˈsɔɪl | æn ˈsəʊ ðət ðeɪ ˈdəʊnt ˈgrəʊ ˈɪntə ðə ˈbɪg ˈbʌlbəs ˈwʌnz | ðət wɪ ˈwont ɪn ðə ˈmʌtʃ ǀ jʊ ˈnǝʊ ǀ ˈbɪgə ˈkʊkɪŋ ˈʌnjən ‖ ðə ʃəˈlots ə ˈmʌtʃ ˈmɑɪldə | ˈmʌtʃ ˈmɔ ˈdelɪkət | ən ˈmʌtʃ ˈmɔ ˈsutəbl̩« fə ˈdelɪkət ˈfleɪvəd ˈfudz ‖

145

6. DI ´»merIk´n Ik»spI´rI´ns 1

1. ‖…ˈwel | ˈnəʊ ‖ ðɪ əˈmerɪkənz hæv ˈdɪfrņt təˈbuz tʊ ˈʌs ‖ « ɑɪ ˈmin ǀ ðeǝ ˈmɔ ˈfrɑɪtņd ˈstɪl əv ˈθɪŋz | « wɪə ˈnot səʊ ˈfrɑɪtņd ˈof ˈhɪə ‖ « bət…| ˈən…| ɜ…| bət…ǀ aɪ ˈmin ǀ ðeɪ ˈdəʊnt lɑɪk ˈdʒəʊks əˈbɑʊt ˈdeθ ɪn əˈm n əˈmerɪkə | ˈweǝz ˈwi ˈrɑðə ˈrevl̩« ‖ ˈstɔrɪz əˈbɑʊt ˈʌndəteɪkəz əv ˈɔlweɪz ˈgon ˈdɑʊn | əˈtrit ɪn ˈbrɪtņ« ‖ ɑɪ ˈdəʊnt ˈnəʊ ˈwɑɪ ɪt ˈɪz ‖

8

8. 8. ˈæn…| ˈæn…|ɜ…| ɜ…|ðeɪ ðeɪ ˈdəʊnt ˈdəʊnt||ˈdəʊnt ˈdəʊntˈlɑɪk ˈlɑɪk ˈsekʃʊǝl ˈsekʃʊǝl ˈrefrənsɪz ˈrefrənsɪz ɪn ɪn ðə ðə ˈseɪm ˈseɪm ˈweɪ ˈweɪ ‖‖ ðeɪ ðeɪ ˈdəʊnt ˈdəʊnt ˈmɑɪnd ˈmɑɪnd ˈgeɪnəs ˈgeɪnəs || bət bət ɪtɪt ˈhæs ˈhæs tə tə ˈbi ˈbi ɪn ɪn əə ˈmɔ ˈmɔ ˈsʌtl̩ ˈsʌtl̩« weɪ weɪ ‖‖ ən ðeǝ wəz ˈsʌtʃ ə ˈgrup əv ˈtæləntɪd pəˈfɔməz | ənd səʊ ˈmenɪ əv ˈʌs ˈrɑɪtəz ‖ ðə wə ˈfɪfˈtin »fIftin əv əs ˈɑftər ˈɔl | ˈwækɪŋ ˈɑʊt ðiz ˈʃəʊz ǀ ˌfɪfˈtin »fIftin ˈmɪnɪts ə ˈwik | ɜ…| ðət ɪt wəz | ɑɪ ˈmin | ju ˈhæd tə bi ə tekˈnɪʃņ« tə ˈwɜk ˈðeə | bət ɑɪ ˈræðǝ ˈlɑɪkt ɪt ‖

15

. ðə 15. prəˈdjusə ˈdɪdņ ˈdɪdņ ˈlɑɪkəsəs| |tətə ˈgəʊ ˈgəʊˈɑʊt ˈɑʊt tətə ˈlʌntʃ ˈlʌntʃ ‖ ‖ DIðəprəˈdjusə « ˈlɑɪk ˈjusttətəˈsend ˈsendˈfud ˈfud ˈɪn ˈɪn| |ən ənðəðə ˈrɑɪtəz ˈrɑɪtəz | | ɪtɪt wəz wəz ˈlɑɪk ˈlɑɪkə ə ˈfæktrɪ ˈfɑm ‖ hihiˈjust ænd ɑɪ ˈsed | ɑɪ ˈhævņ« ˈkʌm ˈeɪt ˈθɑʊzņ« ˈmɑɪlz ˈnot tə ˈhæv ˈlʌntʃ | ɑɪ ˈsed tə ðəm | wɪð ðɪs ˈterəbl̩« ˈbrɪtɪʃ ˈvɔɪs ‖ ən ðeɪ ˈjust| |tətə ˈʃɑʊt ˈʃɑʊt| |wen wen ˈɑɪ ˈɑɪ ˈkeɪm ˈkeɪm ɪntə ɪntə ðə ðə ˈbɪldɪŋ ˈbɪldɪŋ ɪnɪn ðə ðə ˈmɔnɪŋ | ðə ˈbrɪtɪʃ ə ˈkʌmɪŋ ‖ ðə ˈbrɪtɪʃ ə ˈkʌmɪŋ ‖

146

7. »kom´dI »rAItIN A- ‖ ˈjɔ ǀ ˈjɔ ˈfɔteɪ ǀ ˈobvɪəslɪ ǀ wəz ˈrɑɪtɪŋ fər ǀ ˈʌðə ˈpipl̩« | 1 1. A-

ən ɪˈspeʃl̩« ɪ fə ˈkenəθ ˈhɔn ‖ ɪn ÿ | ˈfɜst əv ˈɔl | bɪˈjond ˈɑ ˈken ǀ ən ˈðen ǀ ˈrɑʊnd ðə ˈhɔn ‖ B- ‖ jeə ‖ A- ‖ nɑʊ... ǀ ju ˈrəʊt wɪð ˈmɑtɪ ˈfeldmən ˈðæt ˈsekənd ˈsɪəriz | ˈdɪdṇt « ju ‖ B- ‖ jeə ‖ A- ‖ ˈɪz ɪt ˈæktʃʊǝlɪ ə ˈgʊd aɪˈdɪə fə ˈkomədɪ ˈrɑɪtɪŋ | tə ˈbɑʊns ɑɪˈdɪəz ˈof ˈsʌmbədɪ ˈels ‖

B-‖ ˈjes ‖ ɑɪ ˈθɪŋk ɪts ɪˈsenʃl̩« ‖ 9 9. B-

ðə ˈhəʊl ˈpɔɪnt əˈbɑʊt ˈhjumər ɪz ðət ǀ ʌnˈles ju ˈget ə ˈlɑf ǀ ju ˈhævṇt ˈmeɪd ə ˈdʒəʊk ‖ ɑɪ ˈmin | ɪf ju ˈseɪ ˈsʌmθɪŋ « ən ˈnəʊbədɪ ˈlɑfs | ˈðæts ˈnot ə ˈdʒəʊk | ˈðæts ˈdʒʌst ə ˈsteɪtmənt ‖ ˈæn ðɪ ədˈvɑntɪdʒ əv ˈrɑɪtɪŋ ɪn ˈpɑtnəʃɪp ǀ ɪz ðət ðɪ ˈʌðə ˈpɑtnə | huˈevər ɪz ˈkrækɪŋ ðə ˈdʒəʊk | ðɪ ˈʌðə ˈwʌn wɪl ˈgəʊ | ˈheɪ | ˈjes | ˈðæts ˈfʌnɪ | ɑɪ kwɑɪt ˈlɑɪk ˈðæt ‖

. ɪnɪnˈʌðə 16 16. ˈʌðəˈwɜdz ˈwɜdz| |ˈjɔˈjɔˈgetɪŋ ˈgetɪŋˈsʌm ˈsʌmˈwɔmθ ˈwɔmθ| |ˈsʌm ˈsʌmrɪˈspons rɪˈsponsˈbæk ˈbæk‖ ‖ ənənˈɔlsəʊ ˈedɪtɪŋ jɔˈself || | jU´r rˈedɪtɪŋ ˈedɪtɪŋ jɔˈself ˈɔlsəʊǀ jɔr ǀ jɔr jɔˈself

səʊ ðət jɔ ˈnot ˈpʊtɪŋ ˈenɪ əʊld ˈgɑbɪdʒ təˈgeðə | jɔ ˈrɪəlɪ ˈwɜkɪŋ ɪt ˈɑʊt ‖ ɑɪ ˈmin ǀ ˈmɑtɪ ˈfeldmənz ǀ ə ˈməʊst ɪnˈtelɪdʒənt ˈmæn | ə ˈgɪftɪd ˈmæn ɪn ˈevrɪ ˈweɪ ‖ ˈɑɪm ˈnot ǀ kəmˈplitlɪ ˈstjupɪd | təˈgeðə| |wiwiˈwɜkt ˈwɜkt ‖ ‖ 3.ən ˈmɑtɪ 23 23.ən ˈmɑtɪˈsed ˈsedǀ ɪts ǀ ɪtsˈnot ˈnotˈʌs ˈʌsðəts ðətsˈrɑɪtɪŋ ˈrɑɪtɪŋ| | ɪtsɪtsə əˈnju ˈnjuˈkritʃə ˈkritʃəˈkɔld ˈkɔldˈbærɪ ˈbærɪˈfeldmən ˈfeldmən‖ ‖ə əǀ ˈǀ ˈʃæl wɪ ˈkɔl ɪm ˈmɑtɪ ˈtʊk ‖ A-‖ˈmɑtɪ ˈtʊk | ˈjeə ‖ B-‖ ɪgˈzæktlɪ ‖ ən ˈhi dɪd ðə ˈrɑɪtɪŋ ‖ bət ˈrɑʊnd ðə ˈhɔn wəz ˈwʌndəfl̩« | bɪkəz ɪt ˈsɑʊndz ˈlɑɪk ˈevrɪ ˈʃəʊ bɪz ˈθɪŋ juv ˈevə ˈhɜd ‖ bət ɪts ˈæbsļutlɪ ˈtru | ðeǝ wǝz ˈnevər ə ˈhɑʃ ˈwɜd ‖ «

147

8. »kontQkt »lenzIz 1

5

. A- ‖ ˈtʃɪldrən u ˈhæf tə ˈweǝ ˈspektəkl̩«z | kən ˈofņ« ˈget ˈsɪŋgl̩« d ˈɑʊt | fə ˈrʌf ˈtritmənt frəm ðeǝ ˈklɑsmeɪts ‖ ðə ˈwʌnz hu ɪˈskeɪp ˈlɑɪtlɪ | kən ˈstɪl bi ˈsædl̩«d wɪð ˈnɪkneɪmz | ˈlɑɪk... | ˈfɔr ˈɑɪz ǀ ɔ ˈspeks ǀ ɔr ˈivņ« ˈwɜs ‖ . ˈlɔd ˈsigļ« ˈreɪzd ðə ˈsʌbdʒɪkt əv ˈsensǝtɪv ˈtʃɪldrən ɪn ðɪs pəˈzɪʃņ« ǀ hu ˈmɑɪt ˈbenǝfɪt ǀ ɪf ˈkontækt ˈlenzɪz wər əˈveɪləbl̩« on prɪˈskrɪpʃņ« | fə ˌsɑɪkəˈlodʒɪkl̩« ˈrizņz ‖ « ət ðə ˈməʊmənt ǀ ju kən ˈəʊnlɪ ˈget ðəm on ðə ˈnæʃņl̩ « « ˈhelθ ǀ ət ˈsɪks pɑʊndz ˈtwentɪ ˈfɑɪv ə ˈtɑɪm ǀ fə ˈklɪnɪkl̩« ˈrizņz ‖ «

10

0.B-B-‖ ˈmenɪ ˈtʃɪldrən | ə ˈverɪ... | əˈweǝ | ðət ðeɪ ˈsim tə bɪ ˈrɑðə ˈdɪfrņt «« frəm ðeǝ ˈfeləʊ... | ˈstjudņts ɪn ðə ˈklɑs ‖ « ˈmenɪ əv ðəm ˈfil ˌʃɔtˈsɑɪtɪd | ðeɪ ˈteɪk ə... | ˈlot əv ˈtɑɪm tʊ əˈdæpt ðəmˈselvz ‖ ɪt kən əˈfekt ðeǝ ˈridɪŋ ‖ ðeɪ fil ðeǝ ˈgəʊɪŋ tə bi kənˈdemd tə weǝ ˈglɑsɪz | fə ðə ˈrest əv ðeǝ ˈlɑɪvz | əz ɪnˈdid ˈðeɪ ˈɑ ‖ bət wɪð ðə ˈweǝrɪŋ əv ˈkontækt ˈlenzɪz ǀ ˈɔl ðɪs ʃʊd ˌdɪsəˈpɪə ‖

17

7.A-A-‖ ˈduˈjuˈjuˈθɪŋk ˈθɪŋk| ˈðəʊ | ˈðəʊ | ðətˈtʃɪldrən ˈtʃɪldrən ˈkænbi bi ˈtrʌstɪd ˈkontækt ˈlenzɪz -‖ ˈdu | ðət ˈkæn ˈtrʌstɪd wɪðwɪð ˈkontækt ˈlenzɪz ‖ ‖ ðeǝ ˈnot ˈizɪ tə ˈfɪt | ən ðeǝ ˈnot izɪ tə ˈpʊt ˈɪn ən ˈteɪk ˈɑʊt ‖

25

148

B- ‖ ˈəʊ | ˈjes | əv ˈkɔs ‖ ˈðæts weǝ ðə ˈdɪfəkl̩« tɪ əˈrɑɪzɪz ‖ bət ɪn ðə ˈkeɪs əv ˈjʌŋ tʃɪldrən | ðə ˈpeǝrənts ʃʊd ˈnætʃərl̩« ɪ ˈteɪk ə ˈkləʊs ˈɪntrǝst ɪn ðeǝ ˈtʃɑɪldz ˈfjutʃə… | ˈskul kəˈrɪə… | meɪdʒə kəˈrɪə ən ˈlɑɪf | ˈʃʊd bi ˈgɪvņ« ði | ɜ | ˌɒpəˈtʃunǝtɪ əv ˈfɪtɪŋ ðə ˈglɑsɪz ðəmˈselvz ‖ 25. ˈtʃɑɪldʃʊd ʃʊdˈteɪk ˈteɪkənənˈɪntrǝst ˈɪntrǝstɪn ɪnˈhævɪŋ ˈhævɪŋtə tə ˈweǝðəm ðəm| | . ðəðəˈtʃɑɪld ˈweǝ ənˈtɪl ˈsʌtʃ ə ˈtɑɪm əz ðə ˈtʃɑɪld | kņ« bɪ ˈeɪbl̩« | wen hi ˈritʃɪz hɪz ˈtinz | ˈleɪtə ˈtinz | tu...| məˈnɪpjʊleɪt ðə ˈkontækt ˈlenzɪz hɪmˈself ‖

9. »novl« tIz 1

. A- …‖ ɪt ˈɪz | hɑʊˈevə | ˈgəʊɪŋ tə ˈbæn ðə ˈseɪlz əv ˈsɜtņ« ˈnovl̩«tɪz | ɪn pəˈtɪkjǝlə | ˈlɑdʒ ˈstɪŋk ˈbomz | ˈtɪə ˈgæs ˈkæpsjulz | ən bəˈlun meɪkɪŋ ˈkompɑʊndz ‖ ˈnɑʊ | ɑɪ ˈdəʊnt ˈnəʊ ˈwot ˈgəʊz on ɪn ðə ˈhɑʊzɪz əv ˈpɑlǝmənt | bət ɑɪ ˈθɪŋk jul əˈgri | ðeǝ ˈlɔdʃɪps | dɪˈspleɪd ə ˈgreɪt fəmɪlɪˈærǝtɪ wɪð ðiz ˈobdʒɪkts | wen ˈlɔd trefˈgɑn dɪˈfɑɪnd ˈnovl̩« tɪz ɪn ðə ˈhɑʊs ‖ ˈpʌblɪk skul ˈmemǝrɪz əv ˈtrɪks ɑftə ˈlɑɪts ˈɑʊt ɪn ðə ˈdɔm | ɑɪ ˈwʌndə ‖

10

0.AB- ‖ Di ðə ˈwɜd ˈnovl̩« tɪ | ɪz ˈjuzd ˈjuʒəlɪ tə dɪˈskrɑɪb ðə ˈrelətɪvlɪ ɪnɪkˈspensɪv ˈprodʌkts | fɔ ˈpɑstɑɪmz ɔ ˈdʒəʊks | wɪtʃ ˈsʌmtɑɪmz ə dɪˈzɑɪnd tə kriˈeɪt əˈmjuzmənt ət ði ɪkˈspens əv ʌnsəˈspektɪŋ ˈvɪktɪmz ‖ ˈtɪpɪkl̩« ɪgˈzɑmpl̩« z Ar ər ˈɪtʃɪŋ ən ˈsnizɪŋ pɑʊdəz... | ˈfeɪk ˈlʌmps əv ˈʃʊgə... | ˈfud ˈmeɪd frəm ˈplæstɪk... | ˈglɑsɪz ðət ˈlik ðeǝ ˈkontents... ænd | ˈblʌd ˈsteɪnd ˈbændɪdʒɪz ‖

17

7.CC- ‖ ˈhɪə | ˈhɪə ‖

23

B- ‖ ˈnʌn əv ðiz ˈprodʌkts ɪz ˈlɑɪklɪ tu ˈofə səbˈstænʃl̩« ˈrɪsks əv ˈpɜsņl̩ « « ˈɪndʒərɪ ‖ hɑʊˈevə | ðə ˈθri ˈɑɪtəmz ˈkʌvəd bɑɪ ðiz ˌregjǝˈleɪʃņz « | ˈɑ bɪˈlivd tu ˈofə sʌtʃ ə ˈrɪsk ‖ ðə bəˈlun meɪkɪŋ ˈkompɑʊnd | bɪkǝzəvəvðəðəˈprezņs ˈprezņs əvˈbenzin ˈbenzin | |ə əˈwel ˈwel ˈnəʊn ˈnəʊnˈkɑsɪn ˈkɑsɪnədʒən | bɪkǝz « əv 3.ænd | |ðəðəˈtɪə 23.ænd ˈtɪəˈgæs ˈgæsˈkæpsulz ˈkæpsulz| |ənənˈlɑdʒ ˈlɑdʒˈstɪŋk ˈstɪŋk bomz bomz| | bɪkǝz əv ðə ˈrɪsk əv ˈɪndʒərɪ | frəm ðə ˈkemɪkl̩« z ˈjuzd | tə ðə ˈfeɪs | ɪˈspeʃl̩« ɪ | ðɪ ˈɑɪz | ənd ˈʌðə ˈsensǝtɪv ˈpɑts əv ðə ˈbodɪ ‖

149

10. ´ »Sçt »daI´log 1

̩d. ‖1 ˈneɪəmɪ ˈfɪʃə wəz ˈweɪtɪŋ ət ˈtʃestə ˈterɪs wen ˈkærən got ˈhəʊm ‖ ðə ˈmɔnɪŋ ˈrum weǝ ðeɪ həd ˈpʊt hɜ | wəz ə ˈblik | ˈrestləs ˈpleɪs| |weǝ weǝˈnəʊbədɪ ˈnəʊbədɪˈevə ˈevəˈsetl̩ ˈsetl̩ « d d‖ ‖ ðə ˈgæs ˈfɑɪə wəz ˈseldəm ˈon ‖ tə bi ˈpʊt ɪn ˈhɪə bɑɪ ə ˈsɜvənt | ˈʃəʊd ðə ˈsɜvənts dɪˈstɪŋkʃņ« | bɪˈtwin ˈbiɪŋ ˈʃəʊn ˈɪn | ən biɪŋ ˈɑskt tə ˈweɪt ‖

7

ˈneɪəmɪz ˈæŋkʃəs ˈæŋkʃəs ˈbrɑʊn ˈbrɑʊn ˈɑɪz ˈɑɪz ən ən ˈhʌmbl̩ ˈhʌmbl̩ ˈmænə|| . . ˈneɪəmɪz « ˈmænə ˈmʌst həv həv ˈled ˈled ðəm ðəm tətəˈθɪŋk ˈθɪŋk ðeǝ ðeǝ ˈmʌst ˈmʌst bi biˈsʌmθɪŋ ˈsʌmθɪŋ ʃiʃi ˈwontɪd | ˈmʌst ən ˈðeǝfɔ ʃi wəz ˈnəʊ ˈleɪdɪ ‖ ˈwot ʃi ˈdɪd ˈwont | ən ˈwontɪd ˈbædlɪ | wəz tə ˈsi ˈkærən ‖ ə ˈnid | ˈsəʊ ˈpresɪŋ | əz tə ˈbi wɪˈðɑʊt ˈgreɪs ‖ səʊ ˈhɪə ʃi ˈwoz | ˈsɪtɪŋ on ðɪ ˈedʒ əv ə ˈkəʊld | ˈleðər ˈɑmtʃeǝ ‖

13

ˈfeɪsɪz ɪzˈkəʊld ˈkəʊld| |sed sedˈkærən ˈkærən‖ ‖ɪtsɪtsˈterǝblɪ ˈterǝblɪˈkəʊld ˈkəʊldɪnɪnˈhɪə ˈhɪə‖ ‖ .3.jɔ jɔˈfeɪs həv ˈkʌm ˈtu ˈɜlɪ ɑɪhəv həvˈkʌm ˈkʌmˈtu ˈtuˈɜlɪ ˈɜlɪ‖ ‖‖ ɑɪɑɪ ˈnəʊ ‖ ˈwɑɪ | sed ˈkærən | ˈpʊlɪŋ ˈof hə ˈglʌvz ‖ jʊ ˈmʌst bɪ ˈtɑɪəd | ˈneɪəmɪ sed | ˈæŋkʃəs ‖ ɑɪ ˈslept ɪn ðə ˈtreɪn ‖ ˈhɑʊ ˈloŋ əv ju ˈbɪn ɪn ˈlʌndən ‖ ˈdʒʌst ˈfɔ ˈdeɪz ‖ ˈnekst ˈtjuzdeɪ wi ˈmʌst ˈgəʊ ˈbæk ‖ ˈneɪəmɪ ˈspəʊk wɪð ən ˌʌnrɪˈprəʊtʃəbl̩« ˈsædnəs | ðət ˈmeɪd ˈkærən ɪkˈskleɪm | ˈwɑɪ ˈdɪdṇt ju ˈlet mi ˈnəʊ ‖ ɑɪ ˈnidṇt həv bɪn əˈweɪ ‖ « «

150

11. »pri rI»tAI´m´nt »kçsIz 1

5

10

15

. AA- ‖ ɑɪ ˈθɪŋk jɔ ˈgəʊɪŋ tə ˈtʃeɪndʒ ðə ˈtɑɪtl̩« ðəʊ | ˈɑnt ju | frəm ˌprirɪˈtɑɪəmənt ǀ bɪkəz ˈpipl̩« ə rɪˈtɑɪərɪŋ ǀ ˈɜlɪər ən ˈɜlɪə ˈðiz deɪz ‖ ənd ˈivņ« fə ˈðəʊz ˈpipl̩« hʊ meɪ ˈnot ˈwont tə bi rɪˈtɑɪəd | . ˈmeɪ bi biɪŋ ˈmeɪd rɪˈdʌndənt fə ˈwʌn ˈrizņ« ɔr əˈnʌðə | ˈðiz ˈleʒə ˈtɑɪm ækˈtɪvǝtɪz | ɑɪ ˈθɪŋk ɑ | ˈkruʃl̩« ət ˈðɪs pəˈtɪkjǝlə ˈtɑɪm ‖ ˈivlɪn ˈælən ˈmenʃņd ðət ˈmæntʃɪstə z | « həd bɪn ˈrʌnɪŋ ðiz ˈpri rɪˈtɑɪəmənt ˈkɔsɪz fə sʌm ˈtɑɪm ‖ ˈhæv ju ˈnəʊtɪst | ˈkwɑɪt ən ˈɪŋkris ɪn ðə ˈnʌmbər əv ˈpipl̩« əˈtendɪŋ ‖

B0.BB- ‖ ˈjes ‖ ðeǝ ˈhæz bin ə ˈstedɪ INÈkris ˈɪŋkris || bət ɑɪ wʊd ˈlɑɪk tə ˈteɪk ʌp ˈælənz ˈpɔɪnt ðət ɪn ˈfækt | rɪˈtɑɪəd ˈpipl̩« | əv wotˈevər eɪdʒ | ǝ ˈwelkəm wɪðɪn ðə təʊˈtælǝtɪ prəˈvɪʒṇ ‖ ɑɪ ˈθɪŋk ɪts ɪmˈpɔtņt ˈnot tə ˈhæv ǀ ˈsɔt əv ˈspeʃl̩« ˈeǝrɪəz əv prəˈvɪʒņ« | « ˈdʒʌs fə ðə rɪˈtɑɪəd | ˈdʒʌs fə ðə ˈjʌŋ ˈpipl̩« | ɪtˈsetrə ‖ 5. ˈθɪŋk ɪtsɪts ɪmˈpɔtənt ɪmˈpɔtənt ðət ðətwi wihæv hævənənˈɪntɪgreɪtɪd ˈɪntɪgreɪtɪdˈsɜvɪs ˈsɜvɪs| | . ɑɪɑɪ ˈθɪŋk ən ˈsɜtņlɪ ˈsɜtņlɪ ðə ˈməʊmənt ˈməʊmənt| |ɪnɪnˈmæntʃɪstə ˈmæntʃɪstə| | ən « | |ətət ðə ðeǝ ˈstɪl ˈɪz | ə ˈverɪ ˈhelθɪ prəˈvɪʒņ« əv ˈdeɪ kɔsɪz | wɪtʃ ˈpipl̩« wɪð ˈtɑɪm on ðeǝ ˈhænz | bɪˈkoz ðeɪ ˈɑ rɪtɑɪəd | wʊd bi ˈeɪbl̩« tə ˈdʒɔɪn | ən ˈteɪk ədˈvɑntɪdʒ ˈov | ən ˈmɪks wɪð | ˈɔl ˈsɔts əv ˈeɪdʒ grups | frmÿ « wɪˈðɪn ðə kəˈmjunətɪ ‖

151

12. »he´stAIl 1

5

. A- ‖ˈwen ðə kompəˈtɪʃņ« wəz ˈfɜst əˈnɑʊnst | ɪt wəz ˈsʌmθɪŋ ðət ɑɪ ˈwontɪd tə du | bɪˈfɔ ðə ˈbəʊ ˈderɪk | bɪˈkeɪm ˈsəʊ ˈwel ˈnəʊn ‖ ænd ɑɪ ˈnɪəlɪ ˈtʃeɪndʒd mə ˈmɑɪnd | bət ɑɪ ˈθɔt | ˈnəʊ | ɑɪ ˈwəʊnt ‖ Èɑɪl ˈdu ɪt ‖ 5. ɑɪ ˈsɔ ˈsɔ ɪtɪt ˈfɜst ˈfɜst əv əv ˈɔl ˈɔlǀ ǀðə... ðə... ˈwivɪŋ ˈwivɪŋ ɪn ɪn ðə ðə ˈwest ˈwest ˈɪndɪz ˈɪndɪz ‖‖ . ɑɪ ˈɔl ðə ˈdɑk ˈgɜlz ˈðeǝ | ˈwɔkɪŋ əˈrɑʊnd ǀ wɪð ðɪs ˈtɑɪp əv ˈheǝstɑɪl ‖ səʊ ɑɪ ˈθɔt ǀ ˈwel | ɑɪ ˈθɪŋk ɪf ɑɪ ˈdu ɪt ˈwel | ɑɪ ˈmɑɪt ˈstænd ə ˈtʃæns ‖ səʊ ɑɪ ˈθɔt | ˈjeǝ | ˈgəʊ ɒn ǀ ˈdu ɪt ‖ ˈstɪk tʊ ɪt ‖ ænd səʊ ɑɪ ˈdɪd ‖

10

0.BB- ‖ ˈwel | ət ˈlist ɪts æmˈbɪʃəs | bət ɑɪ səˈpəʊz tə ˈbi feǝ | ɪf ˈɔl ðə ˈgɜlz ə ˈlɪsņɪŋ ˈθɪŋkɪŋ | « ˈɑɪ ˈmɑɪt həv ə ˈgəʊ ət ˈðæt mɪˈself | not ˈevrɪˌbodɪ ɪz ˈsutɪd | ɔ kʊd ˈweǝr ə ˈbəʊ ˈderɪk ˈstɑɪl ˈheǝdu ‖

14

-A-‖ əʊ | ˈnəʊ ‖ ɑɪ‖ ˈθɪŋk juvjuv ˈgotˈgot tə bɪ əˈtræktɪv tə ˈweǝ ˈðɪs ‖ˈðɪs ‖ 4.A‖ əʊ | ˈnəʊ| ˈnəʊ | ˈnəʊ ɑɪ ˈθɪŋk tə ˈverɪ bɪ ˈverɪ əˈtræktɪv tə ˈweǝ ɪtsˈverɪ ˈverɪˈhɑd ˈhɑd‖ ‖

152

13. D´ »geIm ´v »tSIkIn 1

. A- ‖ ˈwel ǀ ɪf juv ˈgot ˈtʃɪldrən | jul ˈnot ˈnid ˈmi tu rɪˈmɑɪnd ˈju ǀ ðət ðeɪ ˈget ˈʌp tu ˈɔl ˈsɔts əv ˈθɪŋz | mɔr ɪˈspeʃl̩«ɪ ˈdjʊərɪŋ ðə ˈloŋ ˈsʌmə ˈholǝdeɪz ‖ bət ˈwʌn əv ðə ˈməʊst ˈdeɪndʒǝrəs ˈpɑstɑɪmz ðeɪ kən get ɪnˈvolvd ˈɪn | ɪz ðə ˈgeɪm əv ˈtʃɪkɪn ‖

5

.. ju ju ˈprobəblɪ ˈprobəblɪ ˈnəʊ ˈnəʊ ðə ðə ˈgeɪm ˈgeɪm||weǝ weǝ ˈjʌŋstəz ˈjʌŋstəz ˈdæʃ ˈdæʃ ɪn ɪn ˈfrʌnt ˈfrʌnt əv əv ˈkɑz ˈkɑz||ɔɔ ˈtreɪnz ˈtreɪnz ‖‖ ən ˈnot ˈlɔŋ əˈgəʊ | ə ˈtʃɑɪld wəz ˈkɪld nɪə ˈbʌkstən ‖ ənd ɪn ðə ˈgrɪndl̩«fəd ˈeǝrɪə | ˈreɪlweɪ ˌemˈplɔɪiz | həv ˈsin ˈʌðə ˈtʃɪldrən ˈpleɪɪŋ ðə ˈgeɪm ‖ pəˈlis ɪn ˈdɑbɪʃər ə kənˈsɜnd z | ðət mɔr ˈæksɪdņts kʊd əˈkɜ ˈdjʊərɪŋ ðiz ˈsʌmə ˈholǝdeɪz ‖ «

13

.3.ˈwel ˈwel| |ɑɪm ɑɪmˈdʒɔɪnd ˈdʒɔɪndon onðəðəˈtelɪfəʊn ˈtelɪfəʊnˈlɑɪn ˈlɑɪnˈnɑʊ ˈnɑʊbɑɪ bɑɪˌsupərɪnˈtendənt ˌsupərɪnˈtendənt ˈsɪdnɪˈtomsņ ˈtomsņ«| |əvəvˈdɑbɪʃə ˈdɑbɪʃəpəˈlis pəˈlis‖ ‖ ˈsɪdnɪ ˈgʊd ˈmɔnɪŋ ‖ B- ‖ ˈgʊd ˈmɔnɪŋ ‖ A- ‖ ðɪs ˈmʌst bi fə ðə pəˈlis ə ˈverɪ ǀ ˈsɪərɪəs ǀ ˈbɪznǝs ‖

18

23

8.BB- ‖ ˈjes ‖ ɪt ˈɪz ‖ ɪt ɪz əˈlɑmɪŋ tə ˈseɪ ðə ˈlist əv ɪt ‖ ˈɪt ɪz ˈsʌmθɪŋ wɪtʃ ɪz ˈɔlwɪz ɪn ˈpipl̩« z ˈmɑɪndz | ˈreɪlweɪ ˈlɑɪnz ən ˈtʃɪldrən ‖ bət ðɪs ˈleɪtǝst ˈæksɪdənt | ðɪs | ɜ…| ˈtʃɪkɪn ˈbɪznǝs | wɪtʃ ˈtʊk ˈpleɪs ˈɑʊt ət ˈgrɪndl̩« fǝd | ən ˈbɑɪ ðə ˈweɪ | ðeǝ wəz ˈəʊnlɪ ˈwʌn ˈɪnstəns | ɑɪmˈnot ˈnotˈtrɑɪɪŋ ˈtrɑɪɪŋtətəˈseɪ ˈseɪɪtsɪtsˈsʌdņlɪ ˈsʌdņlɪ bɪˈkʌmə əˈfæʃņ ˈfæʃņ .3.ɑɪm bɪˈkʌm « « || ər ˈenɪθɪŋ lɑɪk ˈðæt | bət ɪt ˈdʒʌs ˈmeɪd mi ˈwʌrɪ ˈðæt bɪt ˈmɔ | ju ˈnəʊ | wɪð ðə ˈhɪnt əv ˈnɑɪs ˈweðər... | ən ðə ˈsʌmə ˈholǝdeɪz... | ðət | ɜ…| ˈtʃɪldrən kʊd ˈget ontə ˈreɪlweɪ ˈlɑɪnz ən kʊd ˈget ðəmˈselvz | ˈwel | jə ˈnot ˈtɔkɪŋ əˈbɑʊt ðǝm biɪŋ ˈsɪərɪəslɪ ˈhɜt ‖ ðə ˈfækt ˈɪz | ðeɪ ˈget ˈkɪld ‖

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14. ´ »vŒdIkt ´v »mQn«slçt´ 1

A- ‖ ˈɑ jʊ ˈseɪɪŋ ðət ðɪs ˈdʒʌdʒ | ɪn ðə ˈkeɪs əv ˈkiθ ˈdʒəʊnz | tə rɪˈtɜn ə ˈvɜdɪkt əv ˈmænˌslɔtər ɪz ˈrɪəlɪ | ˈbendɪŋ ɔ | ˌmɪsɪnˈtɜprɪtɪŋ ðə ˈlɔ ‖

4

B- ‖ ɑɪm ɪn ˈnəʊ pəˈzɪʃņ« tə ˈseɪ ˈðæt | bɪkəz ɑɪ ˈhævņt « sin ðə ˈkɔt ˈpeɪpəz ‖ ɑɪ ˈhævņt « sin ðə ˈtrænskrɪpt ‖ ˈɔl ɑɪ ˈnəʊ əˈbɑʊt ðɪs ˈkeɪs | ɪz ˈwot ɑɪv ˈred ɪn ðə ˈnjuspeɪpəz ‖ ˈðeəfɔ ǀ ɑɪ kʊdņt « ˈdʒʌdʒ ðɪs pəˈtɪkjʊlə ˈkeɪs ‖ bət ˈsɜtņlɪ« | ɪn ˈwot ɑɪ ˈred | ˈðeǝ ˈsimz ˈnəʊ ˈobvɪəs ˈrizņ« tə ˈθɪŋk z | ðət ðɪs wəz ə ˈkeɪs ɪn ˈlɔr əv ˈmænˌslɔtə ˈrɑðə ðən ˈmɜdə ‖ ˈwot ɪz ˈpɜfɪktlɪ ˈposǝbļ« | bət ɑɪ ˈdəʊnt nəʊ | ɪz ðət ðə ˈdʒʌdʒ wəz ˈæŋkʃəs | ðət ðɪs ˈmæn ʃʊdņt z | « bɪ ˈsentənst tə ˈlɑɪf ɪmˈprɪzņmənt « ən ˈðen ˈlet ˈɑʊt ə ˈʃɔt ˈtɑɪm ˈleɪtə ‖ ðət hi ˈnidɪd səm ˈhelp | ən ˈðeəfɔr | ˈɔt tə bi ˈpʊt on prəˈbeɪʃņ« | ən ˈhæv ðə ˈbenɪfɪt əv ðɪ ədˈvɑɪs əv ə prəˈbeɪʃņ« ˈofɪsə ‖ ən ðɪ ˈəʊnlɪ ˈweɪ | jʊ kʊd əˈtʃiv ˈðæt | wʊd bɪ tʊ...| ɪnˈʃɔ...| ðət hiz kənˈvɪktɪd əv ˈmænˌslɔtə ‖ weǝ jʊ hæv... | ðə dɪˈskreʃņ« əv ˈpʊtɪŋ ɪm on prəˈbeɪʃņ« ˈrɑðə ðən ðən ˈmɜdə ˈmɜdə ||weǝ weǝ jʊ jʊhæv hæv tə tə ˈgɪv ˈgɪv ɪm ɪm əə ˈlɑɪf ˈlɑɪf ˈsentəns ˈsentəns‖‖ ˈrɑðə ˈðæts ə ˈposǝbļ« ˌekspləˈneɪʃņ« | bət ɑɪ ˈemfəsɑɪz | ɑɪ ˈdəʊnt nəʊ ðə ˈfækts ‖

11

20

A- ‖ ðɪs ɪz ˈnot ðə ˈfɜst tɑɪm ðət ə ˈmɜsɪ ˈkɪlə həz bin ˈlet ˈof ‖ dju ˈsi ðɪs əz ə ˈtrend ðəts ˈhæpənɪŋ ˈnɑʊ ɪn ðɪs ˈkʌntrɪ ‖

22

B- ‖ ɑɪ ˈdəʊnt ˈθɪŋk hi wəz ˈlet ˈof ‖ hi wəz kənˈvɪktɪd ‖ ənd hi həz bɪn ˈpʊt on prəˈbeɪʃņ« | ən hil ˈnɑʊ ˈget ðə ˈhelp ðət hi ˈnidz ‖ ‖m ṃ « ‖ ɑɪ wʊd ˈhəʊp | ðət wi ʃəl ˈnot ˈget ɪntʊ ə ˈsteɪt | weǝ ˈmɜsɪ ˈkɪlɪŋ bɪˈkʌmz ɪn sʌm« ˈsens ə ˈseprət ən ˈnju əˈfens | ˈdɪfrənt | frəm ðə trəˈdɪʃņļ « « ˈwʌnz əv ˈmɜdər ən ˈmænˌslɔtə ‖

154

15. »INgl´nd ´n D´ »i »ju 1

- ‖ ˈnɑʊ ɑɪl ˈspeǝ ju ðɪ ˈjʊərəʊˌdʒɑgən ‖ Abət ʌndə ˈðæt ˈsɪstəm | ðə ˈmʌnɪ ɪz ˈrʌnɪŋ ˈʌp ˈnɑɪntin ˈeɪtɪ ˈwʌn | ənd ɪts ðə ˈkost əv ðɪ ˌægrɪˈkʌltʃərļ« ˈpolǝsɪ | wɪtʃ ˈteɪks ˈsevņtɪ pəˈsent əv ðə ˈb ə ˈbʌdʒɪt ‖ ɪt ‖ ‖ ´z əz |»sImpl ˈsɪmpl̩Ç ´z | əz»DQt | ˈðæt bət bɪˈliv ˈju ˈmi | ðə ˈfɑm ˈlobɪz ǀ əz ˈvɪgərəs əz ˈevər ɪn ðæt jʊərəˈpiən ˈpɑlǝmənt | ðə ˈhændz ə ˈstretʃt ˈɑʊt fə ˈjet ˈmɔ prəˈtekʃņ« ˈhɪə | ˈsʌbsǝdɪz ˈðeǝ | ˈprɑɪs ˈɪŋkrisɪz ˈðeǝ ‖ ˈsəʊ | ˈdʒon | ɑɪ ˈθɪŋk ðə ˈkrʌntʃ ɪz ˈkʌmɪŋ ‖ ju kən ˈhæpǝlɪ rɪˈlæks | ɪts ˈkʌmɪŋ ˈverɪ ˈkwɪklɪ ‖

10

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23

32

B-‖ bət jɔ ˈðeǝ tə ˈhelp ˈsɔt ɪt ˈɑʊt fər ʌs | ɑɪm ˈʃɔ ˈbɑbrə ˈkɑsļ« ‖ ˈterɪ ˈwəʊgən ‖ C - ‖ ɑɪ ˈdəʊnt ˈnəʊ ˈhɑʊ ɑɪm ɪkˈspektɪd tə ˈkæp ˈbɑbrə ˈkɑsļ« | ɔ ˈrobət ˈdʒæksņ« | bət ɑɪ dəʊnt ˈθɪŋk ðət ðɪ ˈi i ˈsi ɪz gəʊɪŋ tə ˈfɔl əˈpɑt ‖ ɑɪ ˈnevə səˈspektɪd ˈdʒon ˈmɔtɪmər əv biɪŋ ə ˈlɪtļ« ˈɪngləndə ‖ ənd ɑɪ ˈθɪŋk wɪə gonə bi ɪn ˈjʊərəp | ɑɪ ˈθɪŋk wi həv ˈnəʊ ɔlˈtɜnətɪv ‖ wi hæv tə ˈsteɪ ˈðeǝ | ˈnɑʊ ðət wɪə ˈðeǝ ‖ ɑɪ ˈθɪŋk ðeǝr ˌægrɪˈkʌltʃərļ« ˈpolǝsɪ həz bin | ɪn ˈkomən wɪð | ˈseɪ | ðɪ ˌægrɪˈkʌltʃərļ« ˈpolǝsɪ əv ðə jʊˈnɑɪtɪd ˈsteɪts ‖ ɪt ˈsimz tə bi ˈgɪəd təˈwɔdz ˌəʊvəprəˈdʌkʃņ« | bɪˈkoz ɪts ɪˈfɪʃņt « ‖ bɪˈkoz ðɪ ˌægrɪˈkʌltʃərļ« ˈɪndəstrɪ ˈɪz ɪˈfɪʃņt « ‖ ɪts prəˈdjusɪŋ ˈfud | ɪts prəˈdjusɪŋ ˈwɑɪn | ˈbʌtə ˈmɑʊntɪnz | ˈwɑɪn ˈleɪks | ðeǝ prəˈdjusɪŋ ˈtu ˈmʌtʃ ‖ ðeɪ ˈhæv tə bɪ ˌɑtɪˈfɪʃəlɪ səˈsteɪnd bɑɪ ˈðæt ‖ ˈprɑɪsɪz ˈhæv tə bɪ ˈheld ˈʌp | ən ðɪs ɪz ˈwot ˈhæpənz ‖ ənd ˈevrɪθɪŋ ˈkosts ˈmɔ ðən ɪt ˈɔt tu ‖ ðəz ˈtu ˈmʌtʃ biɪŋ prəˈdjust | ˈægrɪkʌltʃər ɪz ˈtu ɪˈfɪʃņt « ǀ ɪf ˈwʌn kən ˈseɪ ˈðæt ‖ ɪn ˈɑɪələnd | ɑɪ rɪˈmembər ə ˈkʌpļ« əv ˈjɪəz əˈgəʊ | ðə ˈkomən ˌægrɪˈkʌltʃərļ« ˈpolǝsɪ wəz ən ɪˈnɔməs ˈbun ‖ ˈenɪbodɪ hu ˈhæd ə ˈhʌndrəd ˈeɪkəz wəz ˈvɜtʃʊǝlɪ ə ˌmɪljəˈneǝ | bɪkəz ju wər ˈeɪbļ« tə ˈsel jɔr ˈeɪkərɪdʒ fə ˈfɑɪv ˈθɑʊzņd « ˈpɑʊndz ən ˈeɪkə ‖ ˈnɑʊ ˈðæts bin rɪˈvɑɪzd…‖ ɪts ˈmeɪd ə trəˈmendəs ˈdɪfrəns tə ðɪ ˈɑɪrɪʃ ˈfɑmə ‖ ɪt ˈhæzņt « ˈmeɪd ə trəˈmendəs ˈdɪfrəns tə ðə ˈbrɪtɪʃ ˈfɑmə | bɪkəz ðə ˈbrɪtɪʃ ˈfɑmər ɪz ˈmɔr ɪˈfɪʃņt « ‖ bɪˈkoz hiz ˈbetər ˈɔgənɑɪzd ‖

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16. »gŒl »tçk 1

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A.- ‖ ˈsuzɪ ˈhʌʃ | hu ˈmeɪ | ə meɪ ˈnot du ˈdæmɪdʒ wɪð ɜ ˈnju Aˈkomǝdɪ ˈsɪəriz on ˈɑɪ ˈti ˈvi | wɪtʃ ɪz ˈsevņ« hɑf ˈɑ ˈkomǝdɪz ˈrɪtņ« bɑɪ ˈsevņ« ˈwɪmɪn | ɪz ˈnɑʊ əˈbɑʊt tə bi ɪnˈterəgeɪtɪd bɑɪ ˈbɜnəd ˈfɔlk ‖ ˈgɜl ˈtɔk | ðə ˈsɪəriz ɪz ˈkɔld ‖ AB.- ‖ ɪts | ɜ | ɪts ə ˈsɪəriz əv ˈkomǝdɪ hɑf ˈɑ ˈprəʊgræmz | ˈrɪtņ« bɑɪ ˈsevņ« ˈwɪmɪn ‖ ɑɪ ˈθɪŋk ɪts ə sɪstǝˈmætɪk | ɪkˈstrɔdņrǝlɪ ˈfʌnɪ əˈtæk əˈpon ˈmen ‖ « ˈhɑʊ wʊd ju dɪˈskrɑɪb jɔ ˈsɪəriz | ˈsuzɪ ‖ CC.- ‖ ɑɪ wʊdņt « dɪˈskrɑɪb ɪt lɑɪk ˈðæt | ɪts ˈnot ˈment tə bi ən əˈtæk ə ˈtɔl ‖ ˈwot ɪts ˈment tə bi | ɪz ə ˈkɑɪnd əv | ˈɑnsər | ˈɑftər ˈɔl ˈðiz ˈjɪəz { tʊ ˈɔl ðə ˈpipļ« hu ˈseɪ | ˈwɪmɪn ɑnt ˈfʌnɪ ‖ ˈweǝr ə ðə ˈwɪmɪn ˈstænd ʌp ˈkomɪks ǀ etˈsetrə ǀ etˈsetrə ‖ ðeɪ ɑ ˈðeǝ | ðeɪ ɑ ˈwɜkɪŋ ‖ bət ɪn ə ˈmɔ ˈdʒenǝrļ« ˈsens | ˈwɪmɪn ər ˈæktʃʊəlɪ ɪkˈstrimlɪ ˈfʌnɪ ‖ pəˈtɪkjʊləlɪ ˈwen ðeɪ ə ˈtɔkɪŋ tʊ itʃ ˈʌðə ‖ ən ðeə ˈhjumə | ɑɪ ˈθɪŋk | ɪz ɪkˈstrimlɪ ˈbreɪv | ɪkˈstrimlɪ kəˈreɪdʒəs ‖ ˈwɪmɪn kən dɪˈskrɑɪb tə ju ðə ˈməʊst əˈpɔlɪŋ ˈlɑɪvz | ðə ˈməʊst əˈpɔlɪŋ ˈkɑɪndz əv ˈtrɑɪəlz ən ˈtrɑʊməz | ən ˈmeɪk ɪt əˈmjuzɪŋ ‖ ənd ɑɪ ˈθɪŋk ˈðæts ə ˈnæk ðət ə ˈlot əv ˈwɪmɪn ˈhæv | ənd ə ˈlot əv ˈmen meɪbɪ ˈdəʊnt ‖ bɪ ˈdəʊnt ‖ ˈsəʊ ˈsəʊ ɑɪ ɑɪ ˈdʒʌst ˈdʒʌst ˈθɔt ˈθɔt ɪtɪt wəz wəz ˈtɑɪm ˈtɑɪm || ˈðɪs ˈðɪs ˈhɪt ˈhɪt ðə ðə ˈskrin ˈskrin ‖‖ ɑɪm ˈɔlsəʊ ˈverɪ ˈæŋgrɪ əˈbɑʊt… | wel | ju ˈlɪsņ« tə ˈmen ˈstændʌp ˈkomɪks | ən ðeɪ ˈtel ˈdʒəʊks əˈbɑʊt | ˈwɪmɪn hʊ ə ˈgridɪ... | rəˈpeɪʃəs... | əˈpɔlɪŋ...| məˈnɪpjʊlətɪv... | ənd… ‖ wɪə ˈsəʊ kənˈdɪʃņd « | bɪkəz ðə ˈrulɪŋ ˈnɔm əv səˈsɑɪətɪ ɪz dɪkˈteɪtɪd bɑɪ ˈmen | ðət wi ˈlɑf əz ˈwel ‖ ənd ɑɪ ˈlɑf əz ˈwel ‖ B- ‖ ˈjeə ‖ C- ‖ ˈɑftər ˈɔl ˈðiz ˈjɪəz ǀ ɑɪ ˈdʒʌst ˈgot| |ˈæŋgrɪ ˈæŋgrɪəbɑʊt əbɑʊtɪtɪt| | B- ‖ ˈjeə | ˈjeə ‖ C- | ənd ɪt ˈdʒʌst əˈnɔɪz mɪ ˈnɑʊ | ənd ɑɪ ˈθɪŋk ɪts ˈtɑɪm wi hæd ðə ˈrɑɪt əv rɪˈplɑɪ ‖ ɪts ə ˈverɪ ˈmɑɪnə ˈrɑɪt əv rɪˈplɑɪ | ɑɪ ˈmin | ɪts ˈθri hɑf ˈɑʊəz ɪn ə | ˈweltər əv ˈɑʊəz əv ˈtelɪvɪʒņ« wɪtʃ prɪˈdomɪnəntlɪ bɪˈloŋ tə ˈmen ‖ pəˈtɪkjʊləlɪ ɪn ˈhjumə ‖ B. ‖ ɑɪ ˈræŋ ˈʌp ə ˈpæl əv ˈmɑɪn | huz ə ˈstænd ʌp ˈkomɪk | ən ˈsed | Cdju ˈnəʊ ˈenɪ ˈfɑðərɪnlɔ gægz ‖ ən hi kʊdņt « ˈθɪŋk əv ˈwʌn ‖ ən hi ˈsed | ˈivņ« ɪf hi ˈdɪd θɪŋk əv ˈwʌn | ðeǝ ˈnot ˈfʌnɪ ‖

17. »du »fem´nIsts »fçl In »l√v 1

A1A.-‖ ˈdu ˈfemǝnɪsts ˈfɔl ɪn ˈlʌv əz ˈwel ‖ B.- ‖ ˈəʊ | ɑɪm ˈʃɔ | ˈjes ‖ B-

7

ɑɪ dəʊnt ˈθɪŋk ˈfemǝnɪsts ər ˈenɪ ˈmɔr | ɪˈmjun tʊ ɪt ðən ˈenɪbodɪ ˈels ‖ ɑɪ ˈθɪŋk ɪts fænˈtæstɪklɪ ˈstroŋ ‖ ɑɪ ˈmin | ɪts ˈnot ˈrɪəlɪ ˈverɪ səˈprɑɪzɪŋ jʊ ˈθɪŋk | ˈevrɪθɪŋ əˈrɑʊnd ju | ju ˈtɜn ˈon ðə ˈreɪdɪəʊ | ən ˈpɪk ʌp ˈenɪ ˈɔdņrɪ ˈwɪmɪnz ˌmægəˈzin | « ðə ˈmesɪdʒ ðəts biɪŋ ˈpʊt ˈɑʊt ɪz ðət | jʊ ˈnəʊ | ɪf jʊ ˈfɑɪnd ðə ˈrɑɪt ˈpɜsņ« | ˈðen jul bɪ ˈhæpɪ ‖ ənd ɪf jʊ ˈdəʊnt ˈfɑɪnd ðə ˈrɑɪt ˈpɜsņ« | ju ˈwəʊnt bi ‖ ənd ɪts ˈwʌn ˈpɜsņ« | ənd ɪt ˈʃʊd bi fərˈevə ‖ ɑɪ ˈmin | ˈɔl ˈðəʊz ˈmɪθs ðət ˈrʌn ˈsəʊ ˈstroŋlɪ θru ɑə səˈsɑɪətɪ ‖

12

A.- ‖ ˈdju ˈθɪŋk ðəz ˈenɪweɪ əˈrɑʊnd ðæt ðen ǀ ˈgɪvņ« ðǝt ˈpipļz A«

ɪˈməʊʃnz‘ ər ˈobvɪəslɪ | ˈθɪŋz ðət ðeɪ kɑnt ˈrɪəlɪ kənˈtend wɪð | ˈwʌns ˈsʌmθɪŋz got ˈstɑtɪd | wɪtʃ ɪz ðə ˈfil… | ðə ˈkɑɪndz əv ˈfilɪŋz ðət ˈpipļ« hæv wen ðeǝ ˈfɔlɪŋ ɪn ˈlʌv ‖ ɪz ɪt ˈlɑɪklɪ ðət ˈmen ən ˈwɪmɪn wɪl bi ˈeɪbļ« tə hæv rɪˈleɪʃņʃɪps « ɪn ˈenɪ ˈʌðə ˈweɪ ‖

18

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B.- ‖ ˈwel ǀ ˈobvɪəslɪ ǀ ɑɪ ˈθɪŋk ðət | ˈpɑt əv ðə ˈprobləm ɪz | ðǝt Bɪn ˈlots əv rɪˈleɪʃņʃɪps | ðə ˈmen ˈrɪəlɪ ˈdu hæv ˈmɔ ˈpɑʊə ‖ « ðət ðeǝ ˈmɔ ˈlɑɪklɪ tə hæv ˈbetə ˈpeɪd ˈdʒobz ‖ ņ« ðə ˈhəʊl səˈsɑɪətɪ wʊd ˈsæŋkʃņ« | ðə ˈkʌpļ« ˈmuvɪŋ ˈweǝ ðə ˈhʌzbəndz ˈdʒob woz ‖ ´nd ənd »hIz ɪz ˈlɑɪf ˈkʌmɪŋ ˈfɜst | ən ðəðə ˈwʊmən ˈsɔt əv… | | z ˈlɑɪf ˈkʌmɪŋ ˈfɜst | ən ˈwʊmən ˈsɔt əv… ˈɔl ðəʊz ˈkɑɪnd əv ˈθɪŋz wɪtʃ ɑɪ ˈθɪŋk | ˈæktʃʊəlɪ | ˈmeɪk ɪt ˈverɪ ˈdɪfɪkļt « fə rɪˈleɪʃņʃɪps | bɪˈtwin ˈmen ən ˈwɪmɪn tə ˈwɜk | ˈenɪweɪ ‖ « bət ɑɪ səˈpəʊz | ɑɪ ˈθɪŋk ðət | wiv ˈgot tə ˈstɑt ˈteɪkɪŋ əˈpɑt | ðɪ ɑɪˈdɪər əv rəʊˈmæns | ənd jʊ ˈhæv tə ˈstɑt ˈθɪŋkɪŋ əbɑʊt ˈɔl ðə ˈdɪfrənt ˈe ɪn | ˈlɑɪk… | fər ˈɪnstəns | ɪf ju ˈfænsɪ ˈsʌmbədɪ | dʌz ˈðæt ˈmin ðət t ˈelɪmənts ɪn | ˈlɑɪk… | fər ˈɪnstəns | ɪf ju ˈfænsɪ ˈsʌmbədɪ | dʌz ˈðæt ˈmin ðət ðeǝ ˈrɪəlɪ ˈgəʊɪŋ tə bi ˈsʌmbədɪ ju ˈwont tə bi wɪð ɪn jɔr ˈəʊld ˈeɪdʒ ‖ ənd | əv ˈkɔs | ˈwen jʊ ˈstɑt ˈθɪŋkɪŋ əbɑʊt ɪt | ju ˈθɪŋk ðəz | ˈnəʊ ˈtest ə ˈtɔl əv ˈweðə ˈsʌmbədɪ | jɔr ˈæktʃʊəlɪ gəʊɪŋ tə ˈlɑɪk ˈsʌmbədɪ ɪf ðeɪ ˈmeɪk ju ˈkɑɪnd əv ˈflætərɪ əˈkros ə ˈdɑns flɔ ‖ ðəz ˈnəʊ ˌgærənˈti ju kʊd ˈæktʃəlɪ ˈhæv ə ˌkonvəˈseɪʃn͎« əv ˈmɔ ðən ˈten ˈwɜdz wɪð ‖

157

18. »trQNkwIlAIz´z 1

6

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18

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A- ‖ ˈɑ | ˈgʊd ˌmɔnɪŋ | mɪsɪz ˈrobɪnsǝn ‖ ən ˈsɪt…| ˈsɪt dɑʊn wǝʊnt ˈju ‖ B- ‖ ˈθæŋk ju ˈdoktǝ ‖ ɑɪm ˈsorɪ tə ˈteɪk ʌp jɔ ˈtɑɪm | bət…| ɑɪm ˈgetɪŋ ɪntə ə ˈsteɪt əˈgeɪn ‖ A- ‖ ˈəʊ ‖ BB- ‖ ɪts ǝ ˈsɔt ǝv ˈθɪŋ… ‖ ɑɪ ˈkɑnt ˈkəʊp ‖ ɑɪ ˈdʒʌst ˈfil ðət mɑɪ ˈdʒob ɪz ˈtu ˈmʌʧ fǝ ˈmi ‖ ɪts ˈnot ɑɪm dɪˈprest ‖ ɑɪ get ˈtens ˈɔl ˈwɜkt ˈʌp ‖ ɪts ˈnot ˈdʒʌst ðə ˈdʒob ‖ ɑɪm ðə ˈseɪm wɪð ðǝ ˈʧɪldrən ‖ ɑɪ…| get səʊ ˈkros wɪð ðem ‖ A- ‖ ˈjeə | ɑɪ ˈsi ‖ B- ‖ ˈæn wɪð mɑɪ ˈhʌsbənd ˈtu ‖ ɑɪ…| A- ‖ ˈjeə | ɑɪ ˈsi əʊnlɪ tu ˈwel ‖ bət ˈwot kṇ« ə ˈdoktǝ ˈdu z | t´ »pUt |»rAIt tə ˈpʊt ˈrɑɪt ´ə ˈlɑɪf ðəts ˈdʒʌst ə ˈbɪt əv ə ˈmes ‖ wiv ˈtrɑɪd ˈevrɪθɪŋ əʊvə ðə ˈjɪǝz | ɪnˌvestɪˈgeɪʃṇz « | rɪˈfɜrəlz tə ˈspeʃl̩« ɪsts | ˈmærɪdʒ ˈgɑɪdəns | ðə ˈlot ‖ ɑɪ ˈsəpəʊz wot ɪt ˈkʌmz ˈdɑʊn tʊ ɪt ɪz ðət | evrɪ ˈnɑʊ ən əˈgen | ʃi ˈwonts tə ˈkʌm ɪntə ðə ˈsɜdʒərɪ | ˈdʒʌs ˈpɔr ɪt ˈɔl ˈɑʊt | ən ˈðen ˈwɔk ɑʊt wɪð ðə prəˈskrɪpʃṇ« | fər ə ˈtræŋkwɪlɑɪzə ‖ B- ‖ səʊ wət ˈɑɪ wəz ˈwʌndərɪŋ | ˈdoktǝ | wǝz…| ˈwel | kʊd ju prɪˈskrɑɪb ˈsʌmθɪŋ fə ˈmi ‖ ˈdʒʌs ˈsʌmθɪŋ tə ˈhelp mi tɪl ɑɪ ˈfil ə bɪt ˈbetə ‖ A- ‖ ˈhɪə wi ˈgəʊ əˈgen… | ʃɪ ˈwonts ə ˈtræŋkwɪlɑɪzə ‖ ən ɪt ɪs ˈdʒʌstɪfɑɪd ɑɪ səˈpəʊz | ɪf ɪtl̩« ˈhelp ɜ θru ðə ˈneks fju ˈwiks ‖ əʊˈkeɪ ðen ‖ ˈvælɪəm ‖ ˈhɪə jʊ ˈɑ ˈðen | mɪsɪz ˈrobɪnsǝn ‖ ɪts…| ɜ…|ˈvælɪəm ‖ B- ‖ ˈɑ… | ˈθæŋk ju ˈdoktǝ ‖ ˈsevṛḷ« əv mɑɪ ˈfrendz ˈɑr on ɪt ‖ A- ‖ ɑɪ ˈbet ðeɪ ˈɑ ‖ B- ‖…ən ˈsʌmwʌn ət ˈwɜk ˈsʌmtɑɪmz ˈgɪvz mi hɜz | ðeɪ ˈmeɪk mɪ fil ˈmʌʧ betǝ ‖ C- ‖ ˈwel | ˈjes ‖ ən ˈlɑst jɪǝ ˌfæmɪlɪ ˈdoktǝz ˈrəʊt ɑʊt ˈmɔ ðən ˈθri ˈmɪljən prəˈskrɪpʃṇs « fə ˈvælɪəm əˈləʊn | tə ˈmeɪk ˈpipḷ« lɑɪk mɪsɪz ˈɑ ˈfil betǝ ‖ ǝnd ˌəʊvərˈɔl | ˈfɔtɪ ˈtu ˈmɪljən prəˈskrɪpʃṇs « wə ˈrɪtṇ« ɑʊt fə ˈtræŋkwɪlɑɪzəz ən ˈsedǝtɪvz | ǝt ǝ ˈkost ǝv ˈmɔ ðən ˈfɔtɪ ˈmɪljən ˈpɑʊndz ‖ ˈteɪkɪŋ əˈsɑɪd ðə ˈkwesȷṇ« əv ðə ˈnid fə ˈsʌȷ ˈwɑɪdspred prǝˈskrɑɪbɪŋ ǝv ˈmud ɔlterɪŋ ˈdrʌgz | ˈwot əbɑʊt ðeə ˈkost ‖ nɑʊ wen ə ˈdrʌg z ˈfɜst prəˈdjust | ðə »ˌpeɪtənt ˈlɔz | ˈgɪv ɪts ˌmænjəˈfækȷərə ðɪ ɪksˈklusɪv ˈrɑɪt tə ˈmeɪk ən ˈmɑkɪt ɪt fər ə ˈnʌmbər əv ˈjɪəz | ˈnǝʊ wʌn ˈels kən prəˈdjus ɪt ɔr ˈjuz ɪts ˈbrænd neɪm…‖

7.2.3 Other samples of qualitative transcriptions 7.2.3.1 Wells / Colson (1971) The following sample is taken from the book Practical Phonetics (p. 69–70) published by J. C. Wells in collaboration with G. Colson in 1971. Designed for English students (mainly for prospective speech therapists) the book is of interest to foreign students for its brevity and clarity. In it the authors use a type of narrow transcription similar to the one used by Gimson (1962), but without the length mark, following Abercrombie in the representation of E, Åi, and E´. 'lɑs 'taɪm ðǝ'bi 'bi 'si 'sɛnt ǝ 'kɑ tǝ kˈlɛkt mi, ɪt 'ɔlmǝʊst 'kæptʃǝd ðǝ 'rɒŋ 'mæn. tǝ 'prǝ'vent ðǝ draɪvǝ 'luzɪŋ ɪmsɛlf ɪn ǝ 'tæŋgl ǝv 'kʌntrɪ 'leɪnz, ðǝ 'rɒndǝvu wǝz 'nain 'θзtɪ pi 'ɛm ǝt ðǝ 'lǝʊkl. ɒn ǝ 'pɪtʃ 'blæk, 'stɔmɪ 'wɪntǝz 'nait, aɪ bi'gæn tǝ 'gзt 'æŋkʃǝs ǝz ðǝ 'klɒk 'krɛpt tɔdz 'tɛn. ðɛn ðǝ 'lænlɔd 'sʌdņlɪ « 'bæŋd ɪz 'brɑʊ ǝn 'sɛd ðǝ wɒz sʌmwʌn 'askɪŋ fǝ 'mɪstǝ 'raɪǝn ǝnd i wǝz 'sɛnt 'dɑʊn ðǝ 'rǝʊd tǝ ðǝ 'lɒdʒ. aɪ 'hʌrid ǝ'krɒs tǝ wɛǝ mɪstǝ 'raɪǝn, 'mɪstɪfaɪd ǝnd æprɪ'hɛnsɪv, wǝz biɪŋ 'bʊlɪd ɑʊt ǝv 'bɛd. æz aɪ 'ɛntǝd, aɪ 'hзd ðǝ 'draɪvǝ 'seɪ, 'ɪts nɒt fǝ 'ju tǝ 'nǝʊ 'waɪ. wɛn ðǝ 'bi 'bi 'si 'kɔlz fǝ 'ju, juv dʒʌst 'gɒt tǝ 'kʌm. ɪt 'meɪ bi 'ðɪs ɪz jǝ 'laɪf. 'sʌtʃ ɪz ðǝ 'pɑʊǝ ǝv 'ðǝʊz 'drɛdɪd ɪ'nɪʃlz 'stɪl ɪn 'rʊǝrl 'ɪŋglǝnd, ɪf aɪ hǝd ǝ'pɪǝd ǝ 'mɪnɪt 'leɪtǝ, 'mɪstǝ 'raɪǝn wʊd ǝv bɪn 'wiskt 'ɒf tǝ 'faɪnd ɪmsɛlf ǝt 'mɪdnaɪt dɪs'kʌsɪŋ 'gɒd wɪð 'mælkǝm 'mʌgrɪdʒ.

(Wells/Colson 1971: 69–70)

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7.3 Mixed models

The qualitative versus quantitative option soon had a compromising third possibility that combined both parameters instead of separating them. Aside from Jones, the unrelenting experimenter whose EPD model has exerted great influence, Harold E. Palmer, W. Ripman, and Armstrong and Ward used this combined system, among others. The former, an outstanding figure in applied linguistics, wrote Everyday Sentences in Spoken English in collaboration with F. G. Blandford (Heffer, 1922), a book for students of “English as a foreign language“ that was extremely modern in its notional approach. The book was written in a type of narrow transcription similar to the one used by Abercrombie, except for the use of /Q/ that replaces the kidney-shape symbol, and the phonemes /Q/-/çi/ that replace Abercrombie’s /a/-/Åi/ symbols. A peculiarity of the Palmerian system is the use of a single superscript dot to show length instead of the conventional colon (ej. feel /fi·l/). Like Jespersen, he also draws a difference between stressed and unstressed short ‘i’. Thus he transcribes fear (/»fI´/) and forest (/»fÅrist/) differently. Initially published by Heffers, there is another pioneering piece of work by Palmer that has been unjustly forgotten: his Grammar of Spoken English. All of the examples in this book are written in phonetic transcription which, without doubt, contributed to the smaller diffusion the book had. The model of transcription initially used was the one of the first EPD edition. In the revision of this work done by Roger Kingdon (3ª edition, 1969), he adopted the broad system of transcription used by Jones in The Principles of the IPA. It is a system where all vowel phonemes are represented with Latin letters (except the schwa and the upside down ‘v’), including length marks in the case of the long vowels. This model has recently been used by G. Knowles in his Patterns of Spoken English. More surprising is the case of Walter Ripman. Author of several books on the phonetics of English, published by Dent at the beginning 161

of the 20th century, his name does not appear recorded in the standard bibliographies covering the pronunciation of British English (Gimson/ Cruttenden 2008, for instance) in spite of his production.1 In English Phonetics and Specimens of English in Phonetic Transcription Annotated he presents a collection of phonetic texts, all transcribed in a mixed system very similar to the one used by Gimson in his Introduction to the Pronunciation of English. Thus Ripman’s /ou/ -/´˘/ and /ç/ correspond to Gimson’s /´U/ - /Œ˘/ and /Å/ respectively. The EPD of Jones, reviewed by Gimson and later by Susan Ramsaram, has extensively standardized the following system of mixed transcription. The name ‘EPD-14’ refers to the edition from which Gimson introduced this system. For the background to the EPD14 vowel-symbol choices see Windsor Lewis (2003).

7.3.1 EPD-14 System Characteristics • • •

•

1

162

A complex and multilateral transcription that uses a total of 14 different symbols. Allophonic, based on the ‘narrow transcription’ devised by Jones. It reflects a compromise position as it takes into account qualitative as well as quantitative criteria Consequently, a different symbol for each phoneme is used alongside a chroneme to differentiate between long and short monopthongs. Gimson began using it in An Introduction to the Pronunciation of English (1962), a book meant for native and foreign students alike. He also used this system in English Pronunciation Practice, collaborating with G. F. Arnold (1965). The book collects excerpts of colloquial English in phonetic transcription following the mixed model of the Department of Linguistics and Phonetics at University College London. Only Windsor Lewis (1985) makes a passing reference to him as one of Jones’ friend and supporter.

Ten years later (1975) Gimson published a complement to his Introduction entitled Practical Course of English Pronunciation. A Perceptual Approach, with a view to developing the foreign student’s auditory discrimination; for this reason no phonetic transcription was included. In 1982, he published An English Pronunciation Companion (O.U.P.) in collaboration with S.M. Ramsaran, a supplement and complement to the Oxford Advanced Learner’s Dictionary of Current English. The book is a concise presentation of the main characteristics of the socalled Received Pronunciation or RP for short. With very slight modifications (substitution of /aU/ for /AU/ and of /e´/ for /E´/) this system was used by Gimson in the 14th edition of D. Jones’ English Pronouncing Dictionary (1977) of which he was the editor until his death in 1985. Given the impact that the EPD has had and continues having as a didactic tool, it is no wonder that the transcription system used enjoys great popularity among foreign students of English. Besides Gimson, the following authors have used this system: – Hornby, A. S. (1980). The Oxford Advanced Learner’s Dictionary of Current English. O. U. P. – Ian Morris-Wilson (1984). English Phonemic Transcription. Basil Blackwell. – Mortimer, C. (1985) Elements of Pronunciation. C. U. P. – O’Connor, C. (1980). Better English Pronunciation, 2nd. C. U. P. – Roach, P. (1983). English Phonetics and Phonology. OUP. – The Longman Dictionary of Contemporary English, (1978), Longman. – Wells, J. C. (1982) Accents of English (3 vols). C. U. P. i˘

U

I Œ˘

e

Fig. 11. EPD-14 BritE monophthongs.

ç˘

ç Q

u˘

√

Å A˘ 163

Fig. 12. EPD-14 BritE diphthongs.

a. Read and put in ordinary spelling. ʤu:əl ………

əˈplɪkəbl̩ ………..

pəˈspaɪə ………..

ˈʃaʊtɪŋ ………

ˈsʌbʤ ……..

ˈvɜːtɪkl̩ ………

ˈsɜːlɔɪn ……….

rɪˈfʌnd ………

əˈkweɪntɪd …………..

ˈstju:dɪəʊ …………

ˈmju:ʧʊəl ………….

ˈtenəbl̩ ……….

əˈdɪʃņl̩ ……….

ɪgˈzɜːt …………

ˈɑːgjʊbl̩ ………….

ˈʧɑːʤ ……….

ɪkˈspænʃən ………….

təˈmɒrəʊ …………

ˈməʊmənt …………..

ˈdɪfərənt ………..

b. Transcribe the words below in the EPD14 systsem. cease /. . . . . . /

seizure /. . . . . . /

equal /. . . . . . /

equality /. . . . . . /

many /. . . . . . /

manifold /. . . . . . /

transaction /. . . . . . /

archive /. . . . . . / blessed /. . . . . . /

secretary /. . . . . . /

secretarial /. . . . . . /

advantages /. . . . . . /

study /. . . . . . /

student /. . . . . . /

vehemence /. . . . . . / ducal /. . . . . . /

duchess /. . . . . . /

particulars /. . . . . . / cheerfulness /. . . . . . / honorary /. . . . . . /

erasure /. . . . . . /

leisure /. . . . . . /

measure /. . . . . . /

barbarous /. . . . . . /

barbarity /. . . . . . /

lethargic /. . . . . . /

lethargy /. . . . . . /

archipelago /. . . . . . /

office /. . . . . . /

absolutely /. . . . . . /

ordinary /. . . . . . /

ordinary /. . . . . . /

164

ə

ı

c. Transcribe the strong and weak forms of the auxiliary verbs in the passage below. 1. Can /. . . . / you wait for a moment?. Yes, I can /. . . . / 2. I could /. . . . / come if you’d /. . . / like. 3. You’re /. . . . / a stupid. No I’m /. . . . / not. Yes, you are /. . . . / 4. You should’ve /. . . . . / stopped her. Why me? You should /. . . . . / 5. They were /. . . . / as happy as we were/. . . . /. How did you know I would /. . come? 6. Where were /. . . . / you? I was /. . . / here all the time. 7. Most students had /. . . . / gone home. She had /. . . / a terrible headache. 8. I should /. . . . . / think so. Jim’s /. . . / left. And John’s left too, has /. . . / he? 9. You must /. . . . / try again. When does /. . . . / he arrive? 10. I must /. . . . / go, must /. . . . / I?. I was /. . . . / scared to death. 11. Shall /. . . . / I call for you?. You shall /. . . . / not kill. 12. You’ll /. . . / see them tomorrow. What has /. . . . / happened. 13. Who’s /. . / inside?. She’s /. . . . / coming. It’s /. . . / stopping. 14. It’d /. . . / been in the room. When she’d /. . . / stayed a night she stayed another. 15. If they’d /. . . / bring down the price. Had /. . . . / a good day?

d. Strong and weak forms. General revision (see pages 54–59). 1. Let’s /. . . . / try to keep calm. You know that ‚an /. . . / apple a /. . / day. . . . ‚ 2. I’m /. . . . / George. I am /. . . . / Peter. Tell him who I am /. . . . /. 3. John’s /. . . / in, is /. . . / he?. No he is /. . . . / out 4. Ask her /. . . / to see him /. . . . / right away. Fish and /. . . / chips. 5. How is /. . . / he /. . . /?. Better than /. . . . / you /. . . / think. 6. I hope that /. . . . / they’ll /. . . . . / remember that /. . . . . / 7. You’re /. . . . / not feeling tired, are /. . . . . / you, dear? 8. They’ve /. . . . / failed. All of /. . . / them /. . . . / I think. 9. It’s pretty, is it?. You can’t /. . . . / image how pretty it is /. . . . /

165

10. So /. . . / it’s /. . . / the money?. How much was /. . . . / it? 11. How do /. . / you /. . . / do /. . . . /. Does /. . . . / it really matter? 12. Have /. . . / you /. . . / finished?. That /. . . . / was /. . / the man that /. . . / hit me / 13. Shouldn’t /. . . . . . . / have /. . . . / let them/. . . . . / have /. . . . / it? 14. He was /. . . . / fine, but /. . . / when he drank, he /. . . / become another person. 15. It was so /. . . / disappointing!. He promised us /. . . / he wouldn’t /. . . . . . / do it again. 16. As /. . . / far as /. . . / I know, he was /. . . . / working from /. . . . . / 9 to /. . . / 2. 17. Should /. . . . . / you think it’s /. . . . / as /. . . / high as /. . . Richmond? 18. I read somewhere that /. . . . / the /. . . / river had /. . . . / rose on Henley. 19. I should’ve /. . . . . . . . . / thought it was /. . . . / just the /. . . / other way about. 20. Oh no, we’re /. . . . . . . / not at /. . . / all excited, are /. . . . / we /. . . /? 21. shall /. . . . / we /. . . / make an /. . . / afternoon of /. . / it and /. . . / walk around the /. . . / heath?. Yes, that /. . . . / wouldn’t /. . . . . . / be /. . / half a /. . / bad plan, would /. . . . / it? 22. You /. . . / mean that /. . . . / it’s /. . . . / open to /. . . / the /. . . / public now? 23. We’d /. . . . / better see about some /. . . . / tea. I think we /. . . / deserve some /. . . /. 24. I was /. . . . / afraid I should /. . . . . / have /. . . . . / a job to /. . . / find it.

166

7.3.1.1 Phonetic texts (EPD-14 System) The corresponding ordinary spelling on pages 63–80. Comments to the sample transcriptions on pages 191 to 221.

1. D´ »weD´ »fç˘kA˘st 1

. ‖ æn ˈnaʊ ðə ˈweðə ˈfɔːkɑːst ‖ ən aɪ ˈhəʊp jʊ ɪnˈdʒɔɪd ðə ˈsʌmə ˈjestədeɪ ǀ bɪˈkɒz ɪt ˈmeɪ nɒt ˈlɑːst ˈmʌtʃ ˈlɒŋgə ‖ ˈɪŋglənd ən ˈweɪlz wɪl ˈstɑːt ˈdraɪ ən ˈsʌnɪ ǀ bət ˈklaʊdz wɪl ɪnˈkriːs ɪn ðə ˈwest ðɪs ˈmɔːnɪŋ ǀ wɪð ˈreɪn ɪn ˈpleɪsɪz ˈspredɪŋ ˈiːst tʊ ˈɔːl ˈpɑːts baɪ ðɪs ˈiːvnɪŋ ‖ ˈreɪnfɔːl əˈmaʊnts wɪl bɪ ˈverɪ ˈsmɔːl ɪn ðə ˈsaʊθ | ˈmenɪ ˈpleɪsɪz ˈsteɪɪŋ ˈdraɪ | bət ðeǝ ˈmeɪ bɪ səm ˈhevɪər ˈaʊtbreɪks | ɪn ˈnɔːθwest ˈɪŋglənd ‖

10

.0.ˈreɪn ˈreɪnˈhevɪ ˈhevɪɪnɪnˈpleɪsɪz ˈpleɪsɪzɪnɪnˈwestņ ˈwestņ ˈskɒtləndənənˈnɔːðən ˈnɔːðənˈaɪələnd ˈaɪələnd| | « ˈskɒtlənd wɪl ˈspred tʊ ˈiːstən ˈskɒtlənd ðɪs ˈmɔːnɪŋ | ˈfɒləʊd baɪ ˈbraɪtə ˈweðə wɪð ˈʃaʊəz ‖ ˈtemprətʃəz | ˈsɪmələ tuː | ɔːr ə ˈlɪtl̩« ˈhaɪə ðən ˈjestədeɪz ‖ ˈwɪndz | ˈlaɪt ɔː ˈmɒdərət ˈsʌðəlɪ ‖

15

. ðɪðɪ ˈaʊtlʊk 5. ˈaʊtlʊk‖‖ əə ˈfjuː ˈfjuː ˈʃaʊəz ˈʃaʊəz ɪnɪn ðə ðə ˈnɔːθ ˈnɔːθ ətət ˈfɜːst ˈfɜːst‖‖ bət ˈɔːl ˈpleɪsɪz bɪˈkʌmɪŋ ˈdraɪ | ˈsʌnɪ ənd ˈwɔːm | ɔːlˈðəʊ ˈleɪtə səm ˈaʊtbreɪks əv ˈhevɪ ˈreɪn meɪ ˈspred tʊ ˈsʌðən ˈdɪstrɪkts ‖

167

2. «√nIm»plçIm´nt 1

. ‖ ðə ˈstɑːk ˈfækt ðət ˌʌnɪmˈplɔɪmənt ɪn ˈbrɪtņ ǀ həz ˈnaʊ ˈriːtʃt ǀ ˈwʌn ˈpɔɪnt ˈnaɪn ˈmɪljən | ə1 ˈlevl̩ ˈnɒt ˈsiːn sɪns ðə ˈmɪd ˈθɜːtiz | prəˈvaɪdz ðɪs ˈmɔːnɪŋz ˈpeɪpəz wɪð ðeǝ ˈmeɪn ˈθiːm ‖

5

. ðə ˈdeɪlɪ ɪkˈspres ˈsʌmz ɪt ˈʌp ‖ ə ˈdʒɒb ˈlɒst ˈevrɪ ˈtwentɪ ˈsekəndz ‖ ən ðə ˈmɪrə ˈfɔːkɑːsts ðət ˈbaɪ ˈkrɪsməs | ˈtuː ˈmɪljən wɪl bi: ˈaʊt əv ˈwɜːk | ɪˈnʌf tə ˈfɔːm ə ˈdəʊl ˈkjuː ˈstretʃɪŋ frəm ˈlændz ˈend tə ˈdʒɒn əˈgrəʊts ‖ ðə ˈtaɪmz ˈsez ðə ˈfɪgəz ər ˈɔːl ðə ˈwɜːs ǀ fə ˈhævɪŋ aʊtˈpeɪst ðə ˈməʊst pesəˈmɪstɪk ˈfɔːkɑːsts ‖

12 2. ðə ˈdeɪlɪ ˈstɑː | ˈjuːzɪz ðə ˈpɪktʃər əv ˈjʌŋ ˈstiːv əʊˈniːl | tuː ˈɪləstreɪt ˈɪləstreɪt ðə ðə ˈtrædʒədɪ ˈtrædʒədɪ ‖‖ tuː hiːz »sIksti˘n ˌsɪksˈtiːn ənd ə ˈhɑːf | ənd ɪz ˈdʒɒb ˈprɒspekts ə ˈnɪl ‖ ´n Iz ðə ˈmeɪl rɪˈpiːts ˈmɪsɪz ˈθætʃəz ˌdekləˈreɪʃņ« ǀ ðət ðeǝ kən biː ˈnəʊ ˈmɪrəkl̩« ˈkjʊə ‖ ˈɔːl ðə ˈpeɪpəz əˈgriː | ðə ˈfɪgəz ə ˈʃɒkɪŋ ‖ bət əˈpɪnjənz əˈbaʊt ˈhuːz ət ˈfɔːlt | ən ˈwɒt ʃʊd bɪ ˈdʌn | ˈveǝrɪ ‖

20 0. ðə ˈtelɪgrɑːf ˈsez ɪts ðə ˈbɪtə ˈhɑːvɪst ǀ əv ðə ˈfɒlɪz əv aə ˈmɑːstəz əʊvə ˈmenɪ ˈjɪəz | ænd ɪt ˈkɔːlz ɒn ðə ˈgʌvənmənt | tə ˈstænd ˈfɜːm ɒn ɪts ˈprezņt ˈpɒlǝsɪz ‖ « ðə ˈtaɪmz meɪnˈteɪnz ðət ˈəʊnlɪ ə ˈpɒlǝsɪ | ˈeɪmd ət ˈbrɪŋɪŋ ˈdaʊn ɪnˈfleɪʃṇ« | wɪl prəˈvaɪd ə lɒŋ ˈtɜːm kjʊə fər ˌʌnɪmˈplɔɪmənt ‖ ən ðeǝz ə ˈsɪmǝlə ˈsentɪmənt | ɪn ðə ˈsʌn ‖

168

3. »di˘»nQSn« ´laIzd »Ind´strIz 1

. A-‖ ˈnaʊ ‖ ˈwɒt həv ðə ˈfɒləʊɪŋ ˈɪndəstrɪz ɪn ˈkɒmən ‖ ðə ˈreɪlweɪz | ˈrəʊd ˈpæsɪndʒə ˈtrænspɔːt | ɪˌlekˈtrɪsǝtɪ dʒenəˈreɪʃņ« | ðə ˈdɒks | ðə ˈpəʊst | ˈsɪvl̩« ˌeɪvɪˈeɪʃņ… ‖ « ðɪ ˈ ɑːnsə ‖ ðeǝr ˈɔːl ˈbiːɪŋ ˌdiːˈnæʃņəlaɪzd ˈraʊnd ðɪ ˈedʒɪz ‖ «

5

. təˈdeɪ ǀ wiːl ˈwɪtnəs ðə ˈθɜːd ˈri:dɪŋ ɪn ðə ˈkɒmənz ǀ əv ðə ˈsɪvl̩« ˌeɪvɪˈeɪʃņ« ˈbɪl ǀ wɪtʃ | ˈwen ɪt bɪˈkʌmz ən ˈækt | wɪl pǝˈmɪt ðə ˈseɪl tə ðə ˈpʌblɪk əv ˈʃeǝz ɪn ˈbrɪtɪʃ ˈeǝweɪz ‖ ðɪ ˈeǝlaɪn wɪl bɪˈkʌm ˈbrɪtɪʃ ˈeǝweɪz ˈlɪmɪtɪd ‖ ˈɑːθə ˈriːd | ˈeǝ ˌkɒrəˈspɒndənt fə ðə ˈtaɪmz | ˈtəʊld||ˈniːl ˈniːl ˈberǝt ˈberǝtǀ ǀˈhaʊ ˈhaʊ ðə ðə ˈgʌvņmənt ˈgʌvņmənt ɪnˈtendz tətə ˈgəʊ ˈgəʊ əbaʊt əbaʊt ˈðɪs ˈðɪs ‖‖ ɪnˈtendz «

11

1.BB- ‖ ðɪ aɪˈdɪər ɪz ðǝt ɪt wɪl bɪˈkʌm ə ˈpraɪvɪt ˈkʌmpənɪ ǀ pə ˈsent əv əv ðə ðə ˈʃeǝz ɪn ɪn ðə ðə ˈ ˈ wɪð ðə ˈgʌvņmənt ˈhəʊldɪŋ ˈwʌn ˈhʌndrəd pə ˈsent ˈʃeǝz ´n ˈhʌndrəd « ə ˈʃɔːt ˈtɜːm ‖ ən ˈðen | ət ə ˈdeɪt wɪtʃ ɪz tə biː əˈnaʊnst | ðə ˈgʌvṇmənt wɪl ˈɔːfər ə maɪˈnɒrǝtɪ ‖ « prɪˈzjuːməblɪ əˈbaʊt ˈfɔːtɪ ˈnaɪn pə ˈsent əv ðə ˈʃeǝz ɒn ðɪ ˈəʊpņ« ˈmɑːkɪt | fɔːr ˈenɪbɒdɪ | ˈmembəz əv ðə ˈpʌblɪk ɔː ˌkɔːpəˈreɪʃņz « tə ˈbaɪ ‖

17

7. AA- ‖ ˈhæz ðə ˈgʌvņmənt ˈsed ˈhaʊ ˈðɪs ˈseɪl ɪz ˈgəʊɪŋ tə ˈteɪk ˈpleɪs ‖ ˈhaʊ ˈmenɪ ˈʃeǝz ˈiːtʃ ˌɪndɪˈvɪdjʊəl ˈpɜːtʃɪsə wɪl bɪ əˈlaʊd tə ˈbaɪ | fər ɪgˈzɑːmpl̩« ‖

169

4. »hç˘tI«k√ltS´ 1

. A- ‖ ˈnaʊ | ˈlɪsņɪŋ tə ˈdʒeɪn ˈəʊvə ðə ˈpɑːst ˈjɪər ɔː ˈsəʊ ǀ « ɒn ðə ˈsʌbdʒɪkt əv ˈgɑːdņɪŋ | « ˈaɪv ˈfaʊnd hə sɪstǝˈmætɪk kæmˈpeɪn əv dɪˈstrʌkʃņ« ǀ əv ˈɔːl ðɪ ɪkˈskjuːsɪz aɪv ˈkeǝfǝlɪ ˈnɜːtʃəd | fə ˈnɒt duːɪŋ ˈdʒɒbz əˈraʊnd ðə ˈgɑːdņ« | rɑːðə | dɪsˈteɪstfl̩« ənd ˈhɜːtfl̩« ‖

6

. haʊˈevə | aɪ ˈθɔːt ðət ˈspreɪɪŋ ˈʃrʌbz fə ˈgriːnflaɪ ǀ wəz ə ˈprɪtɪ ˈseɪf təˈbuː ‖ ɪt ɪnˈvɒlvd ˈdiːlɪŋ wɪð ˈdeɪndʒərəs ˈpɔɪzņz ǀ « wɪtʃ aɪ maɪt ˈspɪl ɒn maɪˈself ‖

10

. ɪtɪt ɪnˈvɒlvd 0. ɪnˈvɒlvd ˈweǝrɪŋ ˈweǝrɪŋ ˈrʌbə ˈrʌbə ˈglʌvz ˈglʌvz || wɪtʃ wɪtʃ wʊd wʊd ˈmeɪk ˈmeɪk ɪtɪt ˈverɪ ˈverɪ ˈdɪfɪkl̩ ˈdɪfɪkl̩«tt fə fə ˈm ˈmiː tə ˈhændl̩« ˈθɪŋz | ən | ˈenɪweɪ | aɪ ˈkʊdṇt faɪnd ðə ˈgriːnflaɪ ǀ « ˈiːvn̦ ɪf aɪ ˈwɒntɪd tuː ‖ aɪ ˈhæv ə ˈnɑːstɪ ˈfiːlɪŋ ˈðəʊ ǀ ðət ˈfɪlɪs | ðə ˈfɪəlɪs ˌhɔːtɪˈkʌltʃǝrəlɪst ǀ ɪz ˈdʒʌst əˈbaʊt tə ˈpʊt ˈpeɪd tʊ əˈnʌðə ˈkʌmftəbl̩« ˈfɪkʃņ« ‖

16

6.BB- ‖ ˈaɪ ˈæm ǀ bɪkəz juː ˈnəʊ | ˈspreɪɪŋ ɪz ˈrɪəlɪ ˈwʌn əv ðəʊz ˈdʒɒbz ðət ɪzṇt ˈnɪəlɪ əz ˈdɪfɪkl̩« t əz ɪt ˈsiːmz ‖ aɪ dɪˈskʌvəd ˈðæt |ˈwen aɪ ˈwɒtʃt ən ɪkˈsperɪmənt ɪn ˈspreɪɪŋ | ˈdʌn ˈriːsņtlɪ baɪ ə ˈblaɪnd ˈgɑːdnə | wɪð ðə ˈhelp əv ə ˈsaɪtɪd ˈwʌn ǀ « huːz ˈɔːlsəʊ ə ˈregjʊlə ˈtjuːtər ət ðɪ ˈænjuːəl ˈgɑːdņɪŋ ˈwiːkend ˈkɔːsɪz ‖ «

21

. ˈwɒt 1. ˈwɒt juː juː ˈniːd ˈniːd||ɪzɪz ˈenɪ ˈenɪ ˈkaɪnd ˈkaɪnd əv əv ˈspreɪə ˈspreɪə|| ðət juː kən ˈhəʊld wɪð ˈwʌn ˈhænd | bɪkəz ðɪ ˈʌðə ˈhænd ɪz ˈniːdɪd tə ˈgaɪd juː əˈraʊnd ðə ˈbʊʃ ɔː ˈʃrʌb ‖

170

5. »√nj´nz vŒ˘s´s S´»lÅts 1

. AA- ‖ ˈnaʊ ǀ tʊ ə ˈbɪt əv ˈkʊkɪŋ ‖ ðəz ˈskeǝslɪ ə ˈseɪvərɪ ˈresǝpɪ ðət ˈdʌzņt « ˈkɔːl fər ə ˈlɪtl̩« ˈʌnjən ‖ ən ðɪ ˈʌnjən ən ɪts ˈkləʊs ˈrelətɪvz ǀ laɪk ðə ˈliːk ǀ ɑːr əˈmʌŋ ðɪ ˈəʊldǝst ˈvedʒtəbļz « ǀ əˈpærəntlɪ ˈnəʊn tʊ əs ‖ ən ˈðeǝr ɑːr ˈɔːl ˈsɔːts əv trəˈdɪʃṇz əˈtætʃt tə ðəm ‖ «

6

. ˈʌnjənz wə ˈgɪvņ« əz ˈwedɪŋ ˈprezņts ɪn ˈeɪnʃņt « « ˈgriːs ‖ ˈstreɪndʒ ˈwedɪŋ ˈprezņts ‖ « bət əˈpærəntlɪ ǀ ðeɪ wə bɪˈliːvd tə ˈhæv ˌæfrəˈdɪzɪæk ˈkwɒlǝtɪz ‖ ən ˈliːks əv biːn əˈraʊnd sɪns ðə ˈtaɪmz əv ðə ˈfeǝrəʊz ‖

10

. ˈpæt ˈteɪləz bɪn ˈtɔːkɪŋ ˈʌnjənz wɪð ˈhəʊm ɪˈkɒnəmɪst ǀ ˈkeɪt ˈhæstrɒp ‖ æn ʃɪ bɪˈgæn baɪ ˈɑːskɪŋ | ˈwɒt ˈɑː ðə ˈmembəz əv ðɪ ˈʌnjən ˈfæmǝlɪ ‖ B- ‖ ˈəʊ ǀ ˈwɪə ˈtɔːkɪŋ əˈbaʊt ˈʌnjənz ɪn ˈɔːl ɪts ˌveǝrɪˈeɪʃņz ‖ « ˈliːks | ˈgɑːlɪk | ˈtʃaɪvz | ˈsprɪŋ ˈʌnjənz | ən əv ˈkɔːs | ʃəˈlɒts ‖ ən ðə ˌveǝrɪˈeɪʃņ« əv ðə ˈsprɪŋ ˈʌnjən ðət ˈlʊks ǝ ˈbɪt laɪk ə ʃəˈlɒt | wɪtʃ ɪz ə ˈwelʃ ʌnjən ǀ wɪtʃ ɪz ˈwel ˈwɜːθ ˈhævɪŋ ɪn ðə ˈgɑːdņ« ǀ bɪkəz ˈðæts ə pəˈrenɪəl ‖

17

. AA- ‖ ˈwɒts ðə ˈdɪfrəns bɪˈtwiːn ə ʃəˈlɒt ənd ən ˈʌnjən ‖ Bən ən ən

‖ ˈwel | ə ʃəˈlɒt ˈgrəʊz ɪn ˈklʌmps təˈgeðə | ˈsprɪŋz ˈaʊt frəm ðə ˈsaɪd frəm ə ˈsentrəl ˈbʌlb ‖ ðeǝ ˈdʒenərl̩« ɪ ˈjuːzd ɪn ðɪs ˈkʌntrɪ fə ˈpɪklɪŋ | ðeɪ ˈʃʊdņt « biː kənˈfjuːzd wɪð ðə ˈlɪtl̩« beɪbɪ ˈʌnjən ‖

A- ‖ ṃ« ‖ aɪ ˈθɪŋk ˈmenɪ ˈpiːpl̩« ˈduː ɪn ˈfækt ‖

23

. BB- ‖ ˈðæts ˈraɪt ‖ beɪbɪ ˈʌnjənz ə nɒt ɔːtəˈmætɪklɪ ʃəˈlɒts ‖ ən ˈpɪklɪŋ ˈʌnjənz ɑː ˈjuːʒʊəlɪ ə ˈnaɪs | ˈraʊnd | ˈʃeɪp ǀ ðət ˈɑːr ə ˈsmɔːl vəˈraɪətɪ wɪtʃ əv bɪn ˈgrəʊn ɪn ˈrɑːðə ˈpɔː ˈsɔɪl | æn ˈsəʊ ðət ðeɪ ˈdəʊnt ˈgrəʊ ˈɪntə ðə ˈbɪg ˈbʌlbəs ˈwʌnz ǀ ðət wɪ ˈwɒnt ɪn ðə ˈmʌtʃ ǀ jʊ ˈnǝʊ ǀ ˈbɪgə ˈkʊkɪŋ ˈʌnjən ‖ ðə ʃəˈlɒts ə ˈmʌtʃ ˈmaɪldə | ˈmʌtʃ ˈmɔː ˈdelɪkət | ən ˈmʌtʃ ˈmɔː ˈsuːtəbl̩« fə ˈdelɪkət ˈfleɪvəd ˈfuːdz ‖

171

6. DI ´»merIk´n Ik»spI´rI´ns 1

. ‖…ˈwel | ˈnəʊ ‖ ðɪ əˈmerɪkənz hæv ˈdɪfrņt « təˈbuːz tʊ ˈʌs ‖ aɪ ˈmiːn ǀ ðeǝ ˈmɔː ˈfraɪtņd ˈstɪl əv ˈθɪŋz ǀ « wɪə ˈnɒt səʊ ˈfraɪtņd ˈɒf ˈhɪə ‖ « bət | ˈən | ɜː | bət ǀ aɪ ˈmiːn ǀ ðeɪ ˈdəʊnt laɪk ˈdʒəʊks əˈbaʊt ˈdeθ ɪn əˈmerɪkə | ˈweǝz ˈwiː ˈrɑːðə ˈrevl̩« ‖ ˈstɔːrɪz əˈbaʊt ˈʌndəteɪkəz əv ˈɔːlweɪz ˈgɒn ˈdaʊn | əˈtriːt ɪn ˈbrɪtņ« ‖ aɪ ˈdəʊnt ˈnəʊ ˈwaɪ ɪt ˈɪz ‖

8

. »Qn... ˈæn| ɜː|ñ|ðeɪ ˈdəʊnt | ˈdəʊnt ˈlaɪkˈlaɪk ˈsekʃʊǝl ˈrefrənsɪz ɪn ðə ˈweɪˈweɪ ‖ ‖ ɜː| ðeɪ ˈdəʊnt | ˈdəʊnt ˈsekʃʊǝl ˈrefrənsɪz ɪn ˈseɪm ðə ˈseɪm ðeɪ ˈdəʊnt ˈmaɪnd ˈgeɪnəs | bət ɪt ˈhæs tə ˈbiː ɪn ə ˈmɔː ˈsʌtl̩« weɪ ‖ ən ðeǝ wəz ˈsʌtʃ ə ˈgruːp əv ˈtæləntɪd pəˈfɔːməz | ən səʊ ˈmenɪ əv ˈʌs ˈraɪtəz ‖ ðə wə »fIfti˘n ˈfɪfˈtiːn əv əs ˈɑːftər ˈɔːl | ˈwækɪŋ ˈaʊt ðiːz ˈʃəʊz ǀ ˈfɪfˈtiːn »fIfti˘n ˈmɪnɪts ə ˈwiːk | ɜː…| ðət ɪt wəz | aɪ ˈmiːn | juː ˈhæd tə biː ə tekˈnɪʃņ« tə ˈwɜːk ˈðeə | bət aɪ ˈræðǝ ˈlaɪkt ɪt ‖

ðə prəˈdjuːsəˈdɪdņ ˈdɪdņ ˈlaɪkəs əs tə ˈlʌntʃ 15 5.DI ə prəˈdjuːsə | tə| tə ˈgəʊˈgəʊ ˈaʊtˈaʊt tə ˈlʌntʃ ‖ ‖ « ˈlaɪk

hiː ˈjuːst tətəˈsend ˈsendˈfuːd ˈfuːdˈɪnˈɪn | ən ˈraɪtəz ɪt wəz ː ˈjuːst | ən ðə ðə ˈraɪtəz | ɪt | wəz ˈlaɪ ˈlaɪk ə ˈfæktrɪ ˈfɑːm ‖ ænd aɪ ˈsed | aɪ ˈhævņ« ˈkʌm ˈeɪt ˈθaʊzņ« ˈmaɪlz ˈnɒt tə ˈhæv ˈlʌntʃ | aɪ ˈsed tə ðəm | wɪð ðɪs ˈterəbl̩« ˈbrɪtɪʃ ˈvɔɪs ‖ ən ðeɪ ˈjuːst||tətəˈʃaʊt ˈʃaʊt||wen wen ˈaɪ ˈaɪ ˈkeɪm ˈkeɪm ɪntə ɪntə ðə ðə ˈbɪldɪŋ ˈbɪldɪŋ ɪnɪn ðə ðə ˈmɔːnɪŋ | ðə ˈbrɪtɪʃ ə ˈkʌmɪŋ ‖ ðə ˈbrɪtɪʃ ə ˈkʌmɪŋ ‖

172

7. »kÅm´dI »rAItIN 1

. A- ‖ ˈjɔː | ˈjɔː ˈfɔːteɪ ǀ ˈɒbvɪəslɪ ǀ wəz ˈraɪtɪŋ fər ǀ ˈʌðə ˈpiːpl̩« | ən ɪˈspeʃl̩« ɪ fə ˈkenəθ ˈhɔːn ‖ ɪn ǀ ˈfɜːst əv ˈɔːl ǀ bɪˈjɒnd ˈɑː ˈken ǀ ən ˈðen ǀ ˈraʊnd ðə ˈhɔːn ‖ B- ‖ jeə ‖ A- ‖ naʊ... | juː ˈrəʊt wɪð ˈmɑːtɪ ˈfeldmən ˈðæt ˈsekənd ˈsɪəriːz | ˈdɪdṇt « juː ‖ B- ‖ jeə ‖ A- ‖ ˈɪz ɪt ˈæktʃʊǝlɪ ə ˈgʊd aɪˈdɪə fə ˈkɒmədɪ ˈraɪtɪŋ ǀ tə ˈbaʊns aɪˈdɪəz ˈɒf ˈsʌmbədɪ ˈels ‖

9

. B-‖ ˈjes ‖ aɪ ˈθɪŋk ɪts ɪˈsenʃl̩« ‖ ðə ˈhəʊl ˈpɔɪnt əˈbaʊt ˈhjuːmər ɪz ðət ǀ ʌnˈles juː ˈget ə ˈlɑːf ǀ juː ˈhævṇt « ˈmeɪd ə ˈdʒəʊk ‖ aɪ ˈmiːn | ɪf juː ˈseɪ ˈsʌmθɪŋ ən ˈnəʊbədɪ ˈlɑːfs | ˈðæts ˈnɒt ə ˈdʒəʊk | ˈðæts ˈdʒʌst ə ˈsteɪtmənt ‖ ˈæn ðɪ ədˈvɑːntɪdʒ əv ˈraɪtɪŋ ɪn ˈpɑːtnəʃɪp ǀ ɪz ðət ðɪ ˈʌðə ˈpɑːtnə | huːˈevər ɪz ˈkrækɪŋ ðə ˈdʒəʊk | ðɪ ˈʌðə ˈwʌn wɪl ˈgəʊ | ˈheɪ | ˈjes | ˈðæts ˈfʌnɪ ǀ aɪ kwaɪt ˈlaɪk ˈðæt ‖

16

. ɪn 6. ɪn ˈʌðə ˈʌðə ˈwɜːdz ˈwɜːdz || ˈjɔː ˈjɔː ˈgetɪŋ ˈgetɪŋ ˈsʌm ˈsʌm ˈwɔ:mθ ˈwɔ:mθ || ˈsʌm ˈsʌm rɪˈspɒns rɪˈspɒns ˈbæk ˈbæk ‖‖ ən ən ˈɔːlsəʊ ˈɔːlsəʊǀ ǀ jɔːr jɔːr ˈedɪtɪŋ jɔːˈself ˈedɪtɪŋjɔːˈself jɔːˈself|| | jU´rˈedɪtɪŋ ˈpʊtɪŋˈenɪ ˈenɪəʊld əʊldˈgɑːbɪdʒ təˈgeðə | səʊ ðət jɔː ˈnɒt tˈpʊtɪŋ jɔː ˈrɪəlɪ ˈwɜːkɪŋ ɪt ˈaʊt ‖ aɪ ˈmiːn ǀ ˈmɑːtɪ ˈfeldmənz ǀ ə ˈməʊst ɪnˈtelɪdʒənt ˈmæn | ə ˈgɪftɪd ˈmæn ɪn ˈevrɪ ˈweɪ ‖ ˈaɪm ˈnɒt ǀ kəmˈpliːtlɪ ˈstjuːpɪd | təˈgeðə ǀ wiː ˈwɜːkt ‖

23

. ən ˈmɑːtɪ ˈsed ǀ ɪts ˈnɒt ˈʌs ðəts ˈraɪtɪŋ | ɪts ə ˈnjuː ˈkriːtʃə ˈkɔːld ˈbærɪ ˈfeldmən ‖ ə | ˈʃæl wɪ ˈkɔːl ɪm ˈmɑːtɪ ˈtʊk ‖ A-‖ ˈmɑːtɪ ˈtʊk | ˈjeə ‖ B-‖ ɪgˈzæktlɪ ‖ ən ˈhiː dɪd ðə ˈraɪtɪŋ ‖ bət ˈraʊnd ðə ˈhɔːn wəz ˈwʌndəfl̩« | bɪkəz ɪt ˈsaʊndz ˈlaɪk ˈevrɪ ˈʃəʊ bɪz ˈθɪŋ juːv ˈevə ˈhɜːd ‖ bət ɪts ˈæbsļuːtlɪ ˈtruː | ðeǝ wǝz ˈnevər ə ˈhɑːʃ ˈwɜːd ‖ «

173

8. »kÅntQkt »lenzIz 1

5

. A- ‖ ˈtʃɪldrən uː ˈhæf tə ˈweǝ ˈspektəkl̩« z | kən ˈɒfņ« ˈget ˈsɪŋgl̩« d ˈaʊt | fə ˈrʌf ˈtriːtmənt frəm ðeǝ ˈklɑːsmeɪts ‖ ðə ˈwʌnz huː ɪˈskeɪp ˈlaɪtlɪ ǀ kən ˈstɪl biː ˈsædl̩« d wɪð ˈnɪkneɪmz | ˈlaɪk... ǀ ˈfɔːr ˈaɪz ǀ ɔː ˈspeks ǀ ɔːr ˈiːvņ« ˈwɜːs ‖ . ˈlɔːd ˈsiːgļ« ˈreɪzd ðə ˈsʌbdʒɪkt əv ˈsensǝtɪv ˈtʃɪldrən ɪn ðɪs pəˈzɪʃņ« ǀ huː ˈmaɪt ˈbenǝfɪt ǀ ɪf ˈkɒntækt ˈlenzɪz wər əˈveɪləbl̩« ɒn prɪˈskrɪpʃņ« | fə ˌsaɪkəˈlɒdʒɪkl̩« ˈriːzņz ‖ « ət ðə ˈməʊmənt ǀ juː kən ˈəʊnlɪ ˈget ðəm ɒn ðə ˈnæʃņl̩ « « ˈhelθ | ət ˈsɪks paʊndz ˈtwentɪ ˈfaɪv ə ˈtaɪm ǀ fə ˈklɪnɪkl̩« ˈriːzņz ‖ «

10

| əˈweǝ 0.BB- ‖ ˈmenɪ ˈtʃɪldrən | ə ˈverɪ...| əˈweǝǀ ðət ǀ ðətðeɪ ðeɪˈsiːm ˈsiːmtətəbɪbɪˈrɑːðə ˈrɑːðəˈdɪfrņt ˈdɪfrņt « frəm ðeǝ ˈfeləʊ... | ˈstjuːdņts ɪn ðə ˈklɑːs ‖ « ˈmenɪ əv ðəm ˈfiːl ˌʃɔːtˈsaɪtɪd | ðeɪ ˈteɪk ə... | ˈlɒt əv ˈtaɪm tʊ əˈdæpt ðəmˈselvz ‖ ɪt kən əˈfekt ðeǝ ˈriːdɪŋ ‖ ðeɪ fiːl ðeǝ ˈgəʊɪŋ tə biː kənˈdemd tə weǝ ˈglɑːsɪz | fə ðə ˈrest əv ðeǝ ˈlaɪvz | əz ɪnˈdiːd ˈðeɪ ˈɑː ‖ bət wɪð ðə ˈweǝrɪŋ əv ˈkɒntækt ˈlenzɪz ǀ ˈɔ:l ðɪs ˈʃʊd ˌdɪsəˈpɪə ‖

17

7.AA- ‖ ˈduː ˈjuː ˈθɪŋk | ˈðəʊ | ðət ˈtʃɪldrən ˈkæn bi: ˈtrʌstɪd wɪð ˈkɒntækt ˈlen t ˈlenzɪz ‖ ðeǝ ˈnɒt ˈiːzɪ tə ˈfɪt | ən ðeǝ ˈnɒt iːzɪ tə ˈpʊt ˈɪn ən ˈteɪk ˈaʊt ‖

25

174

B- ‖ ˈəʊ | ˈjes | əv ˈkɔːs ‖ ˈðæts weǝ ðə ˈdɪfəkl̩« tɪ əˈraɪzɪz ‖ bət ɪn ðə ˈkeɪs əv ˈjʌŋ tʃɪldrən | ðə ˈpeǝrənts ʃʊd ˈnætʃərl̩« ɪ ˈteɪk ə ˈkləʊs ˈɪntrǝst ɪn ðeǝ ˈtʃaɪldz ˈfjuːtʃə… | ˈskuːl kəˈrɪə … | ˈmeɪdʒə kəˈrɪə ən ˈlaɪf | ˈʃʊd bi: ˈgɪvņ« ðiː | ɜː | ˌɒpəˈtʃuːnǝtɪ əv ˈfɪtɪŋ ðə ˈglɑːsɪz ðəmˈselvz ‖ ðə ˈtʃaɪld ʃʊd ˈteɪk ən ˈɪntrǝst ɪn ˈhævɪŋ tə ˈweǝ ðəm | ənˈtɪl ˈsʌtʃ ə ˈtaɪm əz ðə ˈtʃaɪld | kņ« bɪ ˈeɪbl̩« | wen hiː ˈriːtʃɪz hɪz ˈtiːnz | ˈleɪtə ˈtiːnz | tuː...| məˈnɪpjʊleɪt ðə ˈkɒntækt ˈlenzɪz hɪmˈself ‖

9. »nÅvl« tIz 1

. A- …‖ ɪt ˈɪz | haʊˈevə | ˈgəʊɪŋ tə ˈbæn ðə ˈseɪlz əv ˈsɜːtņ« ˈnɒvl̩« tɪz | ɪn pəˈtɪkjǝlə | ˈlɑːdʒ ˈstɪŋk ˈbɒmz | ˈtɪə ˈgæs ˈkæpsjuːlz ǀ ən bəˈluːn meɪkɪŋ ˈkɒmpaʊndz ‖ ˈnaʊ | aɪ ˈdəʊnt ˈnəʊ ˈwɒt ˈgəʊz ɒn ɪn ðə ˈhaʊzɪz əv ˈpɑːlǝmənt | bət aɪ ˈθɪŋk juːl əˈgriː ǀ ðeǝ ˈlɔːdʃɪps ǀ dɪˈspleɪd ə ˈgreɪt fəmɪlɪˈærǝtɪ wɪð ðiːz ˈɒbdʒɪkts ǀ wen ˈlɔːd trefˈgɑːn dɪˈfaɪnd ˈnɒvl̩« tɪz ɪn ðə ˈhaʊs ‖ ˈpʌblɪk skuːl ˈmemǝrɪz əv ˈtrɪks ɑːftə ˈlaɪts ˈaʊt ɪn ðə ˈdɔːm | aɪ ˈwʌndə ‖

10

DI ˈwɜːd ˈnɒvl̩« tɪ | ɪz ˈjuːzd ˈjuːʒəlɪ tə dɪˈskraɪb . BB- ‖ ðə ðə ˈrelətɪvlɪ ɪnɪkˈspensɪv ˈprɒdʌkts ǀ fɔː ˈpɑːstaɪmz ɔː ˈdʒəʊks ǀ wɪtʃ ˈsʌmtaɪmz ə dɪˈzaɪnd tə kriːˈeɪt əˈmjuːzmənt ət ðiː ɪkˈspens əv ʌnsəˈspektɪŋ ˈvɪktɪmz ‖ ˈtɪpɪkl̩« ɪgˈzɑːmpl̩« z A˘r ər ˈɪtʃɪŋ ən ˈsniːzɪŋ paʊdəz... | ˈfeɪk ˈlʌmps əv ˈʃʊgə... | ˈfuːd ˈmeɪd frəm ˈplæstɪk... | ˈglɑːsɪz ðət ˈliːk ðeǝ ˈkɒntents...ænd | ˈblʌd ˈsteɪnd ˈbændɪdʒɪz ‖

17

. C- ‖ ˈhɪə | ˈhɪə ‖

23

B- ‖ ˈnʌn əv ðiːz ˈprɒdʌkts ɪz ˈlaɪklɪ tuː ˈɒfə səbˈstænʃl̩« ˈrɪsks əv ˈpɜːsņl̩ « « ˈɪndʒərɪ ‖ haʊˈevə | ðə ˈθriː ˈaɪtəmz ˈkʌvəd baɪ ðiːz ˌregjǝˈleɪʃņz | ˈɑː bɪˈliːvd tuː ˈɒfə sʌtʃ ə ˈrɪsk ‖ ðə bəˈluːn meɪkɪŋ ˈkɒmpaʊnd ǀ bɪkǝz əv ðə ˈprezņs əv ˈbenziːn | ə ˈwel ˈnəʊn ˈkɑːsɪnədʒən ǀ « ænd | ðə ˈtɪə ˈgæs ˈkæpsuːlz ǀ ən ˈlɑːdʒ ˈstɪŋk ˈbɒmz ǀ bɪkǝz əv ðə ˈrɪsk əv ˈɪndʒərɪ | frəm ðə ˈkemɪkl̩« z ˈjuːzd | tə ðə ˈfeɪs | ɪˈspeʃl̩« ɪ ǀ ðɪ ˈaɪz ǀ ənd ˈʌðə ˈsensǝtɪv ˈpɑːts əv ðə ˈbɒdɪ ‖

175

10. ´ »Sç˘t »daI´lÅg 1

. ‖ ˈneɪəmɪ ˈfɪʃə wəz ˈweɪtɪŋ ət ˈtʃestə ˈterɪs wen ˈkærən gɒt ˈhəʊm ‖ ðə ˈmɔːnɪŋ ˈruːm weǝ ðeɪ həd ˈpʊt hɜː | wəz ə ˈbliːk | ˈrestləs ˈpleɪs | weǝ ˈnəʊbədɪ ˈevə ˈsetl̩« d ‖ ðə ˈgæs ˈfaɪə wəz ˈseldəm ˈɒn ‖ tə biː ˈpʊt ɪn ˈhɪə baɪ ə ˈsɜːvənt ǀ ˈʃəʊd ðə ˈsɜːvənts dɪˈstɪŋkʃņ« | bɪˈtwiːn ˈbiːɪŋ ˈʃəʊn ˈɪn ǀ ən biːɪŋ ˈɑːskt tə ˈweɪt ‖

7

. ˈneɪəmɪz ˈæŋkʃəs ˈbraʊn ˈaɪz ən ˈhʌmbl̩« ˈmænə ǀ ˈmʌst həv ˈled ðəm tə ˈθɪŋk ðeǝ ˈmʌst biː ˈsʌmθɪŋ ʃiː ˈwɒntɪd ǀ ən ˈðeǝfɔː ʃiː wəz ˈnəʊ ˈleɪdɪ ‖ ˈwɒt ʃiː ˈdɪd ˈwɒnt | ən ˈwɒntɪd ˈbædlɪ | wəz tə ˈsiː ˈkærən ‖ ə ˈniːd | ˈsəʊ ˈpresɪŋ | əz tə ˈbiː wɪˈðaʊt ˈgreɪs ‖ səʊ ˈhɪə ʃiː ˈwɒz | ˈsɪtɪŋ ɒn ðɪ ˈedʒ əv ə ˈkəʊld | ˈleðər ˈɑːmtʃeǝ ‖

13

. jɔː ˈfeɪs ɪz ˈkəʊld | sed ˈkærən ‖ ɪts ˈterǝblɪ ˈkəʊld ɪn ˈhɪə ‖ aɪ həv ˈkʌm ˈtuː ˈɜːlɪ ‖ ˈnəʊ ‖ ˈwaɪ | sed ˈkærən | ˈpʊlɪŋ ˈɒf hə ˈglʌvz ‖ jʊ ˈmʌst bɪ ˈtaɪəd | ˈneɪəmɪ sed | ˈæŋkʃəs ‖ aɪ ˈslept ɪn ðə ˈtreɪn ‖ ˈhaʊ ˈlɒŋ əv juː ˈbɪn ɪn ˈlʌndən ‖ ˈdʒʌst ˈfɔː ˈdeɪz ‖ ˈnekst ˈtjuːzdeɪ wiː ˈmʌst ˈgəʊ ˈbæk ‖ ˈneɪəmɪ ˈspəʊk wɪð ən ˌʌnrɪˈprəʊtʃəbl̩« ˈsædnəs | ðət ˈmeɪd ˈkærən ɪkˈskleɪm | ˈwaɪ ˈdɪdṇt juː ˈlet miː ˈnəʊ ‖ aɪ ˈniːdṇt həv bɪn əˈweɪ ‖ « «

176

11. »pri˘ rI»taI´m´nt »kç˘sIz 1

5

. AA- ‖ aɪ ˈθɪŋk jɔː ˈgəʊɪŋ tə ˈtʃeɪndʒ ðə ˈtaɪtl̩« ðəʊ | ˈɑːnt juː | frəm ˌpriːrɪˈtaɪəmənt ǀ bɪkəz ˈpiːpl̩« ə rɪˈtaɪərɪŋ | ˈɜːlɪər ən ˈɜːlɪə ˈðiːz deɪz ‖ ənd ˈiːvņ« fə ˈðəʊz ˈpiːpl̩« hʊ meɪ ˈnɒt ˈwɒnt tə biː rɪˈtaɪəd | . ˈmeɪ biː biːɪŋ ˈmeɪd rɪˈdʌndənt fə ˈwʌn ˈriːzņ« ɔːr əˈnʌðə | ˈðiːz ˈleʒə ˈtaɪm ækˈtɪvǝtɪz | aɪ ˈθɪŋk ɑː | ˈkruːʃl̩« ət ˈðɪs pəˈtɪkjǝlə ˈtaɪm ‖ z | ˈiːvlɪn ˈælən ˈmenʃņd ðət ˈmæntʃɪstə « həd bɪn ˈrʌnɪŋ ðiːz ˈpriː rɪˈtaɪəmənthɒlǝd ˈkɔːsɪz fə sʌm ˈtaɪm ‖ ˈhæv juː ˈnəʊtɪst | ˈkwaɪt ən ˈɪŋkriːs ɪn ðə ˈnʌmbər əv ˈpiːpl̩« əˈtendɪŋ ‖

ˈɪŋkri:s | 10 0. B- ‖ ˈjes ‖ ðeǝ ˈhæz biːn ə ˈstedɪ IN»kri˘s bət aɪ wʊd ˈlaɪk tə ˈteɪk ʌp ˈælənz ˈpɔɪnt ðət ɪn ˈfækt | rɪˈtaɪəd ˈpiːpl̩« ǀ əv wɒtˈevər eɪdʒ | ǝ ˈwelkəm wɪðɪn ðə təʊˈtælǝtɪ prəˈvɪʒṇ ‖ aɪ ˈθɪŋk ɪts ɪmˈpɔːtņt ˈnɒt tə ˈhæv ǀ ˈsɔːt əv ˈspeʃl̩« ˈeǝrɪəz əv prəˈvɪʒņÿ« | « ˈdʒʌs fə ðə rɪˈtaɪəd | ˈdʒʌs fə ðǝ ˈjʌŋ ˈpiːpl̩« | ɪtˈsetrə ‖ 15 5. aɪ ˈθɪŋk ɪts ɪmˈpɔːtənt ðət wiː hæv ən ˈɪntɪgreɪtɪd ˈsɜːvɪs | ən ˈsɜːtņlɪ ˈsɜːtņlɪ ət ðə ðə ˈməʊmənt ˈməʊmənt||ɪn ɪn ˈmæntʃɪstə ˈmæntʃɪstə || ən « ||ət ðeǝ ˈstɪl ˈɪz | ə ˈverɪ ˈhelθɪ prəˈvɪʒņ« əv ˈdeɪ kɔːsɪz | wɪtʃ ˈpiːpl̩« wɪð ˈtaɪm ɒn ðeǝ ˈhænz | bɪˈkɒz ðeɪ ˈɑː rɪtaɪəd | wʊd biː ˈeɪbl̩« tə ˈdʒɔɪn | ən ˈteɪk ədˈvɑːntɪdʒ ˈɒv | ən ˈmɪks wɪð | ˈɔːl ˈsɔːts əv ˈeɪdʒ gruːps | frm̩ « wɪˈðɪn ðə kəˈmjuːnətɪ ‖

177

12. »he´staIl 1

. A- ‖ ˈwen ðə kɒmpəˈtɪʃņ« wəz ˈfɜːst əˈnaʊnst | ɪt wəz ˈsʌmθɪŋ ðət aɪ ˈwɒntɪd tə duː | bɪˈfɔː ðə ˈbəʊ ˈderɪk | bɪˈkeɪm ˈsəʊ ˈwel ˈnəʊn ‖ ænd aɪ ˈnɪəlɪ ˈtʃeɪndʒd mə ˈmaɪnd | bət aɪ ˈθɔːt | ˈnəʊ | aɪ ˈwəʊnt ‖ Èaɪl ˈduː ɪt ‖

5

. aɪ ˈsɔː ɪt ˈfɜːst əv ˈɔːl ǀ ðə… ˈwiːvɪŋ ɪn ðə ˈwest ˈɪndɪz ‖ ˈɔːl ðə ˈdɑːk ˈgɜːlz ˈðeǝ | ˈwɔːkɪŋ əˈraʊnd | wɪð ðɪs ˈtaɪp əv ˈheǝstaɪl ‖ səʊ aɪ ˈθɔːt ǀ ˈwel | aɪ ˈθɪŋk ɪf aɪ ˈduː ɪt ˈwel | aɪ ˈmaɪt ˈstænd ə ˈtʃæns ‖ səʊ aɪ ˈθɔːt | ˈjeǝ | ˈgəʊ ɒn | ˈduː ɪt ‖ ˈstɪk tʊ ɪt ‖ ænd səʊ aɪ ˈdɪd ‖

10 0. B- ‖ ˈwel | ət ˈliːst ɪts æmˈbɪʃəs | bət aɪ səˈpəʊz tə ˈbiː feǝ | ɪf ˈɔːl ðə ˈgɜːlz ə ˈlɪsņɪŋ ˈθɪŋkɪŋ | « ˈaɪ ˈmaɪt həv ə ˈgəʊ ət ˈðæt mɪˈself | nɒt ˈevrɪbɒdɪ ɪz ˈsuːtɪd ǀ ɔː kʊd ˈweǝr ə ˈbəʊ ˈderɪk ˈstaɪl ˈheǝduː ‖

14 4. A- ‖ əʊ | ˈnəʊ | ˈnəʊ ‖ ɑː ˈθɪŋk juːv ˈgɒt tə bɪ ˈverɪ əˈtræktɪv tə ˈweǝ ˈðɪs ‖ ɪts ˈverɪ ˈhɑːd ‖

178

13. D´ »geIm ´v »tSIkIn 1

. A- ‖ ˈwel ǀ ɪf juːv ˈgɒt ˈtʃɪldrən | juːl ˈnɒt ˈniːd ˈmiː tuː rɪˈmaɪnd ˈjuː ǀ ðət ðeɪ ˈget ˈʌp tuː ˈɔːl ˈsɔːts əv ˈθɪŋz ‖ mɔːr ɪˈspeʃl̩« ɪ ˈdjʊərɪŋ ðə ˈlɒŋ ˈsʌmə ˈhɒlǝdeɪz ‖ bət ˈwʌn əv ðə ˈməʊst ˈdeɪndʒǝrəs ˈpɑːstaɪmz ðeɪ kən get ɪnˈvɒlvd ˈɪn | ɪz ðə ˈgeɪm əv ˈtʃɪkɪn ‖

5

. juː ˈprɒbəblɪ ˈnəʊ ðə ˈgeɪm | weǝ ˈjʌŋstəz ˈdæʃ ɪn ˈfrʌnt əv ˈkɑːz | ɔː ˈtreɪnz ‖ ən ˈnɒt ˈlɔːŋ əˈgəʊ | ə ˈtʃaɪld wəz ˈkɪld nɪə ˈbʌkstən ‖ ənd ɪn ðə ˈgrɪndl̩« fəd ˈeǝrɪə | ˈreɪlweɪ ˌemˈplɔɪiːz ǀ həv ˈsiːn ˈʌðə ˈtʃɪldrən ˈpleɪɪŋ ðə ˈgeɪm ‖ pəˈliːs ɪn ˈdɑːbɪʃər ə kənˈsɜːnd z | ðət mɔːr ˈæksɪdņts kʊd əˈkɜː ˈdjʊərɪŋ ðiːz ˈsʌmə ˈhɒlǝdeɪz ‖ «

13

. ˈwel | aɪm ˈdʒɔɪnd ɒn ðə ˈtelɪfəʊn ˈlaɪn ˈnaʊ baɪ ˌsuːpərɪnˈtendənt ˈsɪdnɪ ˈtɒmsņ | əv ˈdɑːbɪʃə pəˈliːs ‖ ˈgʊd ˈmɔːnɪŋ ‖ B- ‖ˈgʊd ˈmɔːnɪŋ ‖ A- ‖ ðɪs ˈmʌst biː fə ðə pəˈliːs ə ˈverɪ | ˈsɪərɪəs | ˈbɪznǝs ‖

18

23

. B- ‖ ˈjes ‖ ɪt ˈɪz ‖ ɪt ɪz əˈlɑːmɪŋ tə ˈseɪ ðə ˈliːst əv ɪt ‖ ˈɪt ɪz ˈsʌmθɪŋ wɪtʃ ɪz ˈɔːlwɪz ɪn ˈpiːpl̩« z ˈmaɪndz | ˈreɪlweɪ ˈlaɪnz ən ˈtʃɪldrən ‖ bət ðɪs ˈleɪtǝst ˈæksɪdənt | ðɪs | ɜː…| ˈtʃɪkɪn ˈbɪznǝs | wɪtʃ ˈtʊk ˈpleɪs ˈaʊt ət ˈgrɪndl̩« fǝd | ən ˈbaɪ ðə ˈweɪ | ðeǝ wəz ˈəʊnlɪ ˈwʌn ˈɪnstəns | . aɪm ˈnɒt ˈtraɪɪŋ tə ˈseɪ ɪts ˈsʌdņlɪ bɪˈkʌm ə ˈfæʃņ« | « ər ˈenɪθɪŋ laɪk ˈðæt | bət ɪt ˈdʒʌs ˈmeɪd miː ˈwʌrɪ ˈðæt bɪt ˈmɔː | juː ˈnəʊ | wɪð ðə ˈhɪnt əv ˈnaɪs ˈweðər... | ən ðə ˈsʌmə ˈhɒlǝdeɪz... | ðət | ɜː…| ˈtʃɪldrən kʊd ˈget ɒntə ˈreɪlweɪ ˈlaɪnz ən kʊd ˈget ðəmˈselvz | ˈwel | jə ˈnɒt ˈtɔːkɪŋ əˈbaʊt ðǝm biːɪŋ ˈsɪərɪəslɪ ˈhɜːt ‖ ə ˈfækt ˈɪz | ðeɪ ˈget ˈkɪld ‖

179

14. ´ »vŒ˘dIkt ´v »mQn«slç˘t´ 1

4

11

20

22

180

A-‖ ˈɑː jʊ ˈseɪɪŋ ðət ðɪs ˈdʒʌdʒ | ɪn ðə ˈkeɪs əv ˈkiːθ ˈdʒəʊnz | AAtə rɪˈtɜːn ə ˈvɜːdɪkt əv ˈmænˌslɔːtər ɪz ˈrɪəlɪ | ˈbendɪŋ ɔː | ˌmɪsɪnˈtɜːprɪtɪŋ ðə ˈlɔː ‖ B- ‖ aɪm ɪn ˈnəʊ pəˈzɪʃņ« tə ˈseɪ ˈðæt | bɪkəz aɪ ˈhævņt « siːn ðə ˈkɔːt ˈpeɪpəz ‖ aɪ ˈhævņt siːn ðə ˈtrænskrɪpt ‖ « ˈɔːl aɪ ˈnəʊ əˈbaʊt ðɪs ˈkeɪs | ɪz ˈwɒt aɪv ˈred ɪn ðə ˈnjuːspeɪpəz ‖ ˈðeǝfɔː ǀ aɪ kʊdņt « ˈdʒʌdʒ ðɪs pəˈtɪkjʊlə ˈkeɪs ‖ bət ˈsɜːtņlɪ | ɪn ˈwɒt aɪ ˈred | ˈðeǝ ˈsiːmz ˈnəʊ ˈɒbvɪəs ˈriːzņ« tə ˈθɪŋk z | « ðət ˈðɪs wəz ə ˈkeɪs ɪn ˈlɔːr əv ˈmænˌslɔːtə ˈrɑːðə ðən ˈmɜːdə ‖ ˈwɒt ɪz ˈpɜːfɪktlɪ ˈpɒsǝbļ« | bət aɪ ˈdəʊnt nəʊ | ɪz ðət ðə ˈdʒʌdʒ wəz ˈæŋkʃəs | ðət ðɪs ˈmæn ʃʊdņt bɪ ˈsentənst tə ˈlaɪf ɪmˈprɪzņmənt z | « ən ˈðen ˈlet ˈaʊt ə ˈʃɔːt ˈtaɪm ˈleɪtə ‖ ðət hiː ˈniːdɪd səm ˈhelp | ən ˈðeǝfɔːr | ˈɔːt tə biː ˈpʊt ɒn prəˈbeɪʃņ« | ən ˈhæv ðə ˈbenɪfɪt əv ðɪ ədˈvaɪs əv ə prəˈbeɪʃņ« ˈɒfɪsə ‖ ən ðɪ ˈəʊnlɪ ˈweɪ | jʊ kʊd əˈtʃiːv ˈðæt | wʊd bɪ tʊ...| ɪnˈʃɔː...| ðət hiːz kənˈvɪktɪd əvˈmænˌslɔːtə | weǝ jʊ hæv... | ðə dɪˈskreʃņ« əv ˈpʊtɪŋ ɪm ɒn prəˈbeɪʃņ« ˈrɑːðə ðən ˈmɜːdə | weǝ jʊ hæv tə ˈgɪv ɪm ə ˈlaɪf ˈsentəns ‖ ˈðæts ə ˈpɒsǝbļ« ˌekspləˈneɪʃņ« | bət aɪ ˈemfəsaɪz |aɪ ˈdəʊnt nəʊ ðə ˈfækts ‖ A-‖‖ðɪs ðɪsɪzɪzˈnɒt ˈnɒtðə ðəˈfɜːst ˈfɜːsttaɪm taɪmðət ðətəəˈmɜːsɪ ˈmɜːsɪˈkɪlə ˈkɪləhəz həzbiːn biːnˈlet ˈletˈɒf ˈɒf‖‖ Adjuːˈsiː ˈsiːðɪs ðɪsəz əzəəˈtrend ˈtrendðəts ðətsˈhæpənɪŋ ˈhæpənɪŋˈnaʊ ˈnaʊɪn ɪnðɪs ðɪsˈkʌntrɪ ˈkʌntrɪ‖‖ djuː B- ‖ aɪ ˈdəʊnt ˈθɪŋk hiː wəz ˈlet ˈɒf ‖ hiː wəz kənˈvɪktɪd ‖ ənd hiː həz bɪn ˈpʊt ɒn prəˈbeɪʃņ« | ən hiːl ˈnaʊ ˈget ðə ˈhelp ðət hiː ˈniːdz ‖ ‖ṃ « ‖ aɪ wʊd ˈhəʊp | ðət wiː ʃəl ˈnɒt ˈget ɪntʊ ə ˈsteɪt | weǝ ˈmɜːsɪ ˈkɪlɪŋ bɪˈkʌmz ɪn sʌm ˈsens ə ˈseprət ən ˈnjuː əˈfens | ˈdɪfrənt | frəm ðə trəˈdɪʃņļ « « ˈwʌnz əv ˈmɜːdər ənd ˈmænˌslɔːtə ‖

15. »INgl´nd ´n DI »i˘ »ju˘ 1

A- ‖ ˈnaʊ aɪl ˈspeǝ juː ðɪ ˈjʊərəʊˈdʒɑːgən ‖ bət ʌndə ˈðæt ˈsɪstəm | ðə ˈmʌnɪ ɪz ˈrʌnɪŋ ˈʌp ˈnaɪntiːn ˈeɪtɪ ˈwʌn | ənd ɪts ðə ˈkɒst əv ðɪ ˌægrɪˈkʌltʃərļ« ˈpɒlǝsɪ | wɪtʃ ˈteɪks ˈsevņtɪ pəˈsent əv ðə ˈbʌdʒɪt ‖ «

ə ˈbʌdʒɪt ‖

əz ˈsɪmpl̩« əz ˈðæt ‖ bət bɪˈliːv ˈjuː ˈmiː | ðə ˈfɑːm ˈlɒbɪz ǀ əz ˈvɪgərəs əz ˈevər ɪn ðæt jʊərəˈpiːən ˈpɑːlǝmənt | ðə ˈhændz ə ˈstretʃt ˈaʊt fə ˈjet ˈmɔː prəˈtekʃņ« ˈhɪə | ˈsʌbsǝdɪz ˈðeǝ | ˈpraɪs ˈɪŋkriːsɪz ˈðeǝ ‖ ˈsəʊ ǀ ˈdʒɒn | aɪ ˈθɪŋk ðə ˈkrʌntʃ ɪz ˈkʌmɪŋ ‖ juː kən ˈhæpǝlɪ rɪˈlæks | ɪts ˈkʌmɪŋ ˈverɪ ˈkwɪklɪ ‖

10

B.-bət jɔː ˈðeǝ tə ˈhelp ˈsɔːt ɪt ˈaʊt fər ʌs | aɪm ˈʃɔː ˈbɑːbrə ˈkɑːsļ« ‖ Bˈterɪ ˈwəʊgən ‖

16

23

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C- aɪ ˈdəʊnt ˈnəʊ ˈhaʊ aɪm ɪkˈspektɪd tə ˈkæp ˈbɑːbrə ˈkɑːsļ« | ɔː ˈrɒbət ˈdʒæksņ« | bət aɪ dəʊnt ˈθɪŋk ðət ðɪ ˈiː iː ˈsiː ɪz gəʊɪŋ tə ˈfɔːl əˈpɑːt ‖ aɪ ˈnevə səˈspektɪd ˈdʒɒn ˈmɔːtɪmər əv biːɪŋ ə ˈlɪtļ« ˈɪngləndə ‖ ənd aɪ ˈθɪŋk wɪə gɒnə biː ɪn ˈjʊərəp | aɪ ˈθɪŋk wiː həv ˈnəʊ ɔːlˈtɜːnətɪv ‖ wiː hæv tə ˈsteɪ ˈðeǝ | ˈnaʊ ðət wɪə ˈðeǝ ‖ aɪ ˈθɪŋk ðeǝr ˌægrɪˈkʌltʃərļ« ˈpɒlǝsɪ həz biːn | ɪn ˈkɒmən wɪð | ˈseɪ | ðɪ ˌægrɪˈkʌltʃərļ« ˈpɒlǝsɪ əv ðə jʊˈnaɪtɪd ˈsteɪts ‖ ɪt ˈsiːmz tə biː ˈgɪəd təwɔːdz ˌəʊvəprəˈdʌkʃņ« | bɪˈkɒz ɪt ˈɪz ɪˈfɪʃņt « ‖ bɪˈkɒz ðɪ ˌægrɪˈkʌltʃərļ« ˈɪndəstrɪ ˈɪz ɪˈfɪʃņt ‖ « ɪts prəˈdjuːsɪŋ ˈfuːd | ɪts prəˈdjuːsɪŋ ˈwaɪn | ˈbʌtə ˈmaʊntɪnz | ˈwaɪn ˈleɪks | ðeǝ prəˈdjuːsɪŋ ˈtuː ˈmʌtʃ ‖ ðeɪ ˈhæv tə bɪ ˌɑːtɪˈfɪʃəlɪ səˈsteɪnd baɪ ˈðæt ‖ ˈpraɪsɪz ˈhæv tə bɪ ˈheld ˈʌp | ən ðɪs ɪz ˈwɒt ˈhæpənz | ənd ˈevrɪθɪŋ ˈkɒsts ˈmɔː ðən ɪt ˈɔːt tuː ‖ ðəz ˈtuː ˈmʌtʃ biːɪŋ prəˈdjuːst | ˈægrɪkʌltʃər ɪz ˈtuː ɪˈfɪʃņt « ǀ ɪf ˈwʌn kən ˈseɪ ˈðæt ‖ ɪn ˈaɪələnd | aɪ rɪˈmembər ə ˈkʌpļ« əv ˈjɪəz əˈgəʊ | ðə ˈkɒmən ˌægrɪˈkʌltʃərļ« ˈpɒlǝsɪ wəz ən ɪˈnɔːməs ˈbuːn ‖ ˈenɪbɒdɪ huː ˈhæd ə ˈhʌndrəd ˈeɪkəz wəz ˈvɜːtʃʊǝlɪ ə ˌmɪljəˈneǝ | bɪkəz juː wər ˈeɪbļ« tə ˈsel jɔːr ˈeɪkərɪdʒ fə ˈfaɪv ˈθaʊzņd « ˈpaʊndz ən ˈeɪkə ‖ ˈnaʊ ˈðæt z biːn rɪˈvaɪzd‖ ɪts ˈmeɪd ə trəˈmendəs ˈdɪfrəns tə ðɪ ˈaɪrɪʃ ˈfɑːmə ‖ ɪt ˈhæzņt | b| bɪkəz ðə ˈbrɪtɪʃ ˈfɑːmər ˈhæzņt ˈmeɪd əətrəˈmendəs trəˈmendəsˈdɪfrəns ˈdɪfrənstətəðəðəˈbrɪtɪʃ ˈbrɪtɪʃˈfɑːmə ˈfɑːmə « ˈmeɪd ɪz ˈmɔːr bɪˈkɒz ɪz hiːz ˈbetər ˈɔːgənaɪzd ‖ ˈmɔːr ɪˈfɪʃņt | bɪkəz ðəɪˈfɪʃņt ˈbrɪtɪʃ ‖ˈfɑːmər « ‖ b ‖ bɪˈkɒz hiːz ˈbetər ˈɔːgənaɪzd ‖

181

16. »gŒ˘l »tç˘k 1

5

10

18

27

34

182

A.-‖ ˈsuːzɪ ˈhʌʃ | huː ˈmeɪ | ə meɪ ˈnɒt duː ˈdæmɪdʒ wɪð ɜː ˈnjuː Aˈkɒmǝdɪ ˈsɪəriːz ɒn ˈaɪ ˈtiː ˈviː | wɪtʃ ɪz ˈsevņ« hɑːf ˈɑː ˈkɒmǝdɪz ˈrɪtņ« baɪ ˈsevņ« ˈwɪmɪn | ɪz ˈnaʊ əˈbaʊt tə biː ɪnˈterəgeɪtɪd baɪ ˈbɜːnəd ˈfɔːk ‖ ˈgɜːl ˈtɔːk | ðə ˈsɪəriːz ɪz ˈkɔːld ‖ B.-‖ ɪts | ɜː | ɪts ə ˈsɪəriːz əv ˈkɒmǝdɪ hɑːf ˈɑː ˈprəʊgræmz | ˈrɪtņ« baɪ ˈsevņ« ˈwɪmɪn ‖ Baɪ ˈθɪŋk ɪts ə sɪstǝˈmætɪk | ɪkˈstrɔːdņrǝlɪ ˈfʌnɪ əˈtæk əˈpɒn ˈmen ‖ « ˈhaʊ wʊd juː dɪˈskraɪb jɔː ˈsɪəriːz | ˈsuːzɪ ‖ C.-‖ aɪ wʊdņt C« dɪˈskraɪb ɪt laɪk ˈðæt | ɪts ˈnɒt ˈment tə biː ən əˈtæk ə ˈtɔːl ‖ ˈwɒt ɪts ˈment tə biː | ɪz ə ˈkaɪnd əv | ˈɑːnsər | ˈɑːftər ˈɔːl ˈðiːz ˈjɪəz { tʊ ˈɔːl ðə ˈpiːpļ« huː ˈseɪ | ˈwɪmɪn ɑːnt ˈfʌnɪ ‖ ˈweǝr ˈɑː ðə ˈwɪmɪn ˈstænd ʌp ˈkɒmɪks ǀ etˈsetrə ǀ etˈsetrə ‖ ðeɪ ˈɑː ˈðeǝ | ðeɪ ˈɑː ˈwɜːkɪŋ ‖ bət ɪn ə ˈmɔː ˈdʒenǝrļ« ˈsens | ˈwɪmɪn ǝr ˈæktʃʊəlɪ ɪkˈstriːmlɪ ˈfʌnɪ ‖ pəˈtɪkjʊləlɪ ˈwen ðeɪ ə ˈtɔːkɪŋ tʊ iːtʃ ˈʌðə ‖ ən ðeə ˈhjuːmə | aɪ ˈθɪŋk | ɪz ɪkˈstriːmlɪ ˈbreɪv | ɪkˈstriːmlɪ kəˈreɪdʒəs ‖ ˈwɪmɪn kən dɪˈskraɪb tə juː ðə ˈməʊst əˈpɔːlɪŋ ˈlaɪvz | ðə ˈməʊst əˈpɔːlɪŋ ˈkaɪndz əv ˈtraɪəlz ən ˈtraʊməz | ən ˈmeɪk ɪt əˈmjuːzɪŋ ‖ ənd aɪ ˈθɪŋk ˈðæts ə ˈnæk ðət ə ˈlɒt əv ˈwɪmɪn ˈhæv | ənd ə ˈlɒt əv ˈmen meɪbɪ ˈdəʊnt ‖ ɪ ˈdəʊnt ‖ ˈsəʊ aɪ ˈdʒʌst ˈθɔːt ɪt wəz ˈtaɪm | ˈðɪs ˈhɪt ðə ˈskriːn ‖ aɪm ˈɔːlsəʊ ˈverɪ ˈæŋgrɪ əˈbaʊt… | wel | juː ˈlɪsņ« tə ˈmen ˈstændʌp ˈkɒmɪks | ən ðeɪ ˈtel ˈdʒəʊks əˈbaʊt | ˈwɪmɪn hʊ ə ˈgriːdɪ... | rəˈpeɪʃəs... | əˈpɔːlɪŋ... | məˈnɪpjʊlətɪv... | ənd… ‖ wɪə ˈsəʊ kənˈdɪʃņd « | bɪkəz ðə ˈruːlɪŋ ˈnɔːm əv səˈsaɪətɪ ɪz dɪkˈteɪtɪd baɪ ˈmen | ðət wiː ˈlɑːf əz ˈwel ‖ ənd aɪ ˈlɑːf əz ˈwel ‖ B- ‖ ˈjeə ‖ C- ‖ ˈɑːftər ˈɔːl ˈðiːz ˈjɪəz ǀ aɪ ˈdʒʌst ˈgɒt ǀ ˈæŋgrɪ əbaʊt ɪt | B- ‖ ˈjeə | ˈjeə ‖ C- | ənd ɪt ˈdʒʌst əˈnɔɪz mɪ ˈnaʊ | ənd aɪ ˈθɪŋk ɪts ˈtaɪm wiː hæd ðə ˈraɪt əv rɪˈplaɪ ‖ ɪts ə´ ˈverɪ ˈmaɪnə ˈraɪt əv rɪˈplaɪ | aɪ ˈmiːn | ɪts ˈθriː hɑːf ˈaʊəz ɪn ə ǀ ˈweltər əv ˈaʊəz əv ˈtelɪvɪʒņ« wɪtʃ prɪˈdɒmɪnəntlɪ bɪˈlɒŋ tə ˈmen ‖ pəˈtɪkjʊləlɪ ɪn ˈhjuːmə ‖ B. ‖ aɪ ˈræŋ ˈʌp ə ˈpæl əv ˈmaɪn | huːz ə ˈstænd ʌp ˈkɒmɪk | ən ˈsed | Bdjuː ˈnəʊ ˈenɪ ˈfɑːðərɪnlɔː gægz ‖ ən hiː kʊdņt « ˈθɪŋk əv ˈwʌn ‖ ən hiː ˈsed | ˈiːvņ« ɪf hiː ˈdɪd θɪŋk əv ˈwʌn | ðeǝ ˈnɒt ˈfʌnɪ ‖

17. »du˘ »fem´nIsts »fç˘l In »l√v 1

AA. -‖ ˈduː ˈfemǝnɪsts ˈfɔːl ɪn ˈlʌv əz ˈwel ‖ BB.- ‖ ˈəʊ | aɪm ˈʃɔː | ˈjes ‖

7

aɪ dəʊnt ˈθɪŋk ˈfemǝnɪsts ər ˈenɪ ˈmɔːr | ɪˈmjuːn tʊ ɪt ðən ˈenɪbɒdɪ ˈels ‖ aɪ ˈθɪŋk ɪts fænˈtæstɪklɪ ˈstrɒŋ ‖ aɪ ˈmiːn | ɪts ˈnɒt ˈrɪəlɪ ˈverɪ səˈpraɪzɪŋ jʊ ˈθɪŋk | ˈevrɪθɪŋ əˈraʊnd juː | juː ˈtɜːn ˈɒn ðə ˈreɪdɪəʊ | ən ˈpɪk ʌp ˈenɪ ˈɔːdņrɪ ˈwɪmɪnz ˌmægəˈziːn | « ðə ˈmesɪdʒ ðəts biːɪŋ ˈpʊt ˈaʊt ɪz ðət | jʊ ˈnəʊ | ɪf jʊ ˈfaɪnd ðə ˈraɪt ˈpɜːsņ« | ˈðen juːl bɪ ˈhæpɪ ‖ ənd ɪf jʊ ˈdəʊnt ˈfaɪnd ðə ˈraɪt ˈpɜːsņ« | juː ˈwəʊnt biː ‖ ənd ɪts ˈwʌn ˈpɜːsņ« | ənd ɪt ˈʃʊd biː fərˈevə ‖ aɪ ˈmiːn | ˈɔːl ˈðəʊz ˈmɪθs ðət ˈrʌn ˈsəʊ ˈstrɒŋlɪ θruː aə səˈsaɪətɪ ‖

12

A.- ‖ ˈdjuː ˈθɪŋk ðəz ˈenɪweɪ əˈraʊnd ðæt ðen ǀ ˈgɪvņ« ðǝt ˈpiːpļz A«

ɪˈməʊʃnz‘ ər ˈɒbvɪəslɪ ǀ ˈθɪŋz ðət ðeɪ kɑːnt ˈrɪəlɪ kənˈtend wɪð | ˈwʌns ˈsʌmθɪŋz gɒt ˈstɑːtɪd | wɪtʃ ɪz ðə ˈfiːl…| ðə ˈkaɪndz əv ˈfiːlɪŋz ðət ˈpiːpļ« hæv wen ðeǝ ˈfɔːlɪŋ ɪn ˈlʌv ‖ ɪz ɪt ˈlaɪklɪ ðət ˈmen ən ˈwɪmɪn wɪl biː ˈeɪbļ« tə ˈhæv rɪˈleɪʃņʃɪps « ɪn ˈenɪ ˈʌðə ˈweɪ ‖

18

26

BB.-‖ ˈwel ǀ ˈɒbvɪəslɪ ǀaɪ ˈθɪŋk ðət | ˈpɑːt əv ðə ˈprɒbləm ɪz | ðǝt ɪn ˈlɒts əv rɪˈleɪʃņʃɪps | ðə ˈmen ˈrɪəlɪ ˈduː hæv ˈmɔː ˈpaʊə ‖ « ðət ðeǝ ˈmɔː ˈlaɪklɪ tə hæv ˈbetə ˈpeɪd ˈdʒɒbz ‖ n̦‘ ðə ˈhəʊl səˈsaɪətɪ wʊd ˈsæŋkʃņ« | ðə ˈkʌpļ« ˈmuːvɪŋ ˈweǝ ðə ˈhʌzbəndz ˈdʒɒb wɒz ‖ ´nd »hIz z ˈlaɪf ˈkʌmɪŋ ˈfɜːst | ən ˈwʊmən ˈsɔːt əv…| ənd ɪz ˈlaɪf ˈkʌmɪŋ ˈfɜːst | ən ðə ðə ˈwʊmən ˈsɔːt əv…| ˈɔːl ðəʊz ˈkaɪnd əv ˈθɪŋz wɪtʃ aɪ ˈθɪŋk | ˈæktʃʊəlɪ | ˈmeɪk ɪt ˈverɪ ˈdɪfɪkļt « fə rɪˈleɪʃņʃɪps | bɪˈtwiːn ˈmen ən ˈwɪmɪn tə ˈwɜːk | ˈenɪweɪ ‖ « bət aɪ səˈpəʊz | aɪ ˈθɪŋk ðət | wiːv ˈgɒt tə ˈstɑːt ˈteɪkɪŋ əˈpɑːt | ðɪ aɪˈdɪər əv rəʊˈmæns | ənd jʊ ˈhæv tə ˈstɑːt ˈθɪŋkɪŋ əbaʊt ˈɔːl ðə ˈdɪfrənt ˈe ðɪ aɪˈdɪər əv rəʊˈmæns | ənd jʊ ˈhæv tə ˈstɑːt ˈθɪŋkɪŋ əbaʊt ˈɔːl ðə ˈdɪfrənt ˈelɪmənts t ˈelɪmənts ɪn | ˈlaɪk… | fər ˈɪnstəns | ɪf juː ˈfænsɪ ˈsʌmbədɪ | dʌz ˈðæt ˈmiːn ðət ðeǝ ˈrɪəlɪ ˈgəʊɪŋ tə biː ˈsʌmbədɪ juː ˈwɒnt tə biː wɪð ɪn jɔːr ˈəʊld ˈeɪdʒ ‖ ənd | əv ˈkɔːs | ˈwen jʊ ˈstɑːt ˈθɪŋkɪŋ əbaʊt ɪt | juː ˈθɪŋk ðəz | ˈnəʊ ˈtest ə ˈtɔːl əv ˈweðə ˈsʌmbədɪ | jɔːr ˈæktʃʊəlɪ gəʊɪŋ tə ˈlaɪk ˈsʌmbədɪ ɪf ðeɪ ˈmeɪk juː ˈkaɪnd əv ˈflætərɪ əˈkrɒs ə ˈdɑːns flɔː ‖ ðəz ˈnəʊ ˌgærənˈti: ju: kʊd ˈæktȓəlɪ ˈhæv ə ˌkɒnvəˈseɪȓn͎« əv ˈmɔː ðən ˈten ˈwɜːdz wɪð ‖

183

18. »trQNkwIlaIz´z 1

6

12

18

25

29

184

A- ‖ ˈɑː | ˈgʊd ˌmɔːnɪŋ | mɪsɪz ˈrɒbɪnsǝn ‖ ən ˈsɪt…| ˈsɪt daʊn wǝʊnt ˈjuː ‖ B- ‖ ˈθæŋk juː ˈdɒktǝ ‖ aɪm ˈsɒrɪ tə ˈteɪk ʌp jɔː ˈtaɪm | bət…| aɪm ˈgetɪŋ ɪntə ə ˈsteɪt əˈgeɪn ‖ A- ‖ ˈəʊ ‖ B- ‖ ɪts ǝ ˈsɔːt ǝv ˈθɪŋ… ‖ aɪ ˈkɑːnt ˈkəʊp ‖ aɪ ˈdʒʌst ˈfiːl Bðət maɪ ˈdʒɒb ɪz ˈtuː ˈmʌʧ fǝ ˈmiː ‖ ɪts ˈnɒt aɪm dɪˈprest ‖ aɪ get ˈtens ˈɔːl ˈwɜːkt ˈʌp ‖ ɪts ˈnɒt ˈdʒʌst ðə ˈdʒɒb ‖ aɪm ðə ˈseɪm wɪð ðǝ ˈʧɪldrən ‖ aɪ…| get səʊ ˈkrɒs wɪð ðem ‖ A- ‖ ˈjeə | aɪ ˈsiː ‖ B- ‖ ˈæn wɪð maɪ ˈhʌsbənd ˈtuː ‖ aɪ…| A- ‖ ˈjeə | aɪ ˈsiː əʊnlɪ tuː ˈwel ‖ bət ˈwɒt kṇ« ə ˈdɒktǝ ˈduː z | t´ »pUt |»raIt tə ˈpʊt ˈraɪt ´ə ˈlaɪf ðəts ˈdʒʌst ə ˈbɪt əv ə ˈmes ‖ wiːv ˈtraɪd ˈevrɪθɪŋ əʊvə ðə ˈjɪǝz | ɪnˌvestɪˈgeɪʃṇz « | rɪˈfɜːrəlz tə ˈspeʃl̩« ɪsts | ˈmærɪdʒ ˈgaɪdəns | ðə ˈlɒt ‖ aɪ ˈsəpəʊz wɒt ɪt ˈkʌmz ˈdaʊn tʊ ɪt ɪz ðət | evrɪ ˈnaʊ ən əˈgen | ʃiː ˈwɒnts tə ˈkʌm ɪntə ðə ˈsɜːdʒərɪ | ˈdʒʌs ˈpɔːr ɪt ˈɔːl ˈaʊt | ən ˈðen ˈwɔːk aʊt wɪð ðə prəˈskrɪpʃṇ« | fər ə ˈtræŋkwɪlaɪzə ‖ B- ‖ səʊ wət ˈaɪ wəz ˈwʌndərɪŋ | ˈdɒktǝ | wǝz…| ˈwel | kʊd juː prɪˈskraɪb ˈsʌmθɪŋ fə ˈmiː ‖ ˈdʒʌs ˈsʌmθɪŋ tə ˈhelp miː tɪl aɪ ˈfiːl ə bɪt ˈbetə ‖ A- ‖ ˈhɪə wiː ˈgəʊ əˈgen… | ʃɪ ˈwɒnts ə ˈtræŋkwɪlaɪzə ‖ ən ɪt ɪs ˈdʒʌstɪfaɪd aɪ səˈpəʊz | ɪf ɪtl̩« ˈhelp ɜː θruː ðə ˈneks fjuː ˈwiːks ‖ əʊˈkeɪ ðen ‖ ˈvælɪəm ‖ ˈhɪə jʊ ˈɑː ˈðen | mɪsɪz ˈrɒbɪnsǝn ‖ ɪts…| ɜː…|ˈvælɪəm ‖ B- ‖ ˈɑː… | ˈθæŋk juː ˈdɒktǝ ‖ ˈsevṛḷ« əv maɪ ˈfrendz ˈɑːr ɒn ɪt ‖ A- ‖ aɪ ˈbet ðeɪ ˈɑː ‖ B- ‖…ən ˈsʌmwʌn ət ˈwɜːk ˈsʌmtaɪmz ˈgɪvz miː hɜːz | ðeɪ meɪk mɪ ˈfiːl ˈmʌʧ betǝ ‖ C- ‖ ˈwel | ˈjes ‖ ən ˈlɑːst jɪǝ ˌfæmɪlɪ ˈdɒktǝz ˈrəʊt ˈaʊt ˈmɔː ðən ˈθriː ˈmɪljən prəˈskrɪpʃṇs « fə ˈvælɪəm əˈləʊn | tə ˈmeɪk ˈpiːpḷ« laɪk mɪsɪz ˈɑː ˈfiːl betǝ ‖ ǝnd ˌəʊvərˈɔːl | ˈfɔːtɪ ˈtuː ˈmɪljən prəˈskrɪpʃṇs « wə ˈrɪtṇ« aʊt fə ˈtræŋkwɪlaɪzəz ən ˈsedǝtɪvz | ǝt ǝ ˈkɒst ǝv ˈmɔː ðən ˈfɔːtɪ ˈmɪljən ˈpaʊndz ‖ ˈteɪkɪŋ əˈsaɪd ðə ˈkwesȷṇ« əv ðə ˈniːd fə ˈsʌȷ ˈwaɪdspred prǝˈskraɪbɪŋ ǝv ˈmuːd ɔːlterɪŋ ˈdrʌgz | ˈwɒt əbaʊt ðeə ˈkɒst ‖ naʊ wen ə ˈdrʌg z ˈfɜːst prəˈdjuːst | ðə ˌpeɪtənt ˈlɔːz | ˈgɪv ɪts ˌmænjəˈfækȷərə » ðɪ ɪksˈkluːsɪv ˈraɪt tə ˈmeɪk ən ˈmɑːkɪt ɪt fər ə ˈnʌmbər əv ˈjɪəz | ˈnǝʊ wʌn ˈels kən prəˈdjuːs ɪt ɔːr ˈjuːz ɪts ˈbrænd neɪm…‖

7.3.2 LPD-3 / EPD-17 The publication in 1990 of the Longman Pronunciation Dictionary by J. C. Wells, came to fix, in an almost definitive way, the notational system of representation for RP after the death of A. C. Gimson. Recognizing the debt to preceding dictionaries, (mainly the EPD of D. Jones), the author has tackled the difficult and commendable task of elaborating a dictionary including features not found in previous pronunciation dictionaries. These are some the main characteristics of the LPD: •

•

•

•

•

•

The most common pronunciation or main RP pronunciation for each word is given, other standard forms being also recorded using a different coloured letter. In the case of words with alternative or uncertain pronunciation, the author shows percentages of preference on the basis of postal and on-line surveys conducted among a representative sample of native speakers of English American English pronunciation is also systematically recorded. It follows the British option(s) from which it is separated by means of two vertical lines. Different colours are used for the two variants when the recommended forms are not the same. In the (2008) edition a pronunciation preference poll was also added, conducted by Prof. Bert Vaux. British English non-standard forms are also included, although this is not done in a systematic way and it only applies to wellknown cases. The dictionary shows the pronunciation of foreign words in their original language and, if they exist in English, in their English form. A high number of proper names with their corresponding pronunciation is also included (new headwords have been added in the latest edition of LPD). From the 3rd edition, a CD-ROM is included with the spoken versions of every British and in American English headword appearing in the dictionary. By means of the Longman Pro185

nunciation Coach, the author is available for help via e-mail for any pronunciation problem. From a transcriptional viewpoint, the LPD in essence follows the EPD-14 system of representation. It is, therefore, a notation that allows us to make a complex and multilateral transcription with a total of 15 different symbols, making it more allophonic than that of the EPD-14. Wells has introduced new additions with respect to the EPD14 that can be summarised as follows: a.

b.

c.

Use of the symbols [i - u] to represent neutralization positions of /i:/ - /u:/ and of /I/ /U/ respectively. This neutralization takes place at the end of a word (e. g. /»hæpi/ or a morpheme (e. g. /ve´rieISn¶ /). Use of different stress marks in words of three or more syllables. In the first edition (1990) Wells made a distinction between secondary and tertiary stress. Tertiary stress was indicated by means of a small inferior circle preceding the affected syllable. This practice has been abandoned in later editions, with primary stress being shown by means of a superscript small vertical bar and secondary stress by means of a subscript vertical bar, as in «organi»zation. In the EPD, secondary stresses could not come after primary stresses: all secondary had to precede them. This policy has not been adhered to in the LPD where primary stresses can be followed by secondary stresses as in »proto«plasm. Inclusion of [ÅU] as an allophonic variant (‘near RP variant’) of phoneme /´U/ when followed by /l/ as in cold.

EPD (English Pronouncing Dictionary, ed by P. Roach, J. Hartman and J. Setter, 1997–2006) Published by Cambridge University Press, the seventeenth edition of the dictionary by D. Jones appeared in 2006 edited by Peter Roach, James Hartman and Jane Setter. This came to fulfill an old idea of the previous editor A. C. Gimson to review and to update Jones’ great 186

dictionary. Several are the characteristics worthy of note of this indispensable work: •

•

•

•

It accurately shows British pronunciation (labelled ‘BBC English’ instead of using the more controversial term ‘RP’) as well as American pronunciation (the editors take ‘Network English as a similar model to General American (GA)). The EPD-97 has turned into a data-base to facilitate future additions, experiencing a remarkable increase in the number of terms from the scientific, technological, culinary and geographical fields. The 18,000 new added terms make it a serious competitor to J. Wells’ dictionary with the addition of new terms (also proper names), the inclusion of another standard variant (General American) and other non-RP variants (basically accents from Central and Northern England). Similar in size to the LPD, the (2006) EPD edition feaures over 220,000 pronunciations (135,000 pronunciations in the LPD-00). If one can find very helpful explanatory notes, orthographic schemes and pronunciation preferences in Wells’ dictionary, this edition of the EPD includes likewise over 200 information panels explaining phonetic terms and the relationship between spelling and sound. An accompanying CD-Rom provides the pronunciation for every British and American word listed in the dictionary. It also contains interactive pronunciation exercises and it allows for the recording and listening back of the learner’s voice.

If we look at the set of phonetic symbols used, both dictionaries follow the same system when representing British English. There are, nonetheless, some significant differences: –

In the representation of syllabic consonants, for example, the EPD is more restrictive than the LPD. Thus in a word like table, only the pronunciation with syllabic ‘l’ is given, whereas we find in the LPD also the option with schwa. In the recording of American pronunciation, the EPD uses only /ç:/ where

187

–

–

the LPD uses /ç:/ and /Å:/; nor does the EPD register the variant /ÅU/ found in the LPD when an ‘l’ follows. There are also differences in the way syllabification is represented. The syllabification principles followed by Wells are “those which most helpfully predict the distribution of allophones” (2000: xix) the stressed vowel attracting the following consonant. In the EPD, syllable division follows the principle of ‘maximal onset’ whereby consonants are grouped with the following syllable whenever the phonotactics of English allow. However, both dictionaries agree in the use of ‘i’ ‘u’ to represent the neutralization of high monopthongs when occurring in the unstressed position (e. g. pity, fluidity). Typographically, the EPD is more compact and with more columns than the LPD making it more cumbersome reading. In the 2006 edition, lexical entries are in clear blue followed by their phonetic representation in black for both BrE and AmE. The latter is separated from the former by means of a small oval circle with the letters US inside. Likewise, the 2008 LPD edition uses blue for the lexical entries and black for the British and, separated by a vertical double bar, the American variants. Non-RP forms are given in black too. The EPD shows syllable splitting by means of dots, whereas the LPD uses spaces instead, resulting in a much more attractive presentation.

There are other minor differences that, although of interest in a comparative analysis of the iconic representation displayed in these dictionaries, they are of little use for the students we have in mind. For this reason we will not discuss them. From a pedagogical standpoint, where a phonemic transcription is favoured with little allophonic information, it is comforting to acknowledge that there is no real difference between the two dictionaries when doing an English phonemic transcription. Hence no transcription texts are included exemplifying this system as it is much the same as Wells’ which, in itself, is barely different from the one used by Gimson in the EPD-14. For this reason, we take this as a reference transcription, including here several explanatory footnotes bearing on the texts transcribed. 188

Although with some small modifications, the following works use the EPD system of transcription – basically the same as that of the EPD-14 (note the year of their publication): – Concise Oxford Dictionary (1995) – Collins Cobuild English Language Dictionary (1995) – Longman Language Activator (1993) – Oxford Reference Dictionary (1986) – Oxford English Dictionary (1989) – Oxford Advanced Learners’ Dictionary (1995) Practice a. Transcribe the following words following the LPD and EPD conventions. antiquary …………

category …………

comrade …………

monastery …………

promontory …………

matrimony …………

testimony …………

parsimony …………

accuracy …………

intimacy …………

democracy …………

diplomacy …………

admiralty …………

sovereignty …………

apoplexy …………

melancholy …………

parachutist …………

the accent …………

to accent …………

the conduct …………

ceremony …………

gooseberry …………

incomes …………

geography …………

housewife …………

to import …………

the permit …………

to permit …………

the conflict …………

to conflict …………

the export …………

to export …………

frequent …………

to frequent …………

the object …………

189

b. Write in the columns below the alternative pronunciations of the words in the first column (check an English pronunciation dictionary if necessary).

190

controversy

1.

2

poor inherence formidable frequency extraordinary laboratory adulatory salt masquerade education comparable

1. 1. 1. 1. 1. 1. 1. 1. 1. 1. 1.

2. 2. 2 2 2. 2 2. 2. 2. 2. 2.

primarily zebra communal applicable pall mall often suit hospitable research harass debut garage

1. 1. 1 1. 1. 1. 1. 1. 1. 1. 1. 1.

2. 2. 2. 2 2 2. 2. 2. 2. 2. 2. 2.

7.3.2.1 Phonetic Texts (EPD / LPD) The corresponding ordinary spelling on pages 63–80.

1. D´ »weD´ »fç˘kA˘st 1

1 2

3

4 5 6

7

1. ‖ æn1 ˈnaʊ ðə ˈweðə ˈfɔːkɑːst2 ‖ ən aɪ3 ˈhəʊp ju ɪnˈdʒɔɪd ðə ˈsʌmə ˈjestədeɪ4 | bɪˈkɒz ɪt ˈmeɪ nɒt ˈlɑːst ˈmʌtʃ ˈlɒŋgə ‖ ˈɪŋglənd ən5 ˈweɪlz wɪl ˈstɑːt ˈdraɪ ən ˈsʌni | bət ˈklaʊdz wɪl ɪnˈkriːs ɪn ðə6 ˈwest ðɪs ˈmɔːnɪŋ | wɪð ˈreɪn ɪn ˈpleɪsɪz ˈspredɪŋ ˈiːst tu ˈɔːl ˈpɑːts baɪ ðɪs ˈiːvnɪŋ ‖ ˈreɪnfɔːl əˈmaʊnts wɪl bi ˈveri ˈsmɔːl ɪn ðə ˈsaʊθ | ɪ4 | ˈmeni ˈpleɪsɪz ˈsteɪɪŋ ˈdraɪ | bət ðeə ˈmeɪ bi ˈsʌm ˈheviər7 ˈaʊtbreɪks ɪn ˈnɔːθwest ˈɪŋglənd ‖

Strong and. The dropping of /d/ is not phonetically conditioned, so it may occur before a consonant or a vowel. Note the different pronunciations of the word forecast: /æ/ in the title vs. /A˘/ intra text. Although the former is considered non-RP British English, this is a fairly frequent non-stigmatised variant heard in colloquial language nowadays. The speaker pronounces the first person of the personal pronoun monophthongal (/a/) instead of a diphthong (/aI/), a feature of rapid casual speech. In a sense, this is the equivalent of a weak form that this particle otherwise lacks. The final two vowels (/eI/) are in free variation with /I/. This means that the two forms are freely interchangeable. Both /´n/ and /´nd/ are weak forms for and. This particle has different pronunciations depending on the segment following: /ðI/ when a vowel follows, and /ð´/ before a consonant. Here the latter pronunciation is produced as the/w/ functions as a consonant. Although RP or BBC English is a non-rhotic accent (i. e. an accent where r is not pronounced at the end of a syllable or a word), there are cases where the presence of this phoneme is compulsory. Such as occurs when one word ends in r and the following begins with a vowel. This phenomenon is called ‘linking r’ (or, more technically, ‘sandhi r’).

191

8 8 . ˈreɪn ɪnɪnˈpleɪsɪz 10 10. ˈreɪnˈhevi ˈhevi ˈpleɪsɪzɪnɪnˈwestņ ˈwestņ ˈskɒtləndənənˈnɔːðən ˈnɔːðənˈaɪələnd ˈaɪələnd| | « ˈskɒtlənd

wɪl wɪlˈspred ˈspredtutuˈiːstən ˈiːstənˈskɒtlənd ˈskɒtləndðɪs ðɪsˈmɔːnɪŋ ˈmɔːnɪŋ| | ˈfɒləʊd baɪ ˈbraɪtə ˈweðə wɪð ˈʃaʊəz ‖ ˈtemprɪtʃəz | ˈsɪmələ tuː | ɔːr ə ˈlɪtl̩« ˈhaɪə ðən9 ˈjestədeɪz ‖ ˈwɪndz | ˈlaɪt ɔː ˈmɒdərət ˈsʌðəli ‖

15 15. . Di ðɪðɪ ˈaʊtlʊk ˈaʊtlʊk‖‖ əə ˈfjuː ˈfjuː ˈʃaʊəz ˈʃaʊəz ɪnɪn ðə ðə ˈnɔːθ ˈnɔːθ ətət ˈfɜːst ˈfɜːst | | bət ˈɔːl ˈpleɪsɪz bɪˈkʌmɪŋ ˈdraɪ | ˈsʌni ənd ˈwɔːm | ɔːlˈðəʊ ˈleɪtə ˈsʌm ˈaʊtbreɪks əv ˈhevi ˈreɪn meɪ ˈspred tu10 ˈsʌðən ˈdɪstrɪkts ‖

8

9 10

192

Note the representation of the final segment with a symbol that is not a phoneme, but an archiphoneme: a sound that stands for – in this case – phonemes /i:/ and /I/. It means, therefore, that both pronunciations are equally acceptable in such a position. The weak form of than. The strong is /ðæn/. Weak form of to when a consonant follows /t´/; /tI/ before a vowel, although native speakers do not adhere to this usage in a systematic way as instantiated here.

2. «√nIm»plçIm´nt 1

. ‖ də ˈstɑːk ˈfækt ðət1 ˌʌnɪmˈplɔɪmənt ɪn ˈbrɪtņ« 2 | həz ˈnaʊ ˈriːtʃt ˈwʌn ˈpɔɪnt ˈnaɪn ˈmɪljən | ə ˈlevl̩« ˈnɒt ˈsiːn sɪns ðə ˈmɪd ˈθɜːtiz | prəˈvaɪdz ðɪs ˈmɔːnɪŋz ˈpeɪpəz wɪð ˈðeə ˈmeɪn ˈθiːm ‖

5

ðə ˈdeɪli ˈdeɪli ɪkˈspres ɪkˈspresˈsʌmz ˈsʌmz ɪtɪt ˈʌp ˈʌp ‖‖əə ˈdʒɒb ˈdʒɒb ˈlɒst ˈlɒst ˈevri ˈevri ˈtwenti ˈtwenti ˈsekəndz ˈsekəndz‖‖ .. ðə ən ðə ˈmɪrə ˈfɔːkɑːsts ðət ˈbaɪ ˈkrɪsməs | ˈtuː ˈmɪljən wɪl bi3 ˈaʊt əv ˈwɜːk | ɪˈnʌf tə ˈfɔːm ə ˈdɒʊl ˈkjuː ˈstretʃɪŋ frəm4 ˈlændz ˈend tə ˈdʒɒn əˈgrəʊts ‖ ðə ˈtaɪmz ˈsez ðə ˈfɪgəz ər ˈɔːl ðə ˈwɜːs | fə5 ˈhævɪŋ aʊtˈpeɪst ðə ˈməʊst pesǝˈmɪstɪk ˈfɔːkɑːsts ‖

12

2. ˈdeɪli ˈstɑː ˈstɑː | |ˈjuːzɪz ˈjuːzɪz ðəðə ˈpɪktʃər ˈpɪktʃər əvəv ˈjʌŋ ˈjʌŋˈstiːv ˈstiːv əʊˈniːl əʊˈniːl | | . ðəðə ˈdeɪli tuː ˈɪləstreɪt ˈɪləstreɪt ðəðə ˈtrædʒədi ˈtrædʒədi ‖‖ tuː hiːz ˈsɪkstiːn ənd ə ˈhɑːf | ən(d) ɪz6 ˈdʒɒb ˈprɒspekts ɑː ˈnɪl ‖ | «n Iz ðə ˈmeɪl rɪˈpiːts ˈmɪsɪz ˈθætʃəz ˌdekləˈreɪʃņ nÇ | ðət ðeə kən7 biː ˈnəʊ ˈmɪrəkl̩lÇ ˈkjʊə ‖ ˈɔːl ðə ˈpeɪpəz əˈgriː | ðə ˈfɪgəz ə ˈʃɒkɪŋ8 ‖

1 2

3 4 5 6 7 8

Weak form (the form more common) used when functioning as a relative pronoun or a conjunction. Consonant syllabicity (i. e. the fact that certain consonants – usually /l/ and /n/ – can function as syllable nuclei in English) and also with schwa (=/´/) as an alternative, although not wholly predictable, can show certain tendencies whereby one option is preferred over the other. Thus a syllabic consonant is more likely to occur if an alveolar consonant precedes it and a pause follows – as in this case – or the next word starts with a stressed syllable. Weak form for to be. In non-initial, non-final position within an utterance, the difference between the long and the weak form may be neutralised. Weak form of from. Weak form of for. Another weak form, /fr´/, can occur in rapid speech when an indefinite article follows. Note the dropping of /h/ in the possessive adjective. This weak form is disallowed initially in an utterance. Weak form for can. Note how the speaker pronounces this word with velar reinforcement: she says /»SÅkINg/ instead of the standard form /»SÅkIN/.

193

bət əˈpɪnjənz əˈbaʊt ˈhuːz ət ˈfɔːlt | ən ˈwɒt ʃʊd9 bi ˈdʌn | ˈveəri ‖

20 20. . ðəðə ˈtelɪgrɑːf ˈtelɪgrɑːf ˈsez ˈsezɪtsɪtsðəðəˈbɪtə ˈbɪtəˈhɑːvɪst ˈhɑːvɪst| | əv ðə ˈfɒliz əv aə ˈmɑːstəz əʊvə ˈmeni ˈjɪəz | ænd ɪt ˈkɔːlz ɒn ðə ˈgʌvənmənt | tə ˈstænd ˈfɜːm ɒn ɪts ˈprezņt ˈpɒləsiz ‖ « ðə ˈtaɪmz meɪnˈteɪnz ðət ˈəʊnli ə ˈpɒləsi10 | ˈeɪmd ət ˈbrɪŋɪŋ ˈdaʊn ɪnˈfleɪʃṇ« | wɪl prəˈvaɪd ə ˈlɒŋ ˈtɜːm ˈkjʊə fər ˌʌnɪmˈplɔɪmənt ‖ ən ðeəz ə ˈsɪmɪlə ˈsentɪmənt | ɪn ðə ˈsʌn ‖

9 10

194

Strong form for should, also used in an unemphatic position alternating occasionally with S´d. Free variation between /I/ and /´/. Pronunciation dictionaries favour the option with schwa in the first segment of ending like –ity, –icy, etc.

3. »di˘»nQSn´laIzd »Ind´striz « 1

. AA- ‖ ˈnaʊ ‖ ˈwɒt həv1 ðə ˈfɒləʊɪŋ ˈɪndəstriz ɪn ˈkɒmən2 | ðə ˈreɪlweɪz | ˈrəʊd ˈpæsɪndʒə ˈtrænspɔːt | ɪˌlekˈtrɪsǝti dʒenəˈreɪʃņ« | ‖ ðə ˈdɒks | ðə ˈpəʊst | ˈsɪvl̩« 3 ˌeɪviˈeɪʃņ… « 5 ˈraʊnd ði ˈedʒɪz ‖ ðɪ Di ˈ ɑːnsə ‖ ðeər4 ˈɔːl ˈbiːɪŋ ˌdiːˈnæʃņəlaɪzd «

5

təˈdeɪǀ ǀwiːl wiːl6 6 ˈwɪtnəs ˈwɪtnəs ðə ðə ˈθɜːd ˈθɜːd ˈri:dɪŋ ˈri:dɪŋ ɪnɪn ðə ðə ˈkɒmənz ˈkɒmənz| | . . təˈdeɪ əv ðə ˈsɪvl̩« ˌeɪviˈeɪʃņ« ˈbɪl ǀ wɪtʃ | ˈwen ɪt bɪˈkʌmz ən ˈækt | wɪl pǝˈmɪt ðə ˈseɪl tə ðə ˈpʌblɪk əv ˈʃeəz ɪn ˈbrɪtɪʃ ˈeəweɪz ‖ ðɪ ˈeəlaɪn wɪl bɪˈkʌm ˈbrɪtɪʃ ˈeəweɪz ˈlɪmɪtɪd ‖ ˈɑːθə ˈriːd | ˈeə ˌkɒrəˈspɒndənt fə ðə ˈtaɪmz | ˈtɒʊld ˈniːl ˈberǝt ǀ ˈhaʊ ðə ˈgʌvņmənt ɪnˈtendz tə7 ˈgəʊ əbaʊt ˈðɪs ‖ «

11

1.BB- ‖ ði aɪˈdɪə8 ɪz ðǝt ɪt wɪl bɪˈkʌm ə ˈpraɪvɪt ˈkʌmpəni | wɪð ðə ðə ˈgʌvņmənt ˈgʌvņmənt ˈhɒʊldɪŋə əˈhʌndrəd ˈhʌndrədpəpəˈsent ˈsent ˈʃeəz ɪn ˈʃɔːt ðə ˈʃɔːt ˈhɒʊldɪŋ əv əv ðə ðə ˈʃeəz ɪn ðə ˈtɜːmˈtɜːm ‖ ‖ « ən ˈðen ˈðen || ət ət əə ˈdeɪt ˈdeɪt wɪtʃ wɪtʃɪzɪztətəbibiəˈnaʊnst əˈnaʊnst| | ðə ˈgʌvṇmənt ˈwɪl ˈɔːfər ə maɪˈnɒrǝti ‖ « prɪˈzjuːməbli əˈbaʊt ˈfɔːti ˈnaɪn pə ˈsent əv ðə ˈʃeəz ɒn ði ˈəʊpņ« 9 ˈmɑːkɪt | fɔːr ˈenibɒdi | ˈmembəz əv ðə ˈpʌblɪk ɔː ˌkɔːpəˈreɪʃņz « tə ˈbaɪ ‖

17

ðɪ ˈgʌvņmənt ˈsed ˈhaʊ ˈðɪs ˈseɪl ɪz ˈgəʊɪŋ tə ˈteɪk ˈpleɪs ‖ 7.AA- ‖ ˈhæz10 D« « ˈhaʊ ˈmeni ˈʃeəz ˈiːtʃ ˌɪndɪˈvɪdjʊəl ˈpɜːtʃɪsə wɪl bi əˈlaʊd tə ˈbaɪ | fər ɪgˈzɑːmpl̩« ‖

1

Weak form of have. Also with h-dropping (/´v/) or simply with (/v/). The latter only when have is contracted (e. g. they’ve). The syllabic consonant option is disallowed between nasals. Syllabic /l/. Although it is always possible to produce a non-syllabic syllable using the schwa as the nucleus, consonant syllabicity is common if the following word starts with an unstressed syllable. Compression of they plus are plus liaison of r. The past tense morpheme of regular verbs (-ed) assimilates to the preceding sound, so that if this is voiceless -ed is pronounced /t/; if voiced, as is the case here, -ed is rendered as /d/. Compression of we plus shall, the result being [wi:´…]. Weak form of to. Foreign students are advised to use /t´/ before a consonant and /tu/ before a vowel. Although not present here, the insertion of an r between a word ending in a vowel and another beginning with another vowel is very common. Because r is not present in the orthography, this is not a case of linking-r but rather of an ‘intrusive-r’. In rapid speech, /n/ can change to /m/ befote /p/, /b/ or /m/. When this occurs, it is a case of progressive assimilation. If a sound assimilates to the value of a preceding segment we talk of regressive assimilation. Initially in an utterence, the strong forms of have are used.

2 3

4 5

6 7 8

9

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195

4. »hç˘tI«k√ltS´ 1

. AA- ‖ ˈnaʊ | ˈlɪsņɪŋ tə ˈdʒeɪn ˈəʊvə ðə ˈpɑːst1 ˈjɪər ɔː ˈsəʊ | « ɒn ðə ˈsʌbdʒɪkt əv ˈgɑːdņɪŋ | « ˈaɪv2 ˈfaʊnd hə sɪstǝˈmætɪk kæmˈpeɪn əv dɪˈstrʌkʃņ« | əv ˈɔːl ði ɪkˈskjuːsɪz aɪv ˈkeəfǝli ˈnɜːtʃəd | fə ˈnɒt duːɪŋ ˈdʒɒbz əˈraʊnd ðə ˈgɑːdņ« | rɑːðə | dɪsˈteɪstfl̩« 3 ənd ˈhɜːtfl̩« ‖

6

.. haʊˈevə haʊˈevə || aɪ aɪ ˈθɔːt ˈθɔːt ðət ðət ˈspreɪɪŋ ˈspreɪɪŋ ˈʃrʌbz ˈʃrʌbz fə fə ˈgriːnflaɪ ˈgriːnflaɪ || wəz ə ˈprɪti ˈseɪf təˈbuː ‖ ɪt ɪnˈvɒlvd4 ˈdiːlɪŋ wɪð ˈdeɪndʒərəs ˈpɔɪzņz « | wɪtʃ aɪ maɪt ˈspɪl ɒn maɪˈself ‖

10

. ɪtɪt ɪnˈvɒlvd 0. ɪnˈvɒlvd ˈweərɪŋ ˈweərɪŋ ˈrʌbə ˈrʌbə ˈglʌvz ˈglʌvz | | wɪtʃ wɪtʃ wʊd wʊd ˈmeɪk ˈmeɪk ɪtɪtˈveri ˈveri ˈdɪfɪkl̩ ˈdɪfɪkl̩t« t fəfə mɪ mɪ tə ˈhændl̩« ˈθɪŋz | mi ən | ˈeniweɪ | aɪ ˈkʊdṇt faɪnd ðə ˈgriːnflaɪ | « ˈiːvṇ ɪf aɪ ˈwɒntɪd tuː5 ‖ aɪ ˈhæv6 ə ˈnɑːstɪ ˈfiːlɪŋ ˈðəʊ ǀ ðət ˈfɪlɪs | ðə ˈfɪəlɪs7 ˌhɔːtɪˈkʌltʃǝrəlɪst | ɪz ˈdʒʌst əˈbaʊt tə ˈpʊt ˈpeɪd tʊ əˈnʌðə ˈkʌmftəbl̩« ˈfɪkʃņ« ‖

1

2 3 4 5 6 7

196

English alveolar plosives, and /t/ in particular, can undergo phonological changes when occurring at the end of a word and are followed by a consonant. Here, /t/ is elided, thus obviating a potential coalescence with /j/ (compare with don’t you= /»d´UntSu/). Partial devoicing of /v/ in contact with /f/. Consonant syllabicity is more likely when an unstressed syllable follows. Note that there is no release of /d/, its hold stage continuing to the next /d/. Strong form as it occurs at the end of an utterance. Have is stressed here, so the strong form is used. Both /´/ and /I/ can be nuclear elements of the – less morpheme. In technical terms they are said to be in ‘free variation’. Some pronunciation dictionaries (e. g. LPD) favour the schwa option, but the two are equally acceptable RP forms.

16

21

8 9 10

BB- ‖ ˈaɪ ˈæm8 ǀ bɪkəz juː ˈnəʊ | ˈspreɪɪŋ ɪz ˈrɪəli ˈwʌn əv ðəʊz 16.1 ðət ɪzṇt ˈnɪəli əz ˈdɪfɪkl̩« t əz9 ɪt ˈsiːmz ‖ « aɪ dɪˈskʌvəd ˈðæt10 |ˈwen aɪ ˈwɒtʃt ən ɪkˈsperɪmənt ɪn ˈspreɪɪŋ ˈdʌn ˈriːsņtli baɪ ə ˈblaɪnd ˈgɑːdnə | wɪð ðə ˈhelp əv ə ˈsaɪtɪd « huːz ˈɔːlsəʊ ə ˈregjʊlə ˈtjuːtər ət ði ˈænjuːəl ˈgɑːdņɪŋ ˈwiːkend «

ˈdʒɒbz | ˈwʌn | ˈkɔːsɪz ‖

21. ˈwɒtjuːjuːˈniːd ˈniːd| ɪz | ɪzˈeni ˈeniˈkaɪnd ˈkaɪndəvəvˈspreɪə ˈspreɪə| | . ˈwɒt ðətjuːjuːkən kənˈhɒʊld ˈhɒʊldwɪð wɪðˈwʌn ˈwʌnˈhænd ˈhænd| | ðət bɪkəz ði ˈʌðə ˈhænd ɪz ˈniːdɪd tə ˈgaɪd juː əˈraʊnd ðə ˈbʊʃ ɔː ˈʃrʌb ‖

Am is stressed here, therefore the strong form is used. Note that when this is the case, it is written in italics in ordinary spelling. The weak form for as is fairly common in non-initial and non-final position within an utterance. The that appearing in this sentence can be ambiguous if only the first part of the utterance is read out: as a relative pronoun the weak form would be used compulsorily; as a demonstrative pronoun – as is the case here – it has no weak form.

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5. »√nj´nz vŒ˘s´s S´»lÅts 1

6

10

. AA- ‖ ˈnaʊ tu ə ˈbɪt əv ˈkʊkɪŋ ‖ ˈkɔːl fər ə ˈlɪtl̩« ˈʌnjən ‖ ðəz1 ˈskeəsli ə ˈseɪvəri ˈresǝpi ǀ ðət ˈdʌzņt « ən ði ˈʌnjən ən ɪts ˈkləʊs ˈrelətɪvz ǀ laɪk ðə ˈliːk | 2 ɑːr əˈmʌŋ ði ˈɒʊldǝst ˈvedʒtəbļz « ǀ əˈpærəntli ˈnəʊn tu əs ‖ 4 5 ən ˈðeər ɑːr3 ˈɔːl ˈsɔːts əv trəˈdɪʃṇz əˈtætʃt tə ðəm ‖ « . . ˈʌnjənz ɪnɪn ˈeɪnʃņt ˈgriːs ˈʌnjənz wə wə ˈgɪvņ ˈgɪvņ əz ˈwedɪŋ ˈwedɪŋ ˈprezņts ˈprezņts ˈeɪnʃņt ˈgriːs ‖‖ « əz « « ˈstreɪndʒ ˈstreɪndʒ ˈwedɪŋ ˈwedɪŋ ˈprezņts ˈprezņts « ‖‖ bət əˈpærəntli ðeɪ wə bɪˈliːvd tə ˈhæv ˌæfrəˈdɪziæk6 ˈkwɒlǝtiz ‖ ən ˈliːks əv biːn əˈraʊnd sɪns ðə ˈtaɪmz əv ðə ˈfeərəʊz ‖

ˈpætˈteɪləz ˈteɪləzbɪn bɪnˈtɔːkɪŋ ˈtɔːkɪŋˈʌnjənz ˈʌnjənzwɪð wɪðˈhəʊm ˈhəʊmɪˈkɒnəmɪst ɪˈkɒnəmɪstǀ ˈkeɪt ǀ ˈkeɪtˈhæstrɒp ˈhæstrɒp‖ ‖ .0.ˈpæt 7 7 ænʃiʃibɪˈgæn bɪˈgænbaɪ baɪˈɑːskɪŋ ˈɑːskɪŋ| |ˈwɒt ˈwɒtˈɑːˈɑː ˈmembəzəvəvðiðiˈʌnjən ˈʌnjənˈfæmǝli ˈfæmǝli‖ ‖ æn ðəðəˈmembəz B-‖ ˈəʊ | ˈwɪə ˈtɔːkɪŋ əˈbaʊt ˈʌnjənz ɪn ˈɔːl ɪts ˌveəriˈeɪʃņz « ‖ ˈliːks | ˈgɑːlɪk | ˈtʃaɪvz | ˈsprɪŋ ˈʌnjənz | ən əv ˈkɔːs | ʃəˈlɒts ‖ ən ðə ˌveəriˈeɪʃņ« əv ðə ˈsprɪŋ ˈʌnjən ðət ˈlʊks ǝ ˈbɪt laɪk ə ʃəˈlɒt | wɪtʃ ɪz ə ˈwelʃ ʌnjən ǀ wɪtʃ ɪz ˈwel ˈwɜːθ ˈhævɪŋ in ðə ˈgɑːdņ« | bikəz ˈðæts ə pəˈreniəl ‖

1

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7

198

The weak form of there plus the contracted form for is. According to Wells “some speakers hardly use the weak form, even though the word is never stressed; others, hardly use the strong form” (LPD, see entry for there). Weak for of us. Do not equate it with as. As weak forms, both share the same nuclear phoneme, but while the latter’s final segment is always /z/, the former’s is always /s/. Two consecutive instances of linking-r. In sequences of plosives, the first one is not released. Instead, it keeps its hold stage, the release taking place through the second plosive. Weak form for them. Note the use of ‘i’ before ‘a’. In the EPD / LPD system of transcription, this Latin symbol is used in unstressed syllables at the end of a word (e. g. pretty); also in a weak syllable before another vowel as in this example. Are being stressed, it takes the strong form.

17

A-- ‖ ˈwɒts ðə ˈdɪfrəns bɪˈtwiːn ə ʃəˈlɒt ənd ən ˈʌnjən8 ‖ B- ‖ ˈwel | ə ʃəˈlɒt ˈgrəʊz ɪn ˈklʌmps təˈgeðə | Bən ˈsprɪŋz ˈaʊt frəm ðə ˈsaɪd frəm ə ˈsentrəl ˈbʌlb ‖ ən ðeə ˈdʒenərl̩« i ˈjuːzd ɪn ðɪs ˈkʌntri fə ˈpɪklɪŋ9 | ən ðeɪ ˈʃʊdņt biː kənˈfjuːzd wɪð ðə ˈlɪtl̩« beɪbi ˈʌnjən ‖ « AA- ‖ ṃ« ‖ aɪ ˈθɪŋk ˈmeni ˈpiːpl̩« ˈduː ɪn ˈfækt ‖

23

8

9 10

23.BB- ‖ ˈðæts ˈraɪt ‖ beɪbi ˈʌnjənz ə nɒt10 ɔːtəˈmætɪkli ʃəˈlɒts ‖ ən ˈpɪklɪŋ ˈʌnjənz ɑː ˈjuːʒʊəli ə ˈnaɪs | ˈraʊnd ǀ ˈʃeɪp | ðət ˈɑːr ə ˈsmɔːl vəˈraɪəti wɪtʃ əv bɪn ˈgrəʊn ɪn ˈrɑːðə ˈpɔː ˈsɔɪl | æn ˈsəʊ ðət ðeɪ ˈdəʊnt ˈgrəʊ ˈɪntə ðə ˈbɪg ˈbʌlbəs ˈwʌnz | ðət wi ˈwɒnt ɪn ðə ˈmʌtʃ ǀ ju ˈnǝʊ ǀ ˈbɪgə ˈkʊkɪŋ ˈʌnjən ‖ ðə ʃəˈlɒts ə ˈmʌtʃ ˈmaɪldə | ˈmʌtʃ ˈmɔː ˈdelɪkət | ən ˈmʌtʃ ˈmɔː ˈsuːtəbl̩« fə ˈdelɪkət ˈfleɪvəd ˈfuːdz ‖

The use of [j] as in the example can be a bit misleading. Semivowels in English (/j, w/) are vowel-like segments that function as consonants (e. g. beyond). There are occasions though where its consonantal function is not clear, j acting as a compressed form for i before a weak vowel, as in our example. Some phonologists would consider this to be a diphthong. Cf. perennial in the previous line. Note the pronunciation for pikling: /k/ is emphasised, sounding as [kk], and there is velar refinforcement in the coda of the final syllable. The negative particle is not reduced following a reduced are. In the case of aren’t the opposite takes place.

199

6. DI ´»merIk´n Ik»spI´ri´ns1 1

. ‖ …ˈwel | ˈnəʊ ‖ ðɪ əˈmerɪkənz hæv ˈdɪfrņt təˈbuːz tu ˈʌs ‖ « aɪ ˈmiːn ǀ ðeə ˈmɔː ˈfraɪtņd ˈstɪl əv ˈθɪŋz | « wɪə ˈnɒt səʊ ˈfraɪtņd ˈɒf2 ˈhɪə ‖ « 3 bət …| ˈən…| ɜː…| bət…ǀ aɪ ˈmiːn ǀ ðeɪ ˈdəʊnt laɪk ˈdʒəʊks əˈbaʊt ˈdeθ ɪn ə 4 əˈmerɪkə | ˈweəz4 ˈwiː ˈrɑːðə ˈrevl̩« ‖ ˈstɔːriz əˈbaʊt ˈʌndəteɪkəz əv ˈɔːlweɪz ˈgɒn ˈdaʊn əˈtriːt ɪn ˈbrɪtņ« 1 ‖ aɪ ˈdəʊnt5 ˈnəʊ ˈwaɪ ɪt ˈɪz ‖

8

6 6 ˈrefrənsɪz ˈseɪm ˈweɪ ‖ ‖ . . ˈænd…| Èæn… ˈrefrənsɪzɪn ɪnðə ðə ˈseɪm ˈweɪ ˈænd…|ɜː…| ɜː…|ðeɪ ðeɪˈdəʊnt ˈdəʊnt| ˈdəʊnt | ˈdəʊntˈlaɪk ˈlaɪkˈsekʃuǝl ˈsekʃuǝl 7 7 8 8 ˈsʌtl̩ weɪ ‖ ‖ ðeɪ ðeɪ ˈdəʊnt ˈdəʊnt ˈmaɪnd ˈmaɪndˈgeɪnəs ˈgeɪnəs | |bət bətɪt ɪtˈhæs ˈhæs tə təˈbiːˈbiːɪn ɪnə əˈmɔː ˈmɔː ˈsʌtl̩ « weɪ ən ðeə wəz ˈsʌtʃ ə ˈgruːp əv ˈtæləntɪd9 pəˈfɔːməz | ənd səʊ ˈmeni əv ˈʌs ˈraɪtəz ‖ ðə wə ÈfIftiùn ˌfɪfˈtiːn əv əs ˈɑːftər ˈɔːl | ˈwækɪŋ ˈaʊt ðiːz ˈʃəʊz ǀ ˌfɪfˈtiːn ÈfIftiùn ˈmɪnɪts ə ˈwiːk | ɜː…| ðət ɪt wəz | aɪ ˈmiːn | juː ˈhæd tə biː ə tekˈnɪʃņ« tə ˈwɜːk ˈðeə | bət aɪ ˈræðǝ ˈlaɪkt ɪt ‖

1

Note the way the last two syllables are transcribed: /I´/ in the last but one vs. [i´] in the last one. The former is a diminuendo (i. e. falling) dipthong, with a stronger first element, whereas the diphthongal status of the latter depends on the type of vowel following. It is a diphthong in the last syllable of experience (/I + ´/, but not in experiential (/i + e –with stressed /e/). Do not confuse with the particle of, pronounced /´v/. Weak form of but. Shortened form used for /we´r»æz/. /t/ usually left out (elided) in colloquial speech Double pronunciation: either with ‘j’ (/ »seksju´l/) or, more frequently, with yod coalescence as in our example. /´/ and /I/ are in free variation in the –ness morpheme. To have is used here as a full, non-auxiliary, verb, hence the use of a strong nuclear vowel. The ending of the word is pronunced /Id/ or /´d/. Although its behaviour is identical to the regular past tense morpheme following a root ending in either /t/ or /d/, this is an adjectival form. Such forms are pronounced /Id/ or /´d/ disregarding the value of the preceding consonant. Thus, a form like crooked, is pronounced /krUkId / krUk´d/, never */krUkt/.

2 3 4 5 6 7 8 9

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1010 prəˈdjuːsəˈdɪdņ ˈdɪdņ ˈlaɪkəsəs| |tətəˈgəʊ ˈgəʊˈaʊt ˈaʊttətəˈlʌntʃ ˈlʌntʃ ‖‖ 15 15.Diðɪ*prəˈdjuːsə « ˈlaɪk

hiːˈjuːst ˈjuːsttətəˈsend ˈsendˈfuːd ˈfuːdˈɪnˈɪn| |ənənðəðəˈraɪtəz ˈraɪtəz| |ɪtɪtwəz wəzˈlaɪk ˈlaɪkə ə ˈfæktri ˈfɑːm ‖ ænd aɪ ˈsed | aɪ ˈhævņ« ˈkʌm ˈeɪt ˈθaʊzņ« ˈmaɪlz ˈnɒt tə ˈhæv ˈlʌntʃ | aɪ ˈsed tə ðəm | wɪð ðɪs ˈterəbl̩« ˈbrɪtɪʃ ˈvɔɪs ‖ ən ðeɪ ˈjuːst | tə ˈʃaʊt | wen ˈaɪ ˈkeɪm ɪntə ðə ˈbɪldɪŋ ɪn ðə ˈmɔːnɪŋ | ðə ˈbrɪtɪʃ ə ˈkʌmɪŋ | ðə ˈbrɪtɪʃ ə ˈkʌmɪŋ ‖

10

Alternative pronunciation: either nasal + affricate (as in our transcription) or with elision of the plosive element (/»l√nS/).

201

7. »kÅm´di »rAItIN 1

. AA- ‖ ˈjɔː ǀ ˈjɔː ˈfɔːteɪ ǀ ˈɒbvɪəsli ǀ wəz ˈraɪtɪŋ fər1 ˈʌðə ˈpiːpl̩« | ən ɪˈspeʃl̩« i fə ˈkenəθ ˈhɔːn ‖ «n ˈðen ǀ ˈraʊnd ðə ˈhɔːn ‖ ˈken | ən ɪn ǀ ˈfɜːst əv ˈɔːl ǀ bɪˈjɒnd ˈɑː2 Èken B- ‖ jeə3 ‖ 4 A- ‖ naʊ... ǀ juː ˈrəʊt wɪð ˈmɑːti ˈfeldmən ˈðæt ˈsekənd ˈsɪəriːz | ˈdɪdṇt juː ‖ « B- ‖ jeə ‖ A- ‖ ˈɪz ɪt ˈæktʃʊǝli ə ˈgʊd aɪˈdɪə fə ˈkɒmədi ˈraɪtɪŋ tə ˈbaʊns aɪˈdɪəz ˈɒf ˈsʌmbədi ˈels ‖

9

. BB- ‖ ˈjes ‖ aɪ ˈθɪŋk ɪts5 ɪˈsenʃl̩« ‖ ðə ˈhɒʊl6 ˈpɔɪnt əˈbaʊt ˈhjuːmər ɪz ðət ǀ ʌnˈles juː ˈget ə ˈlɑːf ǀ juː ˈhævṇt ˈmeɪd ə ˈdʒəʊk ‖ aɪ ˈmiːn | ɪf juː ˈseɪ ˈsʌmθɪŋ « ən ˈnəʊbədi ˈlɑːfs | ˈðæts ˈnɒt ə ˈdʒəʊk | ˈðæts ˈdʒʌst ə ˈsteɪtmənt ‖ ən ði Èæn Di ədˈvɑːntɪdʒ əv ˈraɪtɪŋ ɪn ˈpɑːtnəʃɪp ǀ ɪz ðət ði ˈʌðə ˈpɑːtnə | huːˈevər ɪz ˈkrækɪŋ ðə ˈdʒəʊk | ði ˈʌðə ˈwʌn wɪl ˈgəʊ | ˈheɪ | ˈjes | ˈðæts ˈfʌniz ‖| aɪ kwaɪt ˈlaɪk ˈðæt ‖ ˈhɒlǝ 77 .6.ɪnɪnˈʌðə ˈgetɪŋ ˈʌðəˈwɜːdz ˈwɜːdz| |ˈjɔː ˈjɔː ˈgetɪŋˈsʌm ˈsʌmˈwɔ:mθ ˈwɔ:mθ| |ˈsʌm ˈsʌm rɪˈspɒns rɪˈspɒns ˈbæk ˈbæk‖ ‖ ənənˈɔːlsəʊ ˈɔːlsəʊǀ jʊər ǀ jʊərˈedɪtɪŋ ˈedɪtɪŋjɔːˈself jɔːˈself| | səʊ ðət jʊə ˈnɒt ˈpʊtɪŋ ˈeni ɒʊld ˈgɑːbɪdʒ təˈgeðə | jɔː ˈrɪəli ˈwɜːkɪŋ ɪt ˈaʊt ‖ aɪ ˈmiːn ǀ ˈmɑːti ˈfeldmənz | ə« ˈməʊst ɪnˈtelɪdʒənt ˈmæn | ə ˈgɪftɪd8 ˈmæn ɪn ˈevri ˈweɪ ‖ ˈaɪm ˈnɒt ǀ kəmˈpliːtli ˈstjuːpɪd | təˈgeðə ˈwiː ˈwɜːkt ‖

16

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Weak form of for plus linking-r. Smoothing of triphthong /aU´/. Some speakers use it as the weak form. Casual variante for yes. The elision of /t/ is very common in casual speech. For this to take place, /t/ must occur in the middle of a three consonant string, the last being any but /h/. If the final consonant of the three is /j/, it may undergo affrication: /dIdn.t dZju˘/. Assimilation of /s/ to the value of /t/, becoming voiceless. A variante of /´U/ used by Wells when this diphthong is checked by /l/. Strong form for you’re. Together with /jU´/ (see next line in the text), this is the form recommended to foreign students of British English as the weak one is unusual among RP speakers. Ending with either /I/ or /´/.

23

9 10

. ən ˈmɑːti ˈsed ǀ ɪts ˈnɒt ˈʌs ðəts ˈraɪtɪŋ | ɪts ə ˈnjuː ˈkriːtʃə ˈkɔːld ˈbæri ˈfeldmən ‖ ə | ˈʃæl wi ˈkɔːl ɪm ˈmɑːti ˈtʊk ‖ A-‖ ˈmɑːti ˈtʊk | ˈjeə ‖ B-‖ ɪgˈzæktli9 ‖ ən ˈhiː dɪd ðə ˈraɪtɪŋ ‖ bət ˈraʊnd ðə ˈhɔːn wəz ˈwʌndəfl̩« | bɪkəz10 ɪt ˈsaʊndz ˈlaɪk ˈevri ˈʃəʊ bɪz ˈθɪŋ juːv ˈevə ˈhɜːd ‖ bət ɪts ˈæbsļuːtli ˈtruː | ðeǝ wǝz ˈnevər ə ˈhɑːʃ ˈwɜːd ‖ «

With or without /t/. Weak form for because, /k´z/ being a more casual variant.

203

8. »kÅntQkt »lenzIz 1

5

10

1 2 3 4 5 6 7 8

204

. A- ‖ ˈtʃɪldrən hu ˈhæf1 tə ˈweə ˈspektəkl̩«z | kən ˈɒfņ« 2 ˈget ˈsɪŋgl̩«d ˈaʊt | fə ˈrʌf ˈtriːtmənt frəm ðeə ˈklɑːsmeɪts ‖ ðə ˈwʌnz huː ɪˈskeɪp ˈlaɪtli ǀ kən ˈstɪl biː ˈsædl̩« d wɪð ˈnɪkneɪmz | ˈlaɪk...ǀ ˈfɔːr ˈaɪz ǀ ɔː ˈspeks ǀ ɔːr ˈiːvņ« ˈwɜːs ‖ 5. ˈlɔːd ˈsiːgļ ˈsiːgļ ˈreɪzd ðə ðə ˈsʌbdʒɪkt ˈsʌbdʒɪkt əv əv ˈsensǝtɪv ˈsensǝtɪv ˈtʃɪldrən ˈtʃɪldrən33 ɪn ɪn ðɪs ðɪs pəˈzɪʃņ pəˈzɪʃņ . ˈlɔːd « ˈreɪzd « ǀǀ huː ˈmaɪt ˈbenǝfɪt ǀ ɪf ˈkɒntækt ˈlenzɪz44 wər əˈveɪləbl̩« ɒn prɪˈskrɪpʃņ« | fə ˌsaɪkəˈlɒdʒɪkl̩« ˈriːzņz ‖ « ət ðə ˈməʊmənt ǀ juː kən ˈəʊnli ˈget ðəm ɒn ðə ˈnæʃņl̩ « « ˈhelθ | ‖ ət ˈsɪks paʊndz ˈtwenti5 ˈfaɪv ə ˈtaɪm ǀ fə ˈklɪnɪkl̩« ˈriːzņz « 0.BB- ‖ ˈmeni ˈtʃɪldrən | ə´ »veri... ˈveri əˈweə... ´»we´ ǀ ðət ðeɪ ˈsiːm tə bi ˈrɑːðə ˈdɪfr̩« ņ« t6 frəm ðeə ˈfeləʊ...| ˈstjuːdņts ɪn ðə ˈklɑːs ‖ « ˈmeni əv ðəm ˈfiːl ˌʃɔːtˈsaɪtɪd7 | ðeɪ ˈteɪk ə... ǀ ˈlɒt əv ˈtaɪm tu əˈdæpt ðəmˈselvz ‖ ɪt kən əˈfekt ðeə ˈriːdɪŋ ‖ ðeɪ fiːl ðeə ˈgəʊɪŋ tə biː kənˈdemd tə weə ˈglɑːsɪz | fə ðə ˈrest əv ðeə ˈlaɪvz | əz ɪnˈdiːd ˈðeɪ ˈɑː8 ‖ bət wɪð ðə ˈweərɪŋ əv ˈkɒntækt ˈlenzɪz ǀ ˈɔ:l ðɪs ʃʊd ˌdɪsəˈpɪə ‖

An instance of regressive assimilation whereby the /v/ of have becomes /f/ before voiceless /t/. With /t/ elision, According to Wells (see corresponding LPD entry) many speakers use both forms: with and without /t/. An interesting example of a word whose stressed syllable can have as nuclear elements either /I/ or /U/. Like the past tense morpheme -ed when preceded by /d/, plural forms in -es can vary in pronunciation alternating between phonemes /I/ and /´/. Another instance where /t/ can be left out: /»tweni/. Double compression resulting in two syllabic consonants. Note the stress patterning: primary on – sight- and secondary on the first syllable of the compound. Not the other way round. The strong form of are is used as the word is stressed.

17

25

9

10

. A- ‖ˈduː ˈjuː ˈθɪŋk | ˈðəʊ | ðət ˈtʃɪldrən ˈkæn9 bi: ˈtrʌstɪd wɪð ˈkɒntækt ˈ ðeə ˈnɒt ˈiːzi tə ˈfɪt | ən ðeə ˈnɒt iːzi tə ˈpʊt ˈɪn t ˈlenzɪz ‖ ðeə ˈnɒt ˈiːzi tə ˈfɪt | ən ðeə ˈnɒt iːzi tə ˈpʊt ˈɪn ən ˈteɪk ˈaʊt ‖

B- ‖ ˈəʊ | ˈjes | əv ˈkɔːs ‖ ˈðæts weə ðəjudɪfəkl̩ ˈjudɪfəkl̩ i əˈraɪzɪz‖ ‖ « ti təˈraɪzɪz bət ɪn ðə ˈkeɪs əv ˈjʌŋ tʃɪldrən | ðə ˈpeərənts ʃʊd ˈnætʃərl̩« i ˈteɪk ə ˈkləʊs ˈɪntrǝst ɪn ðeə ˈtʃaɪldz ˈfjuːtʃə…| ˈskuːl kəˈrɪə…| meɪdʒə kəˈrɪə ən ˈlaɪf | ˈʃʊd ˌɒpəˈtʃuːnǝtiəvəvˈfɪtɪŋ ˈfɪtɪŋ ðəðəˈglɑːsɪz ˈglɑːsɪz ðəm ðəmˈselvz ‖ ˈʃʊdbi: bi:ˈgɪvņ ˈgɪvņ« ðiː ðiː10| |ɜːɜː| |ˌɒpəˈtʃuːnǝti . ðəðəˈtʃaɪld 25. ˈtʃaɪldʃʊd ʃʊdˈteɪk ˈteɪkənənˈɪntrǝst ˈɪntrǝstɪnɪnˈhævɪŋ ˈhævɪŋ tətəˈweə ˈweə ðəm ðəm | | ənˈtɪl ˈsʌtʃ ə ˈtaɪm əz ðə ˈtʃaɪld kņ« bi ˈeɪbl̩« | wen hiː ˈriːtʃɪz hɪz ˈtiːnz | ˈleɪtə ˈtiːnz | tuː...| məˈnɪpjʊleɪt ðə ˈkɒntækt ˈlenzɪz hɪmˈself ‖/

Can is given prominence, hence the use of the strong form. Compare with can in the last but one line of the text where the weak form is used – with or without elision of schwa. The can have three basic renderings in spoken language: /ð´/ before a consonant, /ði/ if a vowel follows (a rule not strictly adhered to by natives speakers, but recommended to foreign learners), and /ði:/, a free variant the natives use in any environment, especially after a hesitation pause as in our example.

205

9. »nÅvl« tiz . A- …‖ ɪt ˈɪz | haʊˈevə | ˈgəʊɪŋ tə ˈbæn ðə ˈseɪlz əv ˈsɜːtņ« ˈnɒvl̩« tiz | ɪn pəˈtɪkjǝlə1 | ˈlɑːdʒ ˈstɪŋk ˈbɒmz | ˈtɪə ˈgæs2 ˈkæpsjuːlz | ən bəˈluːn meɪkɪŋ ˈkɒmpaʊndz ‖ ˈnaʊ | aɪ ˈdəʊnt3 ˈnəʊ ˈwɒt ˈgəʊz ɒn ɪn ðə ˈhaʊzɪz4 əv ˈpɑːlǝmənt | bət aɪ ˈθɪŋk juːl əˈgriː | ðeə ˈlɔːdʃɪps | dɪˈspleɪd ə ˈgreɪt fəˌmɪliˈærǝti5 wɪð ðiːz ˈɒbdʒɪkts | wen ˈlɔːd trefˈgɑːn dɪˈfaɪnd ˈnɒvl̩« tiz ɪn ðə ˈhaʊs ‖ ˈpʌblɪk skuːl ˈmemǝriz6 əv ˈtrɪks ɑːftə ˈlaɪts ˈaʊt ɪn ðə ˈdɔːm | aɪ ˈwʌndə ‖

1

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10.BB- ‖ ðɪ ˈwɜːd ˈnɒvl̩« ti | ɪz ˈjuːzd ˈjuːʒəli7 tə dɪˈskraɪb ðə ˈrelətɪvli ɪnɪkˈspensɪv ˈprɒdʌkts | fɔː ˈpɑːstaɪmz ɔː ˈdʒəʊks | wɪtʃ ˈsʌmtaɪmz ə dɪˈzaɪnd tə kriːˈeɪt əˈmjuːzmənt ət ðiː ɪkˈspens əv ʌnsəˈspektɪŋ ˈvɪktɪmz ‖ ˈtɪpɪkl̩« ɪgˈzɑːmpl̩«z Aùr ɑː ˈɪtʃɪŋ ən ˈsniːzɪŋ ˈpaʊdəz... | ˈfeɪk ˈlʌmps əv ˈʃʊgə... | ˈfuːd ˈmeɪd frəm ˈplæstɪk8... | ˈglɑːsɪz ðət ˈliːk ðeə ˈkɒntents...ænd | ˈblʌd ˈsteɪnd ˈbændɪdʒɪz ‖

. C- ‖ ˈhɪə | ˈhɪə ‖ B- ‖ ˈnʌn əv ðiːz ˈprɒdʌkts ɪz ˈlaɪkli tuː ˈɒfə səbˈstænʃl̩« ˈrɪsks9 əv ˈpɜːsņl̩ « « ˈɪndʒəri ‖ 10 haʊˈevə | ðə ˈθriː ˈaɪtəmz ˈkʌvəd baɪ ðiːz ˌregjǝˈleɪʃņz | « ˈɑː bɪˈliːvd tuː ˈɒfə sʌtʃ ə ˈrɪsk ‖ ðə bəˈluːn meɪkɪŋ ˈkɒmpaʊnd | bɪkǝz əv ðə ˈprezņs əv ˈbenziːn | ə ˈwel ˈnəʊn ˈkɑːsɪnədʒən ǀ « 23. ænd| |ðəðəˈtɪə ˈtɪəˈgæs ˈgæsˈkæpsuːlz ˈkæpsuːlz| ən | ənˈlɑːdʒ ˈlɑːdʒˈstɪŋk ˈstɪŋkbɒmz bɒmz| | . ænd bɪkǝz əv ðə ˈrɪsk əv ˈɪndʒəri | frəm ðə ˈkemɪkl̩«z ˈjuːzd | tə ðə ˈfeɪs | ɪˈspeʃl̩« i ǀ ði ˈaɪz ǀ ənd ˈʌðə ˈsensǝtɪv ˈpɑːts əv ðə ˈbɒdi ‖

Alternative pronunciation: /-jU-/. The option with schwa is commoner in casual speech. Final /s/. In general, words ending in -as,-os,-is,-us coming from Latin or Greek end in voiceless /s/. /t/ usually drops in non-final position. It can also be replaced by a glottal stop ([/]). While the singular ends in voiceless /s/, the plural changes it from /s/ to /z/. Although the last syllable in familiar is a diphthong, the corresponding one in familiarity is not, the primary stress falling between the two vowels. Second syllable with either schwa or with syllabic consonant. Never with /Å/. Alternative, less casual pronunciation, /»ju:Zu(´)li/. Also /»plA˘stIk/. The great majority of people in the South of England favour the option with /æ/ according to Wells (see LPD corresponding entry). Usually in the singular. In less casual speech, /-gju-/.

10. ´ »Sç˘t »daI´lÅg 1

. ‖ ˈneɪəmi ˈfɪʃə wəz ˈweɪtɪŋ ət ˈtʃestə ˈterɪs2 wen ˈkærən3 gɒt ˈhəʊm ‖ ðə ˈmɔːnɪŋ ˈruːm | weə ðeɪ həd ˈpʊt hɜː | wəz ə ˈbliːk | ˈrestləs4 ˈpleɪs weə ˈnəʊbədi ˈevə ˈsetl̩« d ‖ ðə ˈgæs5 ˈfaɪə wəz ˈseldəm ˈɒn ‖ tə biː ˈpʊt ɪn ˈhɪə baɪ ə ˈsɜːvənt | ˈʃəʊd ðə ˈsɜːvənts dɪˈstɪŋkʃņ« 6 | bɪˈtwiːn ˈbiːɪŋ ˈʃəʊn ˈɪn | ən biːɪŋ ˈɑːskt7 tə ˈweɪt ‖

7

ˈneɪəmiz ˈæŋkʃəs ˈæŋkʃəs ˈbraʊn ˈbraʊn ˈaɪz ˈaɪz ən ən ˈhʌmbl̩ ˈhʌmbl̩ ˈmænə|| . . ˈneɪəmiz « ˈmænə ˈmʌst həv8 ˈled ðəm tə ˈθɪŋk ðeə ˈmʌst biː ˈsʌmθɪŋ ʃiː ˈwɒntɪd | ən ˈðeəfɔː ʃiː wəz ˈnəʊ ˈleɪdi ‖ ˈwɒt ʃiː ˈdɪd ˈwɒnt | ən ˈwɒntɪd ˈbædli | wəz tə ˈsiː ˈkærən ‖ ə ˈniːd ˈsəʊ ˈpresɪŋ | əz tə ˈbiː wɪˈðaʊt ˈgreɪs ‖ səʊ ˈhɪə ʃiː ˈwɒz | ˈsɪtɪŋ ɒn ði ˈedʒ əv ə ˈkɒʊld | ˈleðər ˈɑːmtʃeə ‖

13

9 9 sedˈkærən ˈkærən‖ ‖ɪtsɪtsˈterǝbli ˈterǝbliˈkɒʊld ˈkɒʊldɪnɪnˈhɪə ˈhɪə‖ ‖ ˈfeɪsɪz ɪzˈkɒʊld ˈkɒʊld .3.jɔːjɔːˈfeɪs | |sed aɪhæv hævˈkʌm ˈkʌmˈtuː ˈtuː ˈɜːli‖ ‖‖ aɪaɪ ˈɜːli hæv ˈkʌm ˈtuː ˈɜːli ˈnəʊ ‖‖ ˈwaɪ ˈwaɪ || sed sed ˈkærən ˈkærən || ˈpʊ ˈpʊlɪŋ ˈɒf hə ˈglʌvz ‖ ˈnəʊ ju ˈmʌst bi ˈtaɪəd | ˈneɪəmi sed ˈæŋkʃəs ‖ aɪ ˈslept ɪn ðə ˈtreɪn ‖ ˈhaʊ ˈlɒŋ əv juː ˈbɪn ɪn ˈlʌndən10 ‖ ˈdʒʌst ˈfɔː ˈdeɪz ‖ ˈnekst ˈtjuːzdeɪ wiː ˈmʌs ˈgəʊ ˈbæk ‖

ˈneɪəmi ˈspəʊk wɪð ən ˌʌnrɪˈprəʊtʃəbl̩« ˈsædnəs | ðət ˈmeɪd ˈkærən ɪkˈskleɪm | ˈwaɪ ˈdɪdṇt juː ˈlet miː ˈnəʊ ‖ aɪ ˈniːdṇt həv bɪn əˈweɪ ‖ « «

1 2 3 4 5 6 7 8 9 10

No smoothing (i. e. losing of an element) occurs in the nucleus of the first syllable of this word. Alternative pronunciation of final syllable: /-´s/. The first syllable either with /æ/ as here, or with /A˘/ as in line 13. /-l´s/ or /-lIs/, both pronunciations are in use. No voicing of final /s/ in words of Latin or Greek origin ending in -as. The velarization of /n/ in contact with /k/ can produce elision of the plosive in casual speech. /t/ is not released, producing a double duration hold stage with the following /t/ before this is released. The weak form of have. Also without /h/. A variant of /´U/ used by Wells when this diphthong is checked by /l/. Only the schwa option is possible between nasals (e. g. lemon) or nasal + consonant + nasal as in the London example.

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11. »pri˘rI»taI´m´nt »kç˘sIz 1

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. A- ‖ aɪ ˈθɪŋk jɔː2 ˈgəʊɪŋ tə ˈtʃeɪndʒ ðə ˈtaɪtl̩« ðəʊ | ˈɑːnt juː | frəm ˌpriːrɪˈtaɪəmənt ǀ bɪkəz ˈpiːpl̩« ə3 rɪˈtaɪərɪŋ | ˈɜːlɪər ən ˈɜːlɪə ˈðiːz deɪz ‖ ənd ˈiːvņ« fə ˈðəʊz ˈpiːpl̩« hu meɪ nɒt ˈwɒnt tə biː rɪˈtaɪəd | . ˈmeɪ biː biːɪŋ ˈmeɪd rɪˈdʌndənt fə ˈwʌn ˈriːzņ« ɔːr əˈnʌðə | ˈðiːz ˈleʒə ˈtaɪm ækˈtɪvǝtiz | aɪ ˈθɪŋk ɑː | ˈkruːʃl̩« ət ˈðɪs pəˈtɪkjǝlə4 ˈtaɪm ‖ ˈiːvlɪn ˈælən ˈmenʃņd ðət ˈmæntʃɪstə | « həd bɪn5 ˈrʌnɪŋ ðiːz ˈpriː rɪˈtaɪəmənt ˈkɔːsɪz fə sʌm ˈtaɪm ‖ ˈhæv juː ˈnəʊtɪst | ˈkwaɪt ən ˈɪŋkriːs ɪn ðə ˈnʌmbər əv ˈpiːpl̩« əˈtendɪŋ ‖ 0.BB- ‖ ˈjes ‖ ðeə ˈhæz6 biːn ə ˈstedi ɪŋˈkri:s | bət aɪ wʊd ˈlaɪk tə ˈteɪk ʌp ˈælənz ˈpɔɪnt ðət ɪn ˈfækt | rɪˈtaɪəd ˈpiːpl̩« | əv wɒtˈevər eɪdʒ | ǝ ˈwelkəm wɪðɪn ðə təʊˈtælǝti prəˈvɪʒṇ« ‖ aɪ ˈθɪŋk ɪts ɪmˈpɔːtņt ˈnɒt tə ˈhæv ǀ ˈsɔːt əv ˈspeʃl̩« ˈeərɪəz əv prəˈvɪʒņ« | « ˈdʒʌs7 fə ðə rɪˈtaɪəd | ˈdʒʌs fə ðə ˈjʌŋ ˈpiːpl̩« | ɪtˈsetrə ‖ 8 8 .5.aɪaɪˈθɪŋk ənənˈɪntɪgreɪtəd ˈθɪŋkɪtsɪtsɪmˈpɔːtənt ɪmˈpɔːtəntðət ðətwiː wiːhæv hæv ˈɪntɪgreɪtədˈsɜːvɪs ˈsɜːvɪs| | ənənˈsɜːtņli | ət ðə ˈməʊmənt ɪn ˈmæntʃɪstə ˈsɜːtņli « | ət ðə ˈməʊmənt ɪn ˈmæntʃɪstə| | ðeə ˈstɪl ˈɪz | ə ˈveri ˈhelθi prəˈvɪʒņ« əv ˈdeɪ ˈkɔːsɪz | wɪtʃ ˈpiːpl̩« wɪð ˈtaɪm ɒn ðeə ˈhænz9 | biˈkɒz10 ðeɪ ˈɑː rɪˈtaɪəd | wʊd biː ˈeɪbl̩« tə ˈdʒɔɪn | ən ˈteɪk ədˈvɑːntɪdʒ ˈɒv | ən ˈmɪks wɪð | ˈɔːl ˈsɔːts əv ˈeɪdʒ gruːps | frəm « wɪˈðɪn ðə kəˈmjuːnəti ‖

Alternative pronunciation, /I/ with smoothing: /a´/ Strong form of you’re. Words – particularly monophthongs – with /U´/ followed by /r/ are very commonly levelled out (i. e. smoothed) to monophthong /ç˘/ by young and middle-aged people according to Wells (see the corresponding entry in his LPD. Weak form of are. Alternative form, /-kjU-/. Weak form used for been. Perhaps /bin/ would be a better way to capture the free alternation between the long and the short phoneme that takes place in the speech of many British speakers. Strong form of has.Note that the forms of have plus contracted not are never pronounced with their weak forms. So hasn’t, hadn’t, haven’t, etc., always take /æ/. Optional elision of /t/ before consonant. Strong form for have due to a weak realization of the preceding that: Under normal circumstances, rhythmical reasons disallow a sequence of four consecutive weak words as with that we have an. Optional elision of /d/ flanked by a nasal and an alveolar fricative. Strong form for because. The corresponding weak forms are /bIk´z/, /b´k´z/ and /k´z/.

12. »he´staIl 1

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. A-‖ ˈwen1 ðə kɒmpəˈtɪʃņ n« wəz ˈfɜːst əˈnaʊnst2 | ɪt wəz ˈsʌmθɪŋ ðət aɪ ˈwɒntɪd tə duː | bɪˈfɔː ðə ˈbəʊ ˈderɪk bɪˈkeɪm ˈsəʊ ˈwel ˈnəʊn ‖ ænd3 aɪ ˈnɪəli ˈtʃeɪndʒd mə ˈmaɪnd | bət aɪ ˈθɔːt | ˈnəʊ | aɪ ˈwəʊnt4 ‖ ˈaɪl ˈduː ɪt ‖ 5.. aɪ aɪ ˈsɔː ˈsɔː ɪtɪt ˈfɜːst ˈfɜːst əv əv ˈɔːl ˈɔːl ǀǀ ðə... ðə... ˈwiːvɪŋ ˈwiːvɪŋ ɪn ɪn ðə ðə55 ˈwest ˈwest ˈɪndiz ˈɪndiz ‖‖ 6 ˈɔːl ðə ˈdɑːk ˈgɜːlz ˈðeə | ˈwɔːkɪŋ əˈraʊnd ǀ wɪð ðɪs ˈtaɪp əv ˈheəstaɪl ‖ səʊ aɪ ˈθɔːt ǀ ˈwel | aɪ ˈθɪŋk ɪf aɪ ˈduː ɪt ˈwel | aɪ ˈmaɪt ˈstænd ə ˈtʃæns7 ‖ səʊ aɪ ˈθɔːt | ˈjeə | ˈgəʊ ɒn ǀ ˈduː ɪt ‖ ˈstɪk tu ɪt ‖ æn səʊ aɪ ˈdɪd ‖

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0.B-B- ‖ ˈwel | ət bət aɪ səˈpəʊz8 ˈaɪ ˈmaɪt həv ə ɔː kʊd ˈweər ə

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4.AA- ‖ əʊ | ˈnəʊ | ˈnəʊ ‖ ɑː10 ˈθɪŋk juːv ˈgɒt tə bi ˈveri əˈtræktɪv tə ˈwe ə ˈweə ˈðɪs ‖ ɪts ˈveri ˈhɑːd ‖ ɪts ˈveri ˈhɑːd ‖

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Note that this particle, unlike the corresponding form in other languages (e. g. Spanish), is usually stressed. The spelling ending in -nce has always a voiceless sibilant; in the case of a verbal form, its past tense morpheme -(e)d assimilates in voice to the preceding element. Because it is an emphatic and, the strong form is used. Optional /d/ is also used as a linking element with the following vowel. /t/ is compulsory here as it precedes a pause. Despite being vocalic in nature, /w/ functions as a consonant in English, so the preceding indefinite article takes the form with schwa used when a consonant follows. /k/ is not released as there is another plosive following. Alternative form /A˘/. According to Wells, this is preferred by a large majority of British speakers. Although the word in isolation is pronnounced with a schwa in the first syllable, in the expresión I suppose it is often pronounced [aI »sp´Uz]. Usually, /maI- /. The form used here is heard in very casual speech. Smoothing to a monophthong in casual or very rapid speech.

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ˈliːst ɪts æmˈbɪʃəs | tə ˈbiː feə | ɪf ˈɔːl ðə ˈgɜːlz ə ˈlɪsņɪŋ n« ˈθɪŋkɪŋ | ˈgəʊ ət ˈðæt mɪˈself9 | nɒt ˈevriˌbɒdi ɪz ˈsuːtɪd | ˈbəʊ ˈderɪk ˈstaɪl ˈheəduː ‖

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13. D´ »geIm ´v »tSIkIn 1

. A- ‖ ˈwel ǀ ɪf juːv ˈgɒt ˈtʃɪldrən2 | juːl ˈnɒt ˈniːd ˈmiː tuː rɪˈmaɪnd ˈjuː | ðət ðeɪ ˈget ˈʌp tuː ˈɔːl ˈsɔːts əv ˈθɪŋz | mɔːr3 ɪˈspeʃl̩« i ˈdjʊərɪŋ ðə ˈlɒŋ ˈsʌmə ˈhɒlǝdeɪz4 ‖ bət ˈwʌn əv ðə ˈməʊst ˈdeɪndʒǝrəs5 ˈpɑːstaɪmz ðeɪ kən get ɪnˈvɒlvd ˈɪn | ɪz ðə ˈgeɪm əv ˈtʃɪkɪn ‖

6

juː ˈprɒbəbli ˈprɒbəbli ˈnəʊ ˈnəʊ ðə ðə ˈgeɪm ˈgeɪm || weə weə ˈjʌŋstəz ˈjʌŋstəz ˈdæʃ ˈdæʃ .. juː ɪn ˈfrʌnt əv ˈkɑːz | ɔː ˈtreɪnz ‖ ən ˈnɒt ˈlɔːŋ əˈgəʊ | ə ˈtʃaɪld wəz ˈkɪld nɪə ˈbʌkstən ‖ ənd ɪn ðə ˈgrɪndl̩« fəd ˈeərɪə | ˈreɪlweɪ ˌemˈplɔɪiːz6 | həv ˈsiːn ˈʌðə ˈtʃɪldrən ˈpleɪɪŋ ðə ˈgeɪm ‖ z | pəˈliːs7 ɪn ˈdɑːbɪʃər ə kənˈsɜːnd ˈhɒlǝd ðət mɔːr ˈæksɪdņts kʊd əˈkɜː ˈdjʊərɪŋ ðiːz ˈsʌmə ˈhɒlǝdeɪz ‖ «

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3. ˈwel| |aɪm aɪm ˈdʒɔɪnd ˈdʒɔɪnd ɒn ɒnðəðə ˈtelɪfəʊn ˈtelɪfəʊn ˈlaɪn ˈlaɪn ˈnaʊ ˈnaʊ baɪ baɪ ˌsuːpərɪnˈtendənt ˌsuːpərɪnˈtendənt . ˈwel ˈsɪdniˈtɒmsņ ˈtɒmsņ«| |əvəv ˈdɑːbɪʃə ˈdɑːbɪʃə pəˈliːs pəˈliːs ‖‖ ˈsɪdni ˈgʊd ˈmɔːnɪŋ ‖ B- ‖ ˈgʊd ˈmɔːnɪŋ ‖ A- ‖ ðɪs ˈmʌst biː fə ðə pəˈliːs ə ˈveri ˈsɪərɪəs ˈbɪznǝs ‖

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Alternative forms: /–k´n/ and /kn)/. Alternative forms: /»tSIldrn,« /, /»tSUldr(´)n,« /. Sandhi or linking-r. Alternative pronunciations: /»hÅlIdeI/, /»hÅl´di/, /»hÅlIdi/. Words ending in -us end in voiceless /s/. See serious further down. With very few exceptions such as coffee, committee, pedigree and a short etcetera, English words ending in -ee take their primary stress on the -ee. An alternative pronunciation of this word is, therefore, /«emplçI»i˘z/. A more casual alternative pronunciation: /»pli:z/, with elision of the schwa.

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8.B-B- ‖ ˈjes ‖ ɪt ˈɪz ‖ ɪt ɪz əˈlɑːmɪŋ tə ˈseɪ ðə ˈliːst əv ɪt ‖ ɪts ˈsʌmθɪŋ wɪtʃ ɪz ˈɔːlwɪz8 ɪn ˈpiːpl̩« z ˈmaɪndz | ˈreɪlweɪ ˈlaɪnz ən ˈtʃɪldrən ‖ bət ðɪs ˈleɪtǝst ˈæksɪdənt | ðɪs | ɜː…| ˈtʃɪkɪn ˈbɪznǝs wɪtʃ | ˈtʊk ˈpleɪs ˈaʊt ət ˈgrɪndl̩« fǝd | ən ˈbaɪ ðə ˈweɪ | ðeə wəz ˈəʊnli ˈˈwʌn ˈɪnstəns | .3.aɪm bɪˈkʌm aɪmˈnɒt ˈnɒtˈtraɪɪŋ ˈtraɪɪŋtətəˈseɪ ˈseɪɪtsɪtsˈsʌdņli ˈsʌdņli bɪˈkʌmə əˈfæʃņ ˈfæʃņ « « | | »mç˘ ɔːñ | ər ˈeniθɪŋ laɪk ˈðæt | bət ɪt ˈdʒʌs ˈmeɪd miː ˈwʌri ˈðæt bɪt ˈmis juː ˈnəʊ | wɪð ðə ˈhɪnt əv ˈnaɪs ˈweðər... | ən ðə ˈsʌmə ˈhɒlǝdeɪz... | ðət | ɜː…| ˈtʃɪldrən kʊd ˈget ɒntə9 ˈreɪlweɪ ˈlaɪnz ən kʊd ˈget ðəmˈselvz | ˈwel | jə10 ˈnɒt ˈtɔːkɪŋ əˈbaʊt ðǝm biːɪŋ ˈsɪəriəsli ˈhɜːt ‖ ðə ˈfækt ˈɪz | ðeɪ ˈget ˈkɪld ‖

The final syllable can alternate the monophthong with the diphthong /eI/. The final vowel is a schwa if a consonant follows, otherwise it is /-u/. This pronunciation is sanctioned by Wells as ‘unusual’ in RP (/jç˘/ being the strong and more common form) whereas the EPD considers it an ‘occasional’ variant.

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14. ´ »vŒ˘dIkt ´v »mQn«slç˘t´ 1

A- ‖ ˈɑː ju ˈseɪɪŋ ðət ðɪs ˈdʒʌdʒ | ɪn ðə ˈkeɪs əv ˈkiːθ ˈdʒəʊnz | tə rɪˈtɜːn ə ˈvɜːdɪkt əv ˈmænˌslɔːtər ɪz ˈrɪəli1 | ˈbendɪŋ ɔː | ˌmɪsɪnˈtɜːprɪtɪŋ2 ðə ˈlɔː ‖

4

B- ‖ aɪm ɪn ˈnəʊ pəˈzɪʃņ« tə ˈseɪ ˈðæt | bɪkəz aɪ ˈhævņt « siːn ðə ˈkɔːt ˈpeɪpəz ‖ aɪ ˈhævņt siːn ðə ˈtrænskrɪpt ‖ « ˈɔːl aɪ ˈnəʊ əˈbaʊt ðɪs ˈkeɪs | ɪz ˈwɒt aɪv ˈred ɪn ðə ˈnjuːspeɪpəz ‖ 3 ˈðeəfɔː ǀ aɪ kʊdņt « ˈdʒʌdʒ ðɪs pəˈtɪkjʊlə ˈkeɪs ‖ bət ˈsɜːtņli | ɪn ˈwɒt aɪ ˈred | ˈðeə ˈsiːmz ˈnəʊ ˈɒbvɪəs ˈriːzņ« tə ˈθɪŋk | « hɒlǝd ðət ðɪs wəz ə ˈkeɪs ɪn ˈlɔːr4 əv ˈmænˌslɔːtə ˈrɑːðə ðən ˈmɜːdə ‖ ˈwɒt ɪz ˈpɜːfɪktli5 ˈpɒsǝbļ« | bət aɪ ˈdəʊnt6 nəʊ | ɪz ðæt7 ðə ˈdʒʌdʒ wəz ˈæŋkʃəs | ðət ðɪs ˈmæn ʃʊdņt | « « bi ˈsentənst tə ˈlaɪf ɪmˈprɪzņmənt hɒlǝd ən ˈðen ˈlet ˈaʊt ə ˈʃɔːt ˈtaɪm ˈleɪtə ‖ ðət hiː8 ˈniːdɪd səm ˈhelp | ən ˈðeəfɔː | ˈɔːt tə biː ˈpʊt ɒn prəˈbeɪʃņ« | ən hæv ðə ˈbenɪfɪt əv ðɪ ədˈvaɪs əv ə prəˈbeɪʃņ« ˈɒfɪsə ‖ ən ði ˈəʊnli ˈweɪ | ju kʊd əˈtʃiːv ˈðæt | wʊd bi tu... | ɪnˈʃɔː... | ðət hiːz kənˈvɪktɪd əv ˈmænˌslɔːtə ‖ weə ju hæv... | ðə dɪˈskreʃņ« əv ˈpʊtɪŋ ɪm ɒn prəˈbeɪʃņ« ˈrɑːðə ðən ˈmɜːdə | weə ju hæv tə ˈgɪv ɪm ə ˈlaɪf ˈsentəns ‖ ˈðæts ə ˈpɒsǝbļ« ˌekspləˈneɪʃņ« | bət aɪ ˈemfəsaɪz | aɪ ˈdəʊnt nəʊ ðə ˈfækts ‖

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Also /»re´li/ and, less frequently, /»ri:li/. Alternative form: /«mIsIn»tŒ˘pr´tIN/. Also /p´»tIkj´l´/. An intance of intrusive-r (i.e. an r not present in writing). Despite being disapproved of by some, this is a frequent phenomenon even among RP speakers. /t/ can optionally be elided: /»pŒ˘fIkli/. Also with optional elision of /t/. Glottalization (i. e. the use of a glottal stop instead of /t/) is fairly common in RP provided that /t/ occupies coda position and is followed by any consonant other than /h/. This is the weak form for he, /hi:/ being the strong form. A weak form without h is never used initially in an utterance.

20

A- ‖ ðɪs ɪz ˈnɒt ðə ˈfɜːst taɪm ðət ə ˈmɜːsi ˈkɪlə həz biːn ˈlet ˈɒf ‖ djuː9 ˈsiː ðɪs əz ə ˈtrend ðəts ˈhæpənɪŋ ˈnaʊ ɪn ðɪs ˈkʌntri ‖

22

B- ‖ aɪ ˈdəʊnt ˈθɪŋk hiː wəz ˈlet ˈɒf ‖ hiː wəz kənˈvɪktɪd ‖ ənd hiː həz bɪn ˈpʊt ɒn prəˈbeɪʃņ« | ən hiːl10 ˈnaʊ ˈget ðə ˈhelp ðət hiː ˈniːdz ‖ ‖ṃ « ‖ aɪ wʊd ˈhəʊp | ðət wiː ʃəl ˈnɒt ˈget ɪntu ə ˈsteɪt | weə ˈmɜːsi ˈkɪlɪŋ bɪˈkʌmz ɪn sʌm ˈsens ə ˈseprət ən ˈnjuː əˈfens | ˈdɪfrənt | frəm ðə trəˈdɪʃņļ « « ˈwʌnz əv ˈmɜːdər ən ˈmænˌslɔːtə ‖

9 10

Compression of the expresión do you with elision of the first vowel. Contraction of he + will. When this happens, neither the weak vowel form of the personal pronoun is usually used, nor the /h/ dropped usually.

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15. »INgl´nd ´n Di »i˘ »ju˘ 1

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A- ‖ ˈnaʊ aɪl ˈspeə juː ði1 ˈjʊərəʊˌdʒɑːgən ‖ bət ʌndə ˈðæt ˈsɪstəm | ðə ˈmʌni ɪz ˈrʌnɪŋ ˈʌp ˈnaɪntiːn ˈeɪti ˈwʌn | ənd ɪts ðə ˈkɒst əv ði ˌægrɪˈkʌltʃərļ« ˈpɒlǝsi | wɪtʃ ˈteɪks ˈsevņti pəˈsent əv ðə ˈb « ə ˈbʌdʒɪt ‖ ɪt ‖ ‖ əz |»sImpl ˈsɪmpl̩Ç ´z | əz»DQt | ˈðæt ´z bət bɪˈliːv ˈjuː ˈmiː | ðə ˈfɑːm ˈlɒbiz ǀ əz ˈvɪgərəs əz ˈevər ɪn ðæt jʊərəˈpiːən ˈpɑːlǝmənt | ðə ˈhændz ə ˈstretʃt ˈaʊt fə ˈjet ˈmɔː prəˈtekʃņ« ˈhɪə | ˈsʌbsǝdiz ˈðeə | ˈpraɪs ˈɪŋkriːsɪz ˈðeə ‖ ˈsəʊ | ˈdʒɒn | aɪ ˈθɪŋk ðə ˈkrʌntʃ ɪz ˈkʌmɪŋ ‖ juː kən ˈhæpǝli rɪˈlæks | ɪts ˈkʌmɪŋ ˈveri ˈkwɪkli ‖ B- ‖ bət jɔː ˈðeə tə ˈhelp ˈsɔːt ɪt ˈaʊt fər ʌs | aɪm ˈʃɔː ˈbɑːbrə ˈkɑːsļ« ‖ ˈterɪ ˈwəʊgən ‖ C- ‖ aɪ ˈdəʊnt ˈnəʊ ˈhaʊ aɪm ɪkˈspektɪd tə ˈkæp ˈbɑːbrə ˈkɑːsļ« ɔː ˈrɒbət ˈdʒæksņ« | bət bət aɪ aɪdəʊnt dəʊntˈθɪŋk ˈθɪŋkðət ðətði ðiˈiː ˈiːiːiːˈsiː ˈsiːɪzɪzgəʊɪŋ gəʊɪŋtə təˈfɔːl ˈfɔːləˈpɑːt əˈpɑːt‖‖ aɪˈnevə ˈnevəsəˈspektɪd səˈspektɪdˈdʒɒn ˈdʒɒnˈmɔːtɪmər ˈmɔːtɪmərəv əvbiːɪŋ biːɪŋəəˈlɪtļ ˈlɪtļ ˈɪnglənd ‖ aɪ « ˈɪngləndə ənd aɪ ˈθɪŋk wɪə gɒnə biː ɪn ˈjʊərəp2 | aɪ ˈθɪŋk wiː həv ˈnəʊ ɔːlˈtɜːnətɪv ‖ wiː hæv tə ˈsteɪ ˈðeə | ˈnaʊ ðət wɪə ˈðeə ‖ aɪ ˈθɪŋk ðeər ˌægrɪˈkʌltʃərļ« ˈpɒlǝsi həz biːn | ɪn ˈkɒmən ˈwɪð | ˈseɪ | ði ˌægrɪˈkʌltʃərļ« ˈpɒlǝsi əv ðə jʊˈnaɪtɪd ˈsteɪts ‖ ɪt ˈsiːmz tə biː ˈgɪəd tǝˈwɔːdz3 ˌəʊvəprəˈdʌkʃņ« | bɪˈkɒz4 ɪts eˈfɪʃņt « ‖ bɪˈkɒz ði ˌægrɪˈkʌltʃərļ« ˈɪndəstri ˈɪz eˈfɪʃņt « ‖ ɪts5 prəˈdjuːsɪŋ6 ˈfuːd | ɪts prəˈdjuːsɪŋ ˈwaɪn | ˈbʌtə ˈmaʊntɪnz | ˈwaɪn ˈleɪks | ðeə prəˈdjuːsɪŋ ˈtuː ˈmʌtʃ ‖ ðeɪ ˈhæv tə bi ˌɑːtɪˈfɪʃəli səˈsteɪnd baɪ ˈðæt ‖

Note the use of the form /ði/ despite the fact that a consonant follows. Native speakers are not so strict on the use of /ð´/+ consonant, /ðI/ +vowel as foreign learners of English are encouraged to use. Also with diphthong levelling: /j碖/. The prefix Euro- can be pronounced as /»jU´r´U/, /»jUr´U/, /»jUr´/ or even /»jç˘r´(U)/. Also /tU»wç˘dz/ and, in more casual speech, /»twç˘dz/ or /»tç˘dz/. Note the different ways this word is pronounced: /bI»kÅz/ (the first option given in the standard pronunciation dictionaries), /bIk´z/, unstressed, and an irregular /bI»k´z/ with stressed schwa, something which is not a characteristic of this phoneme as it occurs only in unstressed position in English. Contracted form of it +is. When is is a separate word, /s/ is voiced. In it’s, due to the assimilatory effect of /t/, is voiceless. Voiceless /s/, correspoding to spelling -ce finally in a word.

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ðeə prəˈdjuːsɪŋ ˈtuː ˈmʌtʃ ‖ ðeɪ ˈhæv tə bi ˌɑːtɪˈfɪʃəli səˈsteɪnd baɪ ˈðæt ‖ ˈpraɪsɪz7 ˈhæv tə bi ˈheld ˈʌp | ən ðɪs ɪz ˈwɒt ˈhæpənz ‖ ənd ˈevrɪθɪŋ ˈkɒsts ˈmɔː ðən ɪt ˈɔːt tuː ‖ ðəz8 ˈtuː ˈmʌtʃ biːɪŋ prəˈdjuːst | ˈægrɪkʌltʃər ɪz ˈtuː ɪˈfɪʃņt « ǀ ɪf ˈwʌn kən ˈseɪ ˈðæt ‖ ɪn ˈaɪələnd | aɪ rɪˈmembər ə ˈkʌpļ« əv ˈjɪəz9 əˈgəʊ | ðə ˈkɒmən ˌægrɪˈkʌltʃərļ« ˈpɒlǝsi wəz ən ɪˈnɔːməs ˈbuːn ‖ ˈenibɒdi huː10 ˈhæd ə ˈhʌndrəd ˈeɪkəz wəz ˈvɜːtʃʊǝli ə ˌmɪljəˈneə | bɪkəz juː wər ˈeɪbļ« tə ˈsel jɔːr ˈeɪkərɪdʒ fə ˈfaɪv ˈθaʊzņd « ˈpaʊndz ən ˈeɪkə ‖ ˈnaʊ ˈðæts biːn rɪˈvaɪzd… ‖ ɪts ɪts ˈmeɪd ˈmeɪd əə trəˈmendəs trəˈmendəs ˈdɪfrəns ˈdɪfrəns tə tə ði ði ˈaɪrɪʃ ˈaɪrɪʃ ˈfɑːmə ˈfɑːmə ‖‖ ɪtɪt ˈhæzņt ˈhæzņt ˈmeɪd əə trəˈmendəs trəˈmendəs ˈdɪfrəns ˈdɪfrəns tə tə ðə ðə ˈbrɪtɪʃ ˈbrɪtɪʃ ˈfɑːmə ˈfɑːmə || « ˈmeɪd bɪkəz ðə ˈbrɪtɪʃ ˈfɑːmər ɪz ˈmɔːr eˈfɪʃņt « ‖ bɪˈkɒz hiːz ˈbetər ˈɔːgənaɪzd ‖

Alternative form: /–´z/. Weak form for existential there. According to the EPD (see corresponding entry), some speakers hardly use the strong form whilst others hardly use the weak one. Besides this form – which is the one more commonly used – a number of speakers favour a long, monophthongal variant /j´˘/. Strong form for who; it is also used in unstressed syllables. The weak forms /hu/ and /u/ are less common.

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16. »gŒ˘l »tç˘k 1

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AA.- ‖ ˈsuːzi ˈhʌʃ | huː ˈmeɪ | ə meɪ ˈnɒt duː ˈdæmɪdʒ wɪð ɜː ˈnjuː ˈkɒmǝdi ˈsɪəriːz ɒn ˈaɪ ˈtiː ˈviː | wɪtʃ ɪz ˈsevņ« hɑːf ˈɑː1 ˈkɒmǝdiz ˈrɪtņ« baɪ ˈsevņ« ˈwɪmɪn | ɪz ˈnaʊ əˈbaʊt tə biː ɪnˈterəgeɪtɪd baɪ ˈbɜːnəd ˈfɔːlk ‖ ˈgɜːl ˈtɔːk | ðə ˈsɪəriːz2 ɪz ˈkɔːld ‖ BB.- ‖ ɪts | ɜː | ɪts ə ˈsɪəriːz əv ˈkɒmǝdi hɑːf ˈɑː ˈprəʊgræmz |ˈrɪtņ« baɪ ˈsevņ« ˈwɪmɪn ‖ 3 aɪ ˈθɪŋk ɪts ə sɪstǝˈmætɪk | ɪkˈstrɔːdņrǝli ˈfʌni əˈtæk əˈpɒn ˈmen ‖ « « ˈhaʊ wʊd juː dɪˈskraɪb jɔː ˈsɪəriːz | ˈsuːzi ‖ 4 5 CC.- ‖ aɪ wʊdņt « dɪˈskraɪb ɪt laɪk ˈðæt | ɪts ˈnɒt ˈment tə biː ən əˈtæk ə ˈtɔːl ‖ ˈwɒt ɪts ˈment tə biː | ɪz ə ˈkaɪnd əv | ˈɑːnsə | ˈɑːftər ˈɔːl ˈðiːz ˈjɪəz { ˈwɒt ɪts ˈment tə biː | ɪz ə ˈkaɪnd əv | ˈɑːnsə | ˈɑːftər ˈɔːl ˈðiːz ˈjɪəz tu ˈɔːl ðə ˈpiːpļ« huː ˈseɪ | ˈwɪmɪn ɑːnt6 ˈfʌni ‖ ˈweər ɑː ðə ˈwɪmɪn ˈstænd ʌp ˈkɒmɪks ǀ etˈsetrə ǀ etˈsetrə ‖ ðeɪ ˈɑː ˈðeə | ðeɪ ˈɑː ˈwɜːkɪŋ ‖ bət ɪn ə ˈmɔː ˈdʒenǝrļ« ˈsens | ˈwɪmɪn ər ˈæktʃʊəli ekˈstriːmli ˈfʌni ‖ pəˈtɪkjʊləli ˈwen ðeɪ ə ˈtɔːkɪŋ tu iːtʃ ˈʌðə ‖ ən ðeə ˈhjuːmə | aɪ ˈθɪŋk | ɪz ekˈstriːmli7 ˈbreɪv | ekˈstriːmli kəˈreɪdʒəs ‖ ˈwɪmɪn kən dɪˈskraɪb tə juː ðə ˈməʊst əˈpɔːlɪŋ ˈlaɪvz | ðə ˈməʊst əˈpɔːlɪŋ ˈkaɪndz əv ˈtraɪəlz ən ˈtraʊməz8 | ən ˈmeɪk ɪt əˈmjuːzɪŋ ‖

Smoothing of /a´/. Fairly common among advanced RP speakers, although alternation between both pronunciations may occur even within the same speaker (see further down in the text). Some people draw a distinction between the singular (/–Iz/) and the plural (/–i:z/). Besides the rendering of all the syllables but the stressed one and the final one with schwa (/–d´n´r´l–/, any of these syllables can have consonant syllabicity: /–dn,r`l`–/. In the recording, using signs of glotal reinforcement: [»men/ t´ –]. This expression is irregularly syllabified in British English, /t/ becoming head of the following syllable. To be forms followed by a contracted negative particle have always full nuclear form. Also /Ik»stri:mli/. /»trç˘m´/ is the first option given in the standard pronunciation dictionaries. Note also the pronunciation of final s: although the great majority of words of Latin or Greek origin ending in -as, -os, -us, -is end in a voiceless /s/, it is voiced in this case.

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ənd aɪ ˈθɪŋk ˈðæts ə ˈnæk ðət ə ˈlɒt əv ˈwɪmɪn ˈhæv | ənd ə ˈlɒt əv ˈmen meɪbi ˈd i ˈdəʊnt ‖ ˈdəʊnt ‖ ənd aɪ ˈθɪŋk ˈðæts ə ˈnæk ðət ə ˈlɒt əv ˈwɪmɪn ˈhæv | ənd ə ˈlɒt əv ˈmen meɪbi ˈsəʊ aɪ ˈdʒʌst ˈθɔːt ɪt wəz ˈtaɪm | ˈðɪs ˈhɪt ðə ˈskriːn ‖ aɪm ˈɔːlsəʊ ˈveri ˈæŋgrɪ əˈbaʊt… | wel | juː ˈlɪsņ« tə ˈmen ˈstændʌp ˈkɒmɪks | ən ðeɪ ˈtel ˈdʒəʊks əˈbaʊt | ˈwɪmɪn hʊ ə ˈgriːdi... | rəˈpeɪʃəs...| əˈpɔːlɪŋ... | məˈnɪpjʊlətɪv... | ənd… ‖ 9 wɪə ˈsəʊ kənˈdɪʃņd « | bɪkəz ðə ˈruːlɪŋ ˈnɔːm əv səˈsaɪəti ɪz dɪkˈteɪtɪd baɪ ˈmen | ðət wiː ˈlɑːf əz ˈwel ‖ ənd aɪ ˈlɑːf əz ˈwel ‖ B- ‖ ˈjeə ‖ C- ‖ˈɑːftər ˈɔːl ˈðiːz ˈjɪəz ǀ aɪ ˈdʒʌst ˈgɒt | ˈæŋgri əbaʊt ɪt | B- ‖ ˈjeə | ˈjeə ‖ C- | ənd ɪt ˈdʒʌst10 əˈnɔɪz mi ˈnaʊ | ənd aɪ ˈθɪŋk ɪts ˈtaɪm wiː hæd ðə ˈraɪt əv rɪˈplaɪ ‖ ɪts ə ˈveri ˈmaɪnə ˈraɪt əv rɪˈplaɪ | aɪ ˈmiːn | ɪts ˈθriː hɑːf ˈaʊəz ɪn ə | ˈweltər əv ˈaʊəz əv ˈtelɪvɪʒņ« wɪtʃ prɪˈdɒmɪnəntli bɪˈlɒŋ tə ˈmen ‖ pəˈtɪkjʊləli ɪn ˈhjuːmə ‖ . BB-‖ aɪ ˈræŋ ˈʌp ə ˈpæl əv ˈmaɪn | huːz ə ˈstænd ʌp ˈkɒmɪk | ən ˈsed | djuː ˈnəʊ ˈeni ˈfɑːðərɪnlɔː gægz ‖ ən hiː kʊdņt « ˈθɪŋk əv ˈwʌn ‖ ən hiː ˈsed | ˈiːvņ« ɪf hiː ˈdɪd θɪŋk əv ˈwʌn | ðeə nɒt ˈfʌni ‖

Alternative form, /–´d/. /t/ cannot be dropped here as there is a vowel following.

217

17. »du˘ »fem´nIsts »fç˘l In »l√v 1

A- ‖ ˈduː ˈfemǝnɪsts ˈfɔːl ɪn ˈlʌv əz ˈwel ‖ A.B.- ‖ ˈəʊ | aɪm ˈʃɔː1 | ˈjes ‖ B-

7

aɪ dəʊnt ˈθɪŋk ˈfemǝnɪsts ər ˈeni ˈmɔːr2 | ɪˈmjuːn tu ɪt ðən ˈenibɒdi ˈels ‖ aɪ ˈθɪŋk ɪts fænˈtæstɪkli ˈstrɒŋ ‖ aɪ ˈmiːn | ɪts ˈnɒt ˈrɪəli ˈveri səˈpraɪzɪŋ ju ˈθɪŋk | ˈevrɪθɪŋ əˈraʊnd juː | 3 ˈwɪmɪnz ˌmægəˈziːn | juː ˈtɜːn ˈɒn ðə ˈreɪdɪəʊ | ən ˈpɪk ʌp ˈeni ˈɔːdņri « ðə ˈmesɪdʒ ðəts biːɪŋ ˈpʊt ˈaʊt ɪz ðət | ju ˈnəʊ | ɪf ju ˈfaɪnd ðə ˈraɪt ˈpɜːsņ« | ˈðen juːl bi ˈhæpi ‖ ənd ɪf ju ˈdəʊnt ˈfaɪnd ðə ˈraɪt ˈpɜːsņ« | juː ˈwəʊnt biː ‖ ənd ɪts ˈwʌn« ˈpɜːsņ« | ənd ɪt ˈʃʊd4 biː fərˈevə ‖ aɪ ˈmiːn | ˈɔːl ˈðəʊz ˈmɪθs ðət ˈrʌn ˈsəʊ ˈstrɒŋli θruː aə5 səˈsaɪəti ‖

12

A.- ‖ ˈdjuː ˈθɪŋk ðəz6 ˈeniweɪ əˈraʊnd ðæt ðen ǀ ˈgɪvņ« ðǝt ˈpiːpļz A«

ɪˈməʊʃņz ər ˈɒbvɪəsli | ˈθɪŋz ðət ðeɪ kɑːnt ˈrɪəli kənˈtend wɪð | ˈwʌns ˈsʌmθɪŋz gɒt ˈstɑːtɪd | wɪtʃ ɪz ðə ˈfiːl…| ðə ˈkaɪndz əv ˈfiːlɪŋz ðət ˈpiːpļ« ˈhæv wen ðeə ˈfɔːlɪŋ ɪn ˈlʌv ‖ ɪz ɪt ˈlaɪkli ðət ˈmen ən ˈwɪmɪn wɪl biː ˈeɪbļ« tə hæv rɪˈleɪʃņʃɪps « ɪn ˈeni ˈʌðə ˈweɪ ‖

18

B- -‖ˈwel ǀ ˈɒbvɪəsli ǀ aɪ ˈθɪŋk ðət |ˈpɑːt əv ðə ˈprɒbləm ɪz | ðǝt B. ɪn ˈlɒts əv rɪˈleɪʃņʃɪps | ðə ˈmen ˈrɪəli ˈduː7 ˈhæv ˈmɔː ˈpaʊə ‖ « ðət ðeə ˈmɔː ˈlaɪkli tə hæv ˈbetə ˈpeɪd ˈdʒɒbz ‖ ņ« 8 ðə ˈhɒʊl səˈsaɪəti wʊd ˈsæŋkʃņ« | ðə ˈkʌpļ ˈmuːvɪŋ ˈweə ðə ˈhʌzbəndz ˈdʒɒb wɒz ‖

1

Smoothing of /U´/. This levelling of the diphthong to a monophthong is very common among the British young generation, particularly in monosyllabic words ending in r. Two instantes of linking-r in the words are any more immune. Also with schwa: /»ç˘d´n´ri/. Strong form for should. Smoothing whereby triphthong /aU´/ becomes a diphthong. Strong form for there’s. Speakers vary in their allegiance to the strong and the weak forms of the word. Emphatic do, therefore the strong form is used. One of the various weak forms for and. This syllabic variant occurs mostly between consonants.

2 3 4 5 6 7 8

218

26

9 10

ənd ˈhɪz ˈlaɪf ˈkʌmɪŋ ˈfɜːst | ən ðə ˈwʊmən ˈsɔːt əv… | ˈɔːl ðəʊz ˈkaɪnd əv ˈθɪŋz wɪtʃ aɪ ˈθɪŋk | ˈæktʃuəli9 | ˈmeɪk ɪt ˈveri ˈdɪfɪkļt lÇ nÇ fə rɪˈleɪʃņʃɪps | bɪˈtwiːn ˈmen ən ˈwɪmɪn tə ˈwɜːk | ˈeniweɪ ‖ bət aɪ səˈpəʊz | aɪ ˈθɪŋk ðət | wiːv ˈgɒt tə ˈstɑːt ˈteɪkɪŋ əˈpɑːt | ði aɪˈdɪər əv rəʊˈmæns | ənd ju ˈhæv tə ˈstɑːt ˈθɪŋkɪŋ əbaʊt ˈɔːl ðə ˈdɪfrənt ˈe t ˈelɪmənts ɪn | ˈlaɪk… | fər ˈɪnstəns | ɪf juː ˈfænsi ˈsʌmbədi | dʌz ˈðæt ˈmiːn ðət ðeə ˈrɪəli ˈgəʊɪŋ tə biː ˈsʌmbədi juː ˈwɒnt tə biː wɪð ɪn jɔːr ˈɒʊld10 ˈeɪdʒ ‖ ənd | əv ˈkɔːs | ˈwen ju ˈstɑːt ˈθɪŋkɪŋ əbaʊt ɪt | juː ˈθɪŋk ðəz | ˈnəʊ ˈtest ə ˈtɔːl əv ˈweðə ˈsʌmbədi | jɔːr ˈæktʃʊəli gəʊɪŋ tə ˈlaɪk ˈsʌmbədi ɪf ðeɪ ˈmeɪk juː ˈkaɪnd əv ˈflætəri əˈkrɒs ə ˈdɑːns flɔː ‖ ðəz ˈnəʊ ˌgærənˈti: ju: kʊd ˈæktʃəli nÇ əv ˈhævəəˌkɒnvəˈseɪʃn͎ ˌkɒnvəˈseɪʃn͎ əvˈmɔː ˈmɔːðən ðənˈten ˈtenˈwɜːdz ˈwɜːdzwɪð wɪð‖‖ ˈhæv

Other variants: /»æktSuli/,»æktSli/, and the very casual form /»ækSi/ « A variant of diphthong /´U/ used only by Wells in monosyllabic words checked by /l/.

219

18. »trQNkwIlaIz´z 1

A- ‖ ˈɑː | ˈgʊd ˌmɔːnɪŋ | mɪsɪz ˈrɒbɪnsǝn ‖ ən ˈsɪt…| ˈsɪt daʊn

Bwǝʊnt1 ˈjuː ‖ w«

6

12

18

25

1 2 3 4 5 6 7 8 9

220

B- ‖ ˈθæŋk juː ˈdɒktǝ ‖ aɪm ˈsɒri tə ˈteɪk ʌp jɔː ˈtaɪm | bət…| aɪm ˈgetɪŋ ɪntə ə ˈsteɪt əˈgeɪn2 ‖ A- ‖ ˈəʊ ‖ BB- ‖ ɪts ǝ ˈsɔːt ǝv ˈθɪŋ… ‖ aɪ ˈkɑːnt ˈkəʊp ‖ aɪ ˈdʒʌst ˈfiːl ðət maɪ ˈdʒɒb ɪz ˈtuː ˈmʌʧ fǝ ˈmiː ‖ ɪts ˈnɒt aɪm dɪˈprest ‖ aɪ get ˈtens ˈɔːl ˈwɜːkt ˈʌp ‖ ɪts ˈnɒt ˈdʒʌst3 ðə ˈdʒɒb ‖ aɪm ðə ˈseɪm wɪð ðǝ ˈʧɪldrən ‖ aɪ…| get səʊ ˈkrɒs wɪð ðem ‖ A- ‖ ˈjeə | aɪ ˈsiː ‖ B- ‖ ˈæn wɪð maɪ ˈhʌsbənd ˈtuː ‖ aɪ…| A- ‖ ˈjeə | aɪ ˈsiː əʊnli tuː ˈwel ‖ bət ˈwɒt kṇ nÇ ə ˈdɒktǝ ˈduːz | tə ˈpʊt ˈraɪt ə ˈlaɪf ðəts ˈdʒʌst ə ˈbɪt əv ə ˈmes ‖ wiːv ˈtraɪd ˈevriθɪŋ əʊvə ðə ˈjɪǝz | ɪnˌvestɪˈgeɪʃṇz nÇ | rɪˈfɜːrəlz4 tə ˈspeʃl̩lÇ ɪsts | ˈmærɪdʒ ˈgaɪdəns | ðə ˈlɒt ‖ 5 aɪ səˈpəʊz wɒt ɪt ˈkʌmz ˈdaʊn tu ɪt ɪz ðət | evri ˈnaʊ ən əˈgen | ʃiː ˈwɒnts tə ˈkʌm ɪntə ðə ˈsɜːdʒəri | ˈdʒʌs ˈpɔːr ɪt ˈɔːl ˈaʊt | ən ˈðen ˈwɔːk aʊt wɪð ðə prəˈskrɪpʃṇ nÇ | fər ə ˈtræŋkwɪlaɪzə ‖ B- ‖ səʊ wət ˈaɪ wəz ˈwʌndərɪŋ | ˈdɒktǝ | wǝz…| ˈwel | kʊd juː prɪˈskraɪb ˈsʌmθɪŋ fə miː ‖ ˈdʒʌs ˈsʌmθɪŋ tə ˈhelp miː tɪl aɪ ˈfiːl ə bɪt ˈbetə ‖ A- ‖ ˈhɪə wiː ˈgəʊ əˈgen… | ʃi ˈwɒnts ə ˈtræŋkwɪlaɪzə ‖ ItlÇ6 ˈhelp ɜː7 θruː ðə ˈneks8 fjuː ˈwiːks ‖ ən ɪt ɪs ˈdʒʌstɪfaɪd aɪ səˈpəʊz | ɪf ɪtl̩ əʊˈkeɪ ðen ‖ ˈvæliəm ‖ ˈhɪə ju ˈɑː ˈðen | mɪsɪz ˈrɒbɪnsǝn ‖ ɪts…| ɜː…|ˈvæliəm ‖ rlÇ əv maɪ ˈfrendz ˈɑːr ɒn ɪt ‖ B- ‖ ˈɑː… | ˈθæŋk juː ˈdɒktǝ ‖ ˈsevṛḷ A- ‖ aɪ ˈbet ðeɪ ˈɑː ‖ B- ‖…ən ˈsʌmwʌn ət ˈwɜːk ˈsʌmtaɪmz ˈgɪvz miː hɜːz9 | ðeɪ meɪk mi ˈfiːl ˈmʌʧ betǝ ‖

/t/ can be dropped if a consonant follows. More common is the smoothed form /´»gen/. Optional elision of /t/. Alternative pronunciation with schwa: /r´-/. Also /aI »sp´Uz/ in the expression I suppose. Contracted form for it will. In British English it has only one form /It/. Other varieties of English also have a weak form with /´/. One of the weak forms for her. In cases like this one, h can be optionally dropped. Optional elision of /t/ when flanked by consonants other than /h/. This possesive pronoun never drops the /h/ if stranded.

29

C- ‖ ˈwɛl | ˈjɛs ‖ ən ˈlɑːst jɪǝ ˌfamɪli ˈdɒktǝz ˈrəʊt ˈaʊt ˈmɔː nÇ fə ˈvalɪəm əˈləʊn | tə ˈmeɪk ˈpiːpḷlÇ lʌɪk ðən ˈθriː ˈmɪljən prəˈskrɪpʃṇs mɪsɪz ˈɑː ˈfiːl bɛtǝ ‖ ǝnd ˌəʊvərˈɔːl | ˈfɔːti ˈtuː ˈmɪljən prəˈskrɪpʃṇs wə ˈrɪtṇ tnÇ aʊt fə ˈtraŋkwɪlʌɪzəz ən ˈsɛdǝtɪvz | ǝt ǝ ˈkɒst ǝv ˈmɔː ðən ˈfɔːti ˈmɪljən ˈpaʊndz ‖ nÇ əv ðə ˈniːd fə ˈsʌʧ ˈwʌɪdsprɛd ˈteɪkɪŋ əˈsʌɪd ðə ˈkwɛsȷṇ prəˈskrʌɪbɪŋ ǝv ˈmuːd ɔːltɛrɪŋ ˈdrʌgz | ˈwɒt əbaʊt ðɛː ˈkɒst ‖ naʊ wɛn ə ˈdrʌg z ˈfəːst prəˈdjuːst | ðə ˌpeɪtənt ˈlɔːz | ˈgɪv ɪts ˌmanjəˈfakȷərə » ðɪ ɪksˈkluːsɪv ˈrʌɪt tə ˈmeɪk ən ˈmɑːkɪt ɪt fər ə ˈnʌmbər əv ˈjɪəz | ˈnǝʊ wʌn ˈɛls kən prəˈdjuːs ɪt ɔːr ˈjuːz ɪts ˈbrand neɪm…‖

10

Weak form for is.

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7.3.3 OPD-2001 System (Oxford English Pronunciation for Current English by Upton, C., Kretzschmar, W.A. and Konopka, R. OUP, 2001) The OPD, published by OUP in 2001, is the result of a joint effort of British and American linguists (Upton, C., Kretzschmar, W. A. and Kopka, R.) concerned with the current pronunciation of British and American English. The publishers boast the dictionary is “the most up-to-date record of the pronunciation” of both varieties. Irrespective of such a contentious claim – both the LPD and the EPD cover both varieties in a comprehensive way too – this dictionary represents another contribution for both native and foreign students alike in the field of English pronunciation. In tandem with the two previous dictionaries, the OPD covers the two main varieties of English: British (BR) and United States American English (AM). The British variety corresponds to ‘mainstream’ RP in Wells’ typology (‘general’ in Gimson’s, ‘BBC English’ in Roach et al.’s ). Upton et al. prefer to use the label ‘broadcast RP’ (or just RP since it is its unmarked variety), an educated accent used by “most national radio and television newsreaders and by very many middle-aged and younger professional people” as they write in the introduction. Thus, the variety represented in the OPD is claimed to be the most intelligible to native British speakers, the most widely acceptable, spoken by a wide range of natives all over the country, and is not explicitly linked to the concept of social class. For the American pronunciation model, as no acknowledged standard pronunciation exists, the authors have decided to represent the variety heard in the national broadcast media and the speech of young educated speakers, free from regional features in both cases. Despite claims to the contrary, it is obvious that the content of the dictionary is much the same as the one found in the other two pronunciation dictionaries where mainstream RP and network English are a nuclear component too. But several features set this dictionary apart.

222

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The OPD has less lexical entries than the other two competing pronunciation dictionaries: just 100,000 entries representing the core vocabulary of English. In compensation, the range of pronunciations given is larger, although in the case of foreign words, no hint is given as to their pronunciation in the original language, a feature found in the other two dictionaries. Like them, a generous amount of proper names as well as uncommon words is included, but no information panels are given, something the LPD and to a lesser extent the EPD do. Each headword consists of a single option (the ‘unexceptionable’ pronunciation disregarding age, class or regional variations) for each of the two varieties. Other options are also given, but, generally speaking, the authors are sparing with the use of alternative pronunciations, mostly, but not exclusively, referred to the British variety (there are no opinion polls as to the way native speakers handle controversial words as we find in the LPD). Typographically, the two accents appear listed one below the other, first BR then AM, making comparison between pronunciations extemely intuitive. Unlike the compactness of the LPD or the EPD (two and three columns respectively), the OPD has four columns per page, yet there is no impression of clutteredness at all. If we look at the phonetic symbols used, the OPD uses an identical set to represent both varieties of English. It is in this respect, however, where differences between this dictionary and the LPD and EPD are more notorious. Transcriptions in the OPD, for instance, are not phonemic, but ‘broadly phonetic’. This may account for the introduction of symbols not found in the other dictionaries, although this does not prevent a de facto phonemic representation in a number of cases. As regards transcription conventions the OPD departs from the standard practice in several respects. [a], a typical Northern English feature, is used instead of [æ] to better capture the current phonetic behaviour of the younger generation in Britain – not in the States nor in Australia where [æ] is more common (incidentally, the suggestion of using [a] instead of [æ] goes 223

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224

back to Jones at least; Abercrombie, for obvious reasons, used it too, but they were referring to the British variety). Because of this lowering, Upton et al. represent [e] as [E], also a fairly regular representation found in the work of some British phoneticians (Jones, 1950; Abercrombie, 1962; Gimson, 1962; MacCarthy, 1978). What is innovative (‘unfortunate’ in Wells’ words – see his webpage), is the use of [√I] for [aI]. True that the former was used by MacCarthy, but it is no less true that some earlier British phoneticians (e. g. Armstrong) were in favour of substituting the monophthong [√] for [a] to reflect the centralised quality of the latter (Roach et al. make a similar plea in the introduction to the EPD). The upside down ‘v’ is, on the other hand, a more exotic symbol than ordinary Latin ‘a’. Indeed, one has to concur with Wells that [√] is neither typographically nor phonetically the best choice, particularly within an EFL context. Less controversial is the use of [E˘] to capture the sound [e´] in a word like square, more linked to a marked variety of RP as Upton et al. point out despite Wells’ opinion to the contrary. Unlike the initial Edinburgh system, where both [E] and [Œ] are used to represent the nuclear values of bed and bird, leading to frequent misinterpretations on the part of the unwary transcriber, there is no such danger with the OPD as the latter sound is transcribed with [´˘]. Note, however, that such practice does away with the distinction between the long vs. short set of vowels in terms of using different letter symbols. A further peculiarity of the OPD is the introduction of two separate symbols never found in previous transcription practices: [I-] and [U ––]. The former stands for the sounds [I] or [´] when they are in free variation, whereas the latter is used to represent [U] or [´] in the same situation. The use of final [-i], as in lady, apparently coincides with the one we find in both the EPD and the LPD in similar cases, but the philosophy behind such use is not coincidental: in the OPD [i] implies greater tension and greater length, whereas in the other two dictionaries, this symbol is used as an archiphoneme that stands for either [i:] or [I].

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Finally, a brief comment on stress marking. In the case of BR, secondary and tertiary stress precede the primary one. As for the behaviour of secondary stresses on unreduced syllabic nuclei, it gives rise to different stress patterning in AM. In order to capture this, Upton et al. make use of double stressing (e. g. »«oUv´r»«bErIN), thus allowing for up to three different possibilities.

Apart from the OPD, the COD (Consise Oxford Dictionary), and the excerpts transcribed in this book, this system of transcription has been partially used by Olausson and Sansger (2006) in their Oxford BBC guide to pronunciation transcribing /e/→ /E/, /e´/→ /E˘/ and /aI/→ /√I/.

Fig. 13. Upton et al. BritE monophthongs.

ə

ı ə

Fig. 14. Upton et al. BritE diphthongs. Notice the monophthongization of /e´/→/E˘/.

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ı

7.3.3.1 Phonetic texts (OPD System) The corresponding ordinary spelling on pages 63–80. Comments to the sample transcriptions on pages 191 to 221.

1. D´ »wED´ »fç˘kA˘st 1

. ‖ an ˈnaʊ ðə ˈwɛðə ˈfɔ:kɑ:st ‖ ən ʌɪ ˈhəʊp jʊ ɪnˈdʒɔɪd ðə ˈsʌmə ˈjɛstədeɪ ǀ bɪˈkɒz ɪt ˈmeɪ nɒt ˈlɑːst ˈmʌtʃ ˈlɒŋgə ‖ ˈɪŋglənd ən ˈweɪlz wɪl ˈstɑːt ˈdrʌɪ ən ˈsʌni ǀ bət ˈklaʊdz wɪl ɪnˈkri:s ɪn ðə ˈwɛst ðɪs ˈmɔːnɪŋ ǀ wɪð ˈreɪn ɪn ˈpleɪsɪz ˈsprɛdɪŋ ˈi:st tʊ ˈɔ:l ˈpɑ:ts bʌɪ ðɪs ˈiːvnɪŋ ‖ ˈreɪnfɔːl əˈmaʊnts wɪl bɪ ˈvɛri ˈsmɔːl ɪn ðə ˈsaʊθ | ˈmɛni ˈpleɪsɪz ˈsteɪɪŋ ˈdrʌɪ | bət ðɛ: ˈmeɪ bɪ səm ˈhɛvɪər ˈaʊtbreɪks ǀ ɪn ˈnɔːθwɛst ˈɪŋglənd ‖

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ˈreɪnˈhɛvi ˈhɛviɪnɪnˈpleɪsɪz ˈpleɪsɪzɪnɪnÈwEstn ˈwɛstņ ˈskɒtlənd ən ən ˈnɔ:ðən ˈnɔ:ðən ˈʌɪələnd ˈʌɪələnd | | .0.ˈreɪn ˈwɛstņ Ç ˈskɒtlənd wɪl ˈsprɛd tʊ ˈiːstən ˈskɒtlənd ðɪs ˈmɔːnɪŋ | ˈfɒləʊd bʌɪ ˈbrʌɪtə ˈwɛðə wɪð ˈʃaʊəz ‖ ˈtɛmprətʃəz | ˈsɪmələ tuː | ɔːr ə ˈlɪtl̩ tlÇ ˈhʌɪə ðən ˈjɛstədeɪz ‖ ˈwɪndz | ˈlʌɪt ɔː ˈmɒdərət ˈsʌðəli ‖

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5. ˈaʊtlʊk ‖‖ əə ˈfjuː ˈfjuː ˈʃaʊəz ˈʃaʊəz ɪnɪn ðə ðə ˈnɔːθ ˈnɔːθ ət ət ˈfəːst ˈfəːst‖‖ . ðɪðɪ ˈaʊtlʊk bət ˈɔːl ˈpleɪsɪz bɪˈkʌmɪŋ ˈdrʌɪ | ˈsʌni ənd ˈwɔːm | ɔːlˈðəʊ ˈleɪtə səm ˈaʊtbreɪks əv ˈhɛvi ˈreɪn meɪ ˈsprɛd tʊ ˈsʌðən ˈdɪstrɪkts ‖

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2.

«√nIm»plçIm´nt

1

. ‖ ðə ˈstɑːk ˈfakt ðət ˌʌnɪmˈplɔɪmənt ɪn ˈbrɪtņ« ǀ həz ˈnaʊ ˈriːtʃt ǀ ˈwʌn ˈpɔɪnt ˈnʌɪn ˈmɪljən | ə ˈlɛvl̩« ˈnɒt ˈsiːn sɪns ðə ˈmɪd ˈθəːtɪz | prəˈvʌɪdz ðɪs ˈmɔːnɪŋz ˈpeɪpəz wɪð ðɛ: ˈmeɪn ˈθiːm ‖

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. ðə ˈdeɪli ɪkˈsprɛs ˈsʌmz ɪt ˈʌp ‖ ə ˈdʒɒb ˈlɒst ˈɛvri ˈtwɛnti ˈsɛkəndz ‖ ən ðə ˈmɪrə ˈfɔ:kɑ:sts ðət ˈbʌɪ ˈkrɪsməs | ˈtuː ˈmɪljən wɪl biː ˈaʊt əv ˈwəːk | ɪˈnʌf tə ˈfɔ:m ə ˈdəʊl ˈkjuː ˈstrɛtʃɪŋ frəm ˈlandz ˈɛnd tə ˈdʒɒn əˈgrəʊts ‖ ðə ˈtʌɪmz ˈsɛz ðə ˈfɪgəz ər ˈɔːl ðə ˈwəːs ǀ fə ˈhavɪŋ aʊtˈpeɪst ðə ˈməʊst pɛsəˈmɪstɪk ˈfɔːkɑːsts ‖

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. ðəðəˈdeɪli 2. ˈdeɪliˈstɑː ˈstɑː| |ˈjuːzɪz ˈjuːzɪzðəðəˈpɪktʃər ˈpɪktʃərəvəvˈjʌŋ ˈjʌŋˈstiːv ˈstiːvəʊˈniːl əʊˈniːl| | tuː tuːˈɪləstreɪt ˈɪləstreɪtðəðəˈtradʒədi ˈtradʒədi‖ ‖ hiːz »sIksti˘n ˌsɪksˈtiːn ənd ə ˈhɑːf | ənd ɪz ˈdʒɒb ˈprɒspɛkts ə ˈnɪl ‖ ´n Iz ðə ˈmeɪl rɪˈpiːts ˈmɪsɪz ˈθatʃəz ˌdɛkləˈreɪʃņ« ǀ ðət ðɛ: kən biː ˈnəʊ ˈmɪrəkl̩« ˈkjʊə ‖ ˈɔːl ðə ˈpeɪpəz əˈgriː | ðə ˈfɪgəz ə ˈʃɒkɪŋ ‖ bət əˈpɪnjənz əˈbaʊt ˈhuːz ət ˈfɔːlt | ən ˈwɒt ʃʊd bi ˈdʌn | ˈvɛːri ‖

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. ðəðəˈtɛlɪgrɑːf 0. ˈtɛlɪgrɑːf ˈsɛz ˈsɛz ɪtsɪts ðə ðə ˈbɪtə ˈbɪtə ˈhɑːvɪst ˈhɑːvɪstǀ ǀ əv ðə ˈfɒlɪz əv aə ˈmɑːstəz əʊvə ˈmɛni ˈjɪəz | and ɪt ˈkɔːlz ɒn ðə ˈgʌvənmənt | tə ˈstand ˈfəːm ɒn ɪts ˈprɛzņt ˈpɒləsɪz ‖ « ðə ˈtʌɪmz meɪnˈteɪnz ðət ˈəʊnli ə ˈpɒləsi | ˈeɪmd ət ˈbrɪŋɪŋ ˈdaʊn ɪnˈfleɪʃņ« | wɪl prəˈvʌɪd ə lɒŋ ˈtəːm kjʊə fər ʌnɪmˈplɔɪmənt ‖ ən ðɛ:z ə ˈsɪmələ ˈsɛntɪmənt | ɪn ðə ˈsʌn ‖

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3. »di:»naSn« ´l√Izd »Ind´strIz 1

. A- ‖ ˈnaʊ ‖ ˈwɒt həv ðə ˈfɒləʊɪŋ ˈɪndəstrɪz ɪn ˈkɒmən | ðə ˈreɪlweɪz | ˈrəʊd ˈpasɪndʒə ˈtranspɔːt | ɪˌlɛkˈtrɪsəti dʒɛnəˈreɪʃņ« | ðə ˈdɒks | ðə ˈpəʊst | ˈsɪvl̩« ˌeɪvɪˈeɪʃņ... ‖ « ðɪ ˈɑːnsə ‖ ðɛːr ˈɔːl ˈbiɪŋ ˌdiːˈnaʃņəlʌɪzd ˈraʊnd ðɪ ˈɛdʒɪz ‖ «

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. təˈdeɪ ǀ wiːl ˈwɪtnəs ðə ˈθəːd ˈriːdɪŋ ɪn ðə ˈkɒmənz ǀ əv ðə ˈsɪvl̩« ˌeɪvɪˈeɪʃņ« ˈbɪl ǀ wɪtʃ | ˈwɛn ɪt bɪˈkʌmz ən ˈakt | wɪl pəˈmɪt ðə ˈseɪl tə ðə ˈpʌblɪk əv ˈʃɛːz ɪn ˈbrɪtɪʃ ˈɛːweɪz ‖ ðɪ ˈɛːlʌɪn wɪl bɪˈkʌm ˈbrɪtɪʃ ˈɛːweɪz ˈlɪmɪtɪd ‖ ˈɑːθə ˈriːd | ˈɛː ˌkɒrəˈspɒndənt fə ðə ˈtʌɪmz | ɪnˈtɛndz ˈtəʊld| |ˈniːl ˈniːl ˈbɛrət ˈbɛrətǀ ǀˈhaʊ ˈhaʊ ðə ðə ˈgʌvņmənt ˈgʌvņmənt ɪnˈtɛndz tətə ˈgəʊ ˈgəʊ əbaʊt əbaʊt ˈðɪs ˈðɪs ‖‖ «

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1.B-B- ‖ ðɪ ʌɪˈdɪər ɪz ðǝt ɪt wɪl bɪˈkʌm ə ˈprʌɪvɪt ˈkʌmpəni ǀ pə pə ˈsɛntˈsɛnt əv əv ðə ðə ˈʃɛːzˈʃɛːz ɪn ðə ˈ ˈ wɪð ðə ˈgʌvņmənt ˈhəʊldɪŋ ˈwʌn ˈhʌndrəd ɪn ðə ´ ˈhʌndrəd « ən ˈðɛn | ət ə ˈdeɪt wɪtʃ ɪz tə biː əˈnaʊnst | ə ˈʃɔːt ˈtəːm ‖ ən ˈðɛn | ət ə ˈdeɪt wɪtʃ ɪz tə biː əˈnaʊnst | ðə ˈgʌvṇmənt wɪl ˈɔːfər ə mʌɪˈnɒrəti ‖ « prɪˈzju:məbli əˈbaʊt ˈfɔːti ˈnʌɪn pə ˈsɛnt əv ðə ˈʃɛːz ɒn ðɪ ˈəʊpņ« ˈmɑːkɪt | fɔːr ˈɛnɪbɒdi | ˈmɛmbəz əv ðə ˈpʌblɪk ɔː ˌkɔːpəˈreɪʃņz tə ˈbʌɪ ‖ «

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7.AA-‖ ˈhaz ðə gʌvņmənt ˈsɛd ˈhaʊ ˈðɪs ˈseɪl ɪz ˈgəʊɪŋ tə ˈteɪk ˈpleɪs ‖ ˈhaʊ mɛni ˈʃɛːz ˈiːtʃ ˌɪndɪˈvɪdjʊəl ˈpəːtʃɪsə wɪl bɪ əˈlaʊd tə ˈbʌɪ | fər ɪgˈzɑːmpl̩« ‖

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4. »hç˘tII«k√ltS´ 1

. A- ‖ ˈnaʊ | ˈlɪsņɪŋ tə ˈdʒeɪn ˈəʊvə ðə ˈpɑːst ˈjɪər ɔː ˈsəʊ | « ɒn ðə ˈsʌbdʒᵻkt | Ikt əv ˈgɑːdņɪŋ « ˈʌɪv ˈfaʊnd hə sɪstəˈmatɪk kamˈpeɪn əv dɪˈstrʌkʃņ« | əv ɔːl ðɪ ɪkˈskjuːsɪz ʌɪv ˈkɛːfəli ˈnəːtʃəd | fə ˈnɒt duːɪŋ ˈdʒɒbz əˈraʊnd ðə ˈgɑːdņ« | rɑːðə | dɪsˈteɪstfl̩« ənd ˈhəːtfl̩« ‖

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.. haʊˈɛvə haʊˈɛvə || ʌɪ ʌɪ ˈθɔːt ˈθɔːt ðət ðət ˈspreɪɪŋ ˈspreɪɪŋ ˈʃrʌbz ˈʃrʌbz fə fə ˈgriːnflʌɪ ˈgriːnflʌɪ || wəz ə ˈprɪti ˈseɪf təˈbuː ‖ ɪt ɪnˈvɒlvd ˈdiːlɪŋ wɪð ˈdeɪndʒərəs ˈpɔɪzņz « | wɪtʃ ʌɪ mʌɪt ˈspɪl ɒn mʌɪˈsɛlf ‖

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0. ɪnˈvɒlvd ˈwɛːrɪŋ ˈwɛːrɪŋ ˈrʌbə ˈrʌbə ˈglʌvz ˈglʌvz | | . ɪtɪt ɪnˈvɒlvd wɪtʃ wʊd wʊd ˈmeɪk ˈmeɪk ɪtɪtˈvɛri ˈvɛri ˈdɪfɪkl̩ ˈdɪfɪkl̩ ˈmiː tətə ˈhandl̩« ˈθɪŋz | wɪtʃ t« t fəfə ˈmiː ən | ˈɛnɪweɪ | ʌɪ ˈkʊdṇt fʌɪnd ðə ˈgriːnflʌɪ | « ˈiːvn ɪf ʌɪ ˈwɒntɪd tuː ‖ ʌɪ ˈhav ə ˈnɑːsti ˈfiːlɪŋ ˈðəʊ | ðət ˈfɪlɪs | ðə ˈfɪəlɪs ˌhɔːtɪˈkʌltʃərəlɪst | ɪz ˈdʒʌst əˈbaʊt tə ˈpʊt ˈpeɪd tʊ əˈnʌðə ˈkʌmftəbl̩« ˈfɪkʃņ« ‖

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6.AB- ‖ ˈʌɪ ˈam ǀ bɪkəz juː ˈnəʊ | ˈspreɪɪŋ ɪz ˈrɪəli ˈwʌn əv ðəʊz ˈdʒɒbz ðət ɪzṇt ˈnɪəli əz ˈdɪfɪkl̩« t əz ɪt ˈsiːmz ‖ ʌɪ dɪˈskʌvəd ˈðat |ˈwɛn ʌɪ ˈwɒtʃt ən ɪkˈspɛrɪmənt ɪn ˈspreɪɪŋ | dʌn ˈriːsņtli bʌɪ ə ˈblʌɪnd ˈgɑːdnə | wɪð ðə ˈhɛlp əv ə ˈsʌɪtɪd ˈwʌn | « huːz ˈɔːlsəʊ ə ˈrɛgjʊlə ˈtjuːtər ət ðɪ ˈanjuːəl ˈgɑːdņɪŋ ˈwɪkɛnd ˈkɔːsɪz ‖ «

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ˈwɒtjuːjuːˈniːd ˈniːd| |ɪzɪzˈɛni ˈɛniˈkʌɪnd ˈkʌɪndəvəvˈspreɪə ˈspreɪə| | .1.ˈwɒt ðət juː kən ˈhəʊld wɪð ˈwʌn ˈhand | bɪkəz ðɪ ˈʌðə ˈhand ɪz ˈniːdɪd tə ˈgʌɪd juː əˈraʊnd ðə ˈbʊʃ ɔː ˈʃrʌb ‖

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5. »√nj´nz v´˘s´s S´»lÅts 1

. AA- ‖ˈnaʊ ǀ tʊ ə ˈbɪt əv ˈkʊkɪŋ ‖ ðəz ˈskɛːsli ə ˈseɪvəri ˈrɛsəpi ðət ˈdʌzņt ˈkɔːl fər ə ˈlɪtl̩« ˈʌnjən ‖ « ən ðɪ ˈʌnjən ən ɪts ˈkləʊs ˈrɛlətɪvz ǀ lʌɪk ðə ˈliːk | ɑːr əˈmʌŋ ðɪ ˈəʊldəst ˈvɛdʒtəblz « ǀ əˈparəntli ˈnəʊn tʊ əs ‖ ən ˈðɛːr ɑːr ˈɔːl ˈsɔːts əv trəˈdɪʃņz əˈtatʃt tə ðəm ‖ «

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.. ˈʌnjənz ɪn ˈʌnjənz wə wə ˈgɪvņ ˈgɪvņ əz ˈwɛdɪŋ ˈwɛdɪŋ ˈprɛzņts ˈprɛzņts ɪn ˈeɪnʃņt ˈeɪnʃņt ˈgriːs ‖‖ « əz « « ˈgriːs ˈstreɪndʒ ‖‖ ˈstreɪndʒ ˈwɛdɪŋ ˈwɛdɪŋ ˈprɛzņts ˈprɛzņts « bət əˈparəntli ðeɪ wə bɪˈliːvd tə ˈhav ˌafrəˈdɪzɪak ˈkwɒlətɪz ‖ ən ˈliːks əv biːn əˈraʊnd sɪns ðə ˈtʌɪmz əv ðə ˈfɛːrəʊz ‖

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.0.ˈpat ˈpatˈteɪləz ˈteɪləzbɪn bɪnˈtɔːkɪŋ ˈtɔːkɪŋˈʌnjənz ˈʌnjənzwɪð wɪðˈhəʊm ˈhəʊmɪˈkɒnəmɪst ɪˈkɒnəmɪstǀ ˈkeɪt ǀ ˈkeɪtˈhastrɒp ˈhastrɒp‖ ‖ ananʃɪʃɪbɪˈgan bɪˈganbʌɪ bʌɪˈɑːskɪŋ ˈɑːskɪŋ| |ˈwɒt ˈwɒtˈɑːˈɑːðəðəˈmɛmbəz ˈmɛmbəzəvəvðɪðɪˈʌnjən ˈʌnjənˈfaməli ˈfaməli‖ ‖

B- ‖ˈəʊ | ˈwɪə ˈtɔːkɪŋ əˈbaʊt ˈʌnjənz ɪn ˈɔːl ɪts ˌvɛːrɪˈeɪʃņz « ‖ ˈliːks | ˈgɑːlɪk | ˈtʃʌɪvz | ˈsprɪŋ ˈʌnjənz | ən əv ˈkɔːs | ʃəˈlɒts ‖ ən ðə ˌvɛːrɪˈeɪʃņ« əv ðə ˈsprɪŋ ˈʌnjən wɪtʃ ˈlʊks rɑːðə ˈlʌɪk ə ʃəˈlɒt | wɪtʃ ɪz ə ˈwɛlʃ ˈʌnjən ǀ wɪtʃ ɪz ˈwɛl ˈwəːθ ˈhavɪŋ ɪn ðə ˈgɑːdņ« ǀ bɪkəz ˈðats ə pəˈrɛnɪəl ‖

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7.AA- ‖ ˈwɒts ðə ˈdɪfrəns bɪˈtwiːn ə ʃəˈlɒt ənd ən ˈʌnjən ‖ B- ‖ˈwɛl | ə ʃəˈlɒt ˈgrəʊz ɪn ˈklʌmps təˈgɛðə | ən ˈsprɪŋz ˈaʊt frəm ðə ˈsʌɪd frəm ə ˈsɛntrəl ˈbʌlb ‖ ən ðɛ: ˈdʒɛnərl̩« i ˈjuːzd ɪn ðɪs ˈkʌntri fə ˈpɪklɪŋ | ən ðeɪ ˈʃʊdņt biː kənˈfjuːzd wɪð ðə ˈlɪtl̩« beɪbi ˈʌnjən ‖ « A- ‖ ṃ« ‖ ʌɪ ˈθɪŋk ˈmɛni ˈpiːpl̩« ˈduː ɪn ˈfakt ‖

23

230

3.AB- ‖ ˈðats ˈrʌɪt ‖ beɪbi ˈʌnjənz ə nɒt ɔːtəˈmatɪkli ʃəˈlɒts ‖ ən ˈpɪklɪŋ ˈʌnjənz ɑː ˈju:ʒʊəli ə ˈnʌɪs | ˈraʊnd | ˈʃeɪp | ðət ˈɑːr ə ˈsmɔːl vəˈraɪəti wɪtʃ əv bɪn ˈgrəʊn ɪn ˈrɑːðə ˈpɔː ˈsɔɪl | an ˈsəʊ ðət ðeɪ ˈdəʊnt ˈgrəʊ ˈɪntə ðə ˈbɪg ˈbʌlbəs ˈwʌnz | ðət wɪ ˈwɒnt ɪn ðə ˈmʌtʃ ǀ jʊ ˈnǝʊ ǀ ˈbɪgə ˈkʊkɪŋ ˈʌnjən ‖ ðə ʃəˈlɒts ə ˈmʌtʃ ˈmʌɪldə | ˈmʌtʃ ˈmɔː ˈdɛlɪkət | ən ˈmʌtʃ ˈmɔː ˈsuːtəbl̩« fə ˈdɛlɪkət ˈfleɪvəd ˈfuːdz ‖

6. DI ´»mEr´k´n Ik»spI´rI´ns 1

. ‖…ˈwɛl | ˈnəʊ ‖ ðɪ əˈmɛrɪkənz hav ˈdɪfrņt təˈbu:z tʊ ˈʌs ‖ « ʌɪ ˈmi:n ǀ ðɛ: ˈmɔ: ˈfrʌɪtņd ˈstɪl əv ˈθɪŋz | « wɪə ˈnɒt səʊ ˈfrʌɪtņd ˈɒf ˈhɪə ‖ « bət…| ˈən…| ə:…| bət…ǀ ʌɪ ˈmi:n ǀ ðeɪ ˈdəʊnt lʌɪk ˈdʒəʊks əˈbaʊt ˈdɛθ ɪn n əˈmɛrɪkə | ˈwɛ:z ˈwi: ˈrɑ:ðə ˈrɛvl̩« ‖ ˈstɔ:rɪz əˈbaʊt ˈʌndəteɪkəz əv ˈɔ:lweɪz ˈgɒn ˈdaʊn ǀ əˈtri:t ɪn ˈbrɪtņ« ‖ ʌɪ ˈdəʊnt ˈnəʊ ˈwʌɪ ɪt ˈɪz ‖

8

. »an… ˈand…||ə:… ə:…||ðeɪ ðeɪ ˈdəʊnt ˈdəʊnt||ˈdəʊnt ˈdəʊntˈlʌɪk ˈlʌɪk ˈsɛkʃʊl ˈsɛkʃʊl ˈrɛfrənsɪz ˈrɛfrənsɪz ɪnɪn ðə ðə ˈseɪm ˈseɪm ˈweɪ ˈweɪ ‖‖ ðeɪ ˈdəʊnt ˈmʌɪnd ˈgeɪnəs | bət ɪt ˈhas tə ˈbi: ɪn ə ˈmɔ: ˈsʌtl̩« weɪ | ən ðɛ: wəz ˈsʌtʃ ə ˈgru:p əv ˈtaləntɪd pəˈfɔ:məz | ənd səʊ ˈmɛni əv ˈʌs ˈrʌɪtəz ‖ ðə wə »fIfti˘n ˌfɪfˈti:n əv əs ˈɑ:ftər ˈɔ:l | ˈwakɪŋ ˈaʊt ði:z ˈʃəʊz ǀ »fIfti˘n ˌfɪfˈti:n ˈmɪnɪts ə ˈwi:k | ə:…| ðət ɪt wəz | ʌɪ ˈmi:n | ju: ˈhad tə bi: ə tɛkˈnɪʃņ« tə ˈwə:k ˈðɛ: | bət ʌɪ ˈraðǝ ˈlʌɪkt ɪt ‖

15

ə prəˈdju:sə 1ðə 5.DI prəˈdju:sə ˈdɪdņ ˈdɪdņ ˈlʌɪk əs əs||tətə ˈgəʊ ˈgəʊ ˈaʊt ˈaʊt tə tə ˈlʌntʃ ˈlʌntʃ‖‖ « ˈlʌɪk hi: ˈju:st tə ˈsɛnd ˈfu:d ˈɪn | ən ðə ˈrʌɪtəz | ɪt wəz ˈlʌɪk ə ˈfaktri ˈfɑ:m ‖ and ʌɪ ˈsɛd | ʌɪ ˈhavņ« ˈkʌm ˈeɪt ˈθaʊzņ« ˈmʌɪlz ˈnɒt tə ˈhav ˈlʌntʃ | ʌɪ ˈsɛd tə ðəm | wɪð ðɪs ˈtɛrəbl̩« ˈbrɪtɪʃ ˈvɔɪs ‖ ən ðeɪ ˈju:st | tə ˈʃaʊt | wɛn ˈʌɪ ˈkeɪm ɪntə ðə ˈbɪldɪŋ ɪn ðə ˈmɔ:nɪŋ | ðə ˈbrɪtɪʃ ə ˈkʌmɪŋ ‖ ðə ˈbrɪtɪʃ ə ˈkʌmɪŋ ‖

231

7. »kÅm´di »r√ItIN 1

. AA- ‖ ˈjɔː ǀ ˈjɔː ˈfɔːteɪ ǀ ˈɒbvɪəsli ǀ wəz ˈrʌɪtɪŋ fər ǀ ˈʌðə ˈpiːpl̩« | ən ɪˈspɛʃl̩« i fə ˈkɛnəθ ˈhɔːn ‖ ɪn | ˈfəːst əv ˈɔːl | bɪˈjɒnd ˈɑː ˈkɛn | ən ˈðɛn ǀ ˈraʊnd ðə ˈhɔːn ‖ B- ‖ jɛː ‖ A- ‖ naʊ... | juː ˈrəʊt wɪð ˈmɑːti ˈfɛldmən ˈðat ˈsɛkənd ˈsɪərɪz | ˈdɪdṇt juː ‖ « B- ‖ jɛː ‖ A- ‖ ˈɪz ɪt | ˈaktʃʊǝli | ə ˈgʊd ʌɪˈdɪə fə ˈkɒmədi ˈrʌɪtɪŋ | tə ˈbaʊns ʌɪˈdɪəz ˈɒf ˈsʌmbədi ˈɛls ‖

9

. BB-‖ ˈjɛs ‖ ʌɪ ˈθɪŋk ɪts ˈɪsɛnʃl̩« ‖ ðə ˈhəʊl ˈpɔɪnt əˈbaʊt ˈhjuːmər ɪz ðət | ʌnˈlɛs juː ˈgɛt ə ˈlɑːf ǀ juː ˈhavṇt « ˈmeɪd ə ˈdʒəʊk ‖ ʌɪ ˈmiːn | ɪf juː ˈseɪ ˈsʌmθɪŋ ən ˈnəʊbədi ˈlɑːfs | ˈðats ˈnɒt ə ˈdʒəʊk | ˈðats ˈdʒʌst ə ˈsteɪtmənt ‖ ˈan ðɪ ədˈvɑːntɪdʒ əv ˈrʌɪtɪŋ ɪn ˈpɑːtnəʃɪp ǀ ɪz ðət ðɪ ˈʌðə ˈpɑːtnə | huːˈɛvər ɪz ˈkrakɪŋ ðə ˈdʒəʊk | ðɪ ˈʌðə ˈwʌn wɪl ˈgəʊ | ˈheɪ | ˈjɛs | ˈðats ˈfʌniz ‖| ʌɪ kwʌɪt ˈlʌɪk ˈðat ‖

16

.6.ɪnɪnˈʌðə ˈʌðəˈwəːdz ˈwəːdz | | ˈjɔː ˈjɔː ˈgɛtɪŋ ˈgɛtɪŋ ˈsʌm ˈsʌm ˈwɔːmθ ˈwɔːmθ | | ˈsʌm ˈsʌm rɪˈspɒns rɪˈspɒns ˈbak ˈbak ‖‖ ˈɛdɪtɪŋjɔːˈsɛlf jɔːˈsɛlf| | jU´r ˈɛdɪtɪŋ ən ˈɔːlsəʊ | jɔːr səʊ ðət jɔː ˈnɒt ˈpʊtɪŋ ˈɛni əʊld ˈgɑːbɪdʒ təˈgɛðə | jɔː ˈrɪəli ˈwəːkɪŋ ɪt ˈaʊt ‖ ʌɪ ˈmiːn ǀ ˈmɑːti ˈfɛldmənz ǀ ə ˈməʊst ɪnˈtɛlɪdʒənt ˈman | ə ˈgɪftɪd ˈman ɪn ˈɛvri ˈweɪ ‖ ˈʌɪm ˈnɒt ǀ kəmˈpliːtli ˈstjuːpɪd | təˈgɛðə ǀ wiː ˈwəːkt ‖

23

23. ˈmɑːtiˈsɛd ˈsɛd| ɪts | ɪtsˈnɒt ˈnɒtˈʌsˈʌsðəts ðətsˈrʌɪtɪŋ ˈrʌɪtɪŋ| | . ənənˈmɑːti ɪts ə ˈnjuː ˈkriːtʃə ˈkɔːld ˈbari ˈfɛldmən ‖ ə ǀ ˈʃal wɪ ˈkɔːl ɪm ˈmɑːti ˈtʊk ‖ A-‖ ˈmɑːti ˈtʊk | ˈjɛː ‖ B-‖ ɪgˈzaktli ‖ ən ˈhiː dɪd ðə ˈrʌɪtɪŋ ‖ bət ˈraʊnd ðə ˈhɔːn wəz ˈwʌndəfl̩« | bɪkəz ɪt ˈsaʊndz ˈlʌɪk ˈɛvri ˈʃəʊ ˈbɪz ˈθɪŋ juːv ˈɛvə ˈhə:d ‖ bət ɪts ˈabsļuːtli ˈtruː | ðɛː wǝz ˈnɛvər ə ˈhɑːʃ ˈwəːd ‖ «

232

8. »kÅntakt »lEnzIz 1

5

. A- ‖ ˈtʃɪldrən uː ˈhaf tə ˈwɛː ˈspɛktəkl̩« z | kən ˈɒfņ« ˈgɛt ˈsɪŋgl̩« d ˈaʊt | fə ˈrʌf ˈtriːtmənt frəm ðɛː ˈklɑːsmeɪts ‖ ðə ˈwʌnz huː ɪˈskeɪp ˈlʌɪtli ǀ kən ˈstɪl biː ˈsadl̩« d wɪð ˈnɪkneɪmz | ˈlʌɪk | ˈfɔːr ˈʌɪz | ɔː ˈspɛks | ɔːr ˈiːvņ« ˈwəːs ‖ 5. ˈlɔːd ˈsiːgļ ˈsiːgļ ˈreɪzd ðə ðə ˈsʌbdʒɪkt ˈsʌbdʒɪkt əv əv ˈsɛnsǝtɪv ˈsɛnsǝtɪv ˈtʃɪldrən ˈtʃɪldrən ɪn ɪn ðɪs ðɪs pəˈzɪʃņ pəˈzɪʃņ . ˈlɔːd « || « ˈreɪzd huː ˈmʌɪt ˈbɛnəfɪt | ɪf ˈkɒntakt ˈlɛnzɪz wər əˈveɪləbl̩« ɒn prɪˈskrɪpʃņ« | fə ˌsʌɪkəˈlɒdʒɪkl̩« ˈriːzņz ‖ « ət ðə ˈməʊmənt | juː kən ˈəʊnli ˈgɛt ðəm ɒn ðə ˈnaʃņl̩ « « ˈhɛlθ | ət ˈsɪks paʊndz ˈtwɛnti ˈfʌɪv ə ˈtʌɪm ǀ fə ˈklɪnɪkl̩« ˈriːzņz ‖ «

10

0.BB- ‖ ˈmɛni ˈtʃɪldrən | ə ˈvɛri... | əˈwɛː | ðət ðeɪ ˈsiːm tə bɪ ˈrɑːðə ˈdɪfrņt frəm ðɛː ˈfɛləʊ... | ˈstjuːdņts ɪn ðə ˈklɑːs ‖ « ˈmɛni əv ðəm ˈfiːl ˌʃɔːtˈsʌɪtɪd | ðeɪ ˈteɪk ə... | ˈlɒt əv ˈtʌɪm tʊ əˈdapt ðəmˈsɛlvz ‖ ɪt kən əˈfɛkt ðɛː ˈriːdɪŋ ‖ ðeɪ fiːl ðɛː ˈgəʊɪŋ tə biː kənˈdɛmd tə wɛː ˈglɑ:sɪz | fə ðə ˈrɛst əv ðɛː ˈlʌɪvz | əz ɪnˈdiːd ˈðeɪ ˈɑː ‖ bət wɪð ðə ˈwɛːrɪŋ əv ˈkɒntakt ˈlɛnzɪz | ˈɔːl ðɪs ʃʊd dɪsəˈpɪə ‖

17

7.AA- ‖ ˈduː ˈjuː ˈθɪŋk | ˈðəʊ | ðət ˈtʃɪldrən ˈkan ˈbiː ˈtrʌstɪd wɪð ˈkɒntakt ˈlɛnz t ˈlɛnzɪz ‖ ðɛː ˈnɒt ˈiːzi tə ˈfɪt | ən ðɛː ˈnɒt iːzi tə ˈpʊt ˈɪn ən ˈteɪk ˈaʊt ‖

25

B- ‖ ˈəʊ | ˈjɛs | əv ˈkɔːs ‖ ˈðats wɛː ðə ˈdɪfəkl̩«ti əˈrʌɪzɪz ‖ bət ɪn ðə ˈkeɪs əv ˈjʌŋ tʃɪldrən | ðə ˈpɛːrənts ʃʊd ˈnatʃərl̩« i ˈteɪk ə ˈkləʊs ˈɪntrəst ɪn ðɛː ˈtʃʌɪldz ˈfjuːtʃə…| ˈskuːl kəˈrɪə…| meɪdʒə kəˈrɪə ən ˈlʌɪf | ˈʃʊd biː ˈgɪvņ« ðiː | ǝː | ˌɒpəˈtʃuːnəti əv ˈfɪtɪŋ ðə ˈglɑːsɪz ðəmˈsɛlvz ‖ 25. ˈtʃʌɪldʃʊd ʃʊdˈteɪk ˈteɪkənənˈɪntrəst ˈɪntrəstɪnɪnˈhavɪŋ ˈhavɪŋ tətə ˈwɛː ˈwɛː ðəm ðəm | | . ðəðəˈtʃʌɪld ənˈtɪl ˈsʌtʃ ə ˈtʌɪm əz ðə ˈtʃʌɪld | kņ« biː ˈeɪbl̩|« |wɛn wɛnhiːhiːˈriːtʃɪz ˈriːtʃɪzhɪzhɪzˈtiːnz ˈtiːnz| | ˈleɪtə ˈtiːnz | tuː ... | məˈnɪpjʊleɪt ðə ˈkɒntakt ˈlɛnzɪz hɪmˈsɛlf ‖

233

9. »nÅvl« tIz 1

1. A- …‖ ɪt ˈɪz | haʊˈɛvə | ˈgəʊɪŋ tə ˈban ðə ˈseɪlz əv ˈsəːtņ« ˈnɒvl̩« tɪz | ɪn pəˈtɪkjələ | ˈlɑːdʒ ˈstɪŋk ˈbɒmz | ˈtɪə ˈgas ˈkapsjuːlz | ən bəˈluːn meɪkɪŋ ˈkɒmpaʊndz ‖ ˈnaʊ | ʌɪ ˈdəʊnt ˈnəʊ ˈwɒt ˈgəʊz ɒn ɪn ðə ˈhaʊzɪz əv ˈpɑːləmənt | bət ʌɪ ˈθɪŋk juːl əˈgriː | ðɛː ˈlɔːdʃɪps | dɪˈspleɪd ə ˈgreɪt fəmɪlɪˈarəti wɪð ðiːz ˈɒbdʒɪkts | wɛn ˈlɔːd trɛfˈgɑːn dɪˈfʌɪnd ˈnɒvl̩tɪz ɪn ðə ˈhaʊs ‖ ˈpʌblɪk skuːl ˈmɛmǝrɪz əv ˈtrɪks ɑːftə ˈlʌɪts ˈaʊt ɪn ðə ˈdɔːm | ʌɪ ˈwʌndə ‖

DI ˈwəːd ˈnɒvl̩« ti | ɪz ˈjuːzd ˈjuːʒəli tə dɪˈskrʌɪb 10 10.B-B- ‖ ðə

ðə ˈrɛlətɪvli ɪnɪkˈspɛnsɪv ˈprɒdʌkts | fɔː ˈpɑːstʌɪmz ɔː ˈdʒəʊks | wɪtʃ ˈsʌmtʌɪmz ə dɪˈzʌɪnd tə kriːˈeɪt əˈmjuːzmənt ət ðiː ɪkˈspɛns əv ʌnsəˈspɛktɪŋ ˈvɪktɪmz ‖ ˈtɪpɪkl̩« ɪgˈzɑːmpl̩«z A˘r ər ˈɪtʃɪŋ ən ˈsniːzɪŋ paʊdəz... | ˈfeɪk ˈlʌmps əv ˈʃʊgə... | ˈfuːd ˈmeɪd frəm ˈplastɪk... | ˈglɑːsɪz ðət ˈliːk ðɛː ˈkɒntɛnts... and | ˈblʌd ˈsteɪnd ˈbandɪdʒɪz ‖

17 17.CC- ‖ ˈhɪə | ˈhɪə ‖

23

234

B- ‖ ˈnʌn əv ðiːz ˈprɒdʌkts ɪz ˈlʌɪkli tuː ˈɒfə səbˈstanʃl̩« ˈrɪsks əv ˈpəːsņl̩ « « ˈɪndʒəri ‖ haʊˈɛvə | ðə ˈθriː ˈʌɪtəmz ˈkʌvəd bʌɪ ðiːz ˌrɛgjəˈleɪʃņz « | ˈɑː bɪˈliːvd tuː ˈɒfə sʌtʃ ə ˈrɪsk ‖ ðə bəˈluːn meɪkɪŋ ˈkɒmpaʊnd | bɪkəz əv ðə ˈprɛzņs əv ˈbɛnziːn | ə ˈwɛl ˈnəʊn ˈkɑːsɪnədʒən | « 23. and| |ðə ðə ˈtɪə ˈtɪə ˈgas ˈgas ˈkapsuːlz ˈkapsuːlzǀ ən ǀ ənˈlɑːdʒ ˈlɑːdʒ ˈstɪŋk ˈstɪŋk bɒmz bɒmz| | . and bɪkǝz əv ðə ˈrɪsk əv ˈɪndʒəri | frəm ðə ˈkɛmɪkl̩« z ˈjuːzd | tə ðə ˈfeɪs | ɪˈspɛʃl̩« i ǀ ðɪ ˈʌɪz ǀ ənd ˈʌðə ˈsɛnsətɪv ˈpɑːts əv ðə ˈbɒdi ‖

10. ´ »Sç˘t »d√I´lÅg 1

. ‖ ˈneɪəmi ˈfɪʃə wəz ˈweɪtɪŋ ət ˈtʃɛstə ˈtɛrɪs wɛn ˈkarən gɒt ˈhəʊm ‖ ðə ˈmɔːnɪŋ ˈruːm wɛː ðeɪ həd ˈpʊt həː | wəz ə ˈbliːk | ˈrɛstləs ˈpleɪs | wɛː ˈnəʊbədi ˈɛvə ˈsɛtl̩« d ‖ ðə ˈgas ˈfʌɪə wəz ˈsɛldəm ˈɒn ‖ tə biː ˈpʊt ɪn ˈhɪə bʌɪ ə ˈsəːvənt | ˈʃəʊd ðə ˈsəːvənts dɪˈstɪŋkʃņ« | bɪˈtwiːn ˈbiːɪŋ ˈʃəʊn ˈɪn | ən 1 biːɪŋ ˈɑːskt tə ˈweɪt ‖

7

.. ˈneɪəmɪz ˈneɪəmɪz ˈaŋkʃəs ˈaŋkʃəs ˈbraʊn ˈbraʊn ˈʌɪz ˈʌɪz ən ən ˈhʌmbl̩ ˈhʌmbl̩ ˈmanə || « ˈmanə ˈmʌst ˈmʌst həv həv ˈlɛd ˈlɛd ðəm ðəm tə təˈθɪŋk ˈθɪŋk ðɛː ðɛː ˈmʌst ˈmʌst biː biː ˈsʌmθɪŋ ˈsʌmθɪŋ ʃiː ˈwɒntɪd | ən ˈðɛːfɔː ʃiː wəz ˈnəʊ ˈleɪdi ‖ ˈwɒt ʃiː ˈdɪd ˈwɒnt | ən ˈwɒntɪd ˈbadli | wəz tə ˈsiː ˈkarən ‖ ə ˈniːd | ˈsəʊ ˈprɛsɪŋ | əz tə ˈbiː wɪˈðaʊt ˈgreɪs ‖ səʊ ˈhɪə ʃiː ˈwɒz | ˈsɪtɪŋ ɒn ðɪ ˈɛdʒ əv ə ˈkəʊld | ˈlɛðə ˈɑːmtʃɛː ‖

13

.3.jɔːjɔːˈfeɪs ˈfeɪsɪz ɪzˈkəʊld ˈkəʊld| |sɛd sɛdˈkarən ˈkarən‖ ‖ɪtsɪtsˈtɛrəbli ˈtɛrəbliˈkəʊld ˈkəʊldɪnɪnˈhɪə ˈhɪə‖ ‖ həvˈkʌm ˈkʌmˈtuː ˈtuːˈəːli ˈəːli‖ ‖ ʌɪʌɪhəv ˈnəʊ ‖ ˈwʌɪ | sɛd ˈkarən | ˈpʊlɪŋ ˈɒf hə ˈglʌvz ‖ jʊ ˈmʌst bɪ ˈtʌɪəd | ˈneɪəmi sɛd | ˈaŋkʃəs ‖ ʌɪ ˈslɛpt ɪn ðə ˈtreɪn ‖ ˈhaʊ ˈlɒŋ əv juː ˈbɪn ɪn ˈlʌndən ‖ ˈdʒʌst ˈfɔː ˈdeɪz ‖ ˈnɛkst ˈtjuːzdeɪ wiː ˈmʌst ˈgəʊ ˈbak ‖ ˈneɪəmi ˈspəʊk wɪð ən ˌʌnrɪˈprəʊtʃəbl̩« ˈsadnəs | ðət ˈmeɪd ˈkarən ɪkˈskleɪm | ˈwʌɪ ˈdɪdṇt juː ˈlɛt miː ˈnəʊ ‖ ʌɪ ˈniːdṇt həv bɪn əˈweɪ ‖ « «

235

11. »pri˘rI»t√I´m´nt »kç˘sIz 1

5

10

15

236

. A- ‖ ʌɪ ˈθɪŋk jɔː ˈgəʊɪŋ tə ˈtʃeɪndʒ ðə ˈtʌɪtl̩« ðəʊ | ˈɑːnt juː | frəm ˌpriː rɪˈtʌɪəmənt | bɪkəz ˈpiːpl̩« ə rɪˈtʌɪərɪŋ | ˈəːlɪər ən ˈəːlɪə ˈðiːz deɪz ‖ ənd ˈiːvņ« fə ˈðəʊz ˈpiːpl̩« hʊ meɪ ˈnɒt ˈwɒnt tə biː rɪˈtʌɪəd | . ˈmeɪ biː biːɪŋ ˈmeɪd rɪˈdʌndənt fə ˈwʌn ˈriːzņ« ɔːr əˈnʌðə | ˈðiːz ˈlɛʒə ˈtʌɪm akˈtɪvətɪz | ʌɪ ˈθɪŋk ɑː | ˈkruːʃl̩« ət ˈðɪs pəˈtɪkjələ ˈtʌɪm ‖ z | ˈiːvlɪn ˈalən ˈmɛnʃņd ðət ˈmantʃɪstə « həd bɪn ˈrʌnɪŋ ðiːz ˌpriː rɪˈtʌɪəmənt ˈkɔːsɪz fə sʌm ˈtʌɪm ‖ ˈhav juː ˈnəʊtɪst | ˈkwʌɪt ən ˈɪŋkriːs ɪn ðə ˈnʌmbər əv ˈpiːpl̩« əˈtɛndɪŋ ‖ 0.BB- ‖ ˈjɛs ‖ ðɛː ˈhaz bi:n ə ˈstɛdi IN»kri˘s ˈɪŋkriːs | bət ʌɪ wʊd ˈlʌɪk tə ˈteɪk ʌp ˈalənz ˈpɔɪnt ðət ɪn ˈfakt | rɪˈtʌɪəd ˈpiːpl̩« | əv wɒtˈɛvər eɪdʒ | ǝ ˈwɛlkəm wɪðɪn ðə təʊˈtalətɪ prəˈvɪʒn« ‖ ʌɪ ˈθɪŋk ɪts ɪmˈpɔːtņt ˈnɒt tə ˈhav | ˈsɔːt əv ˈspɛʃl̩« ˈɛːrɪəz əv prəˈvɪʒņ« | « ˈdʒʌs fə ðə rɪˈtʌɪəd | ˈdʒʌs fə ðə ˈjʌŋ ˈpiːpl̩« | ɛtˈsɛtrə ‖ ˈθɪŋkɪtsɪtsɪmˈpɔːtənt ɪmˈpɔːtəntðət ðətwiː wiːhav havənənˈɪntɪgreɪtɪd ˈɪntɪgreɪtɪdˈsəːvɪs ˈsəːvɪs| | .5.ʌɪʌɪˈθɪŋk ˈsəːtņli ðəˈməʊmənt ˈməʊmənt| |ɪnɪnˈmantʃɪstə ˈmantʃɪstə| | ənənˈsəːtņli « | |ətətðə ðɛː ˈstɪl ˈɪz | ə ˈvɛri ˈhɛlθi prəˈvɪʒņ« əv ˈdeɪ kɔːsɪz | wɪtʃ ˈpiːpl̩« wɪð ˈtʌɪm ɒn ðɛː ˈhanz | bɪˈkɒz ðeɪ ˈɑː rɪtʌɪəd | wʊd biː ˈeɪbl̩« tə ˈdʒɔɪn | ən ˈteɪk ədˈvɑːntɪdʒ ˈɒv | ən ˈmɪks wɪð | ˈɔːl ˈsɔːts əv ˈeɪdʒ gruːps | frmÿ« wɪˈðɪn ðə kəˈmjuːnəti ‖

12. »hE˘st√Il 1

5

. A-‖ ˈwɛn ðə kɒmpəˈtɪʃņ« wəz ˈfəːst əˈnaʊnst | ɪt wəz ˈsʌmθɪŋ ðət ʌɪ ˈwɒntɪd tə duː | bɪˈfɔː ðə ˈbəʊ ˈdɛrɪk | bîˈkeɪm ˈsəʊ ˈwɛl ˈnəʊn ‖ and ʌɪ ˈnɪəli ˈtʃeɪndʒd mə ˈmʌɪnd | bI»keIm bət ʌɪ ˈθɔːt | ˈnəʊ | Èʌɪ ˈwəʊnt ‖ »ʌɪl ˈduː ɪt ‖ 5. ʌɪ ˈsɔː ˈsɔː ɪtɪt ˈfəːst ˈfəːst əv əv ˈɔːl ˈɔːl ǀǀ ðə... ðə... ˈwiːvɪŋ ˈwiːvɪŋ ɪn ɪn ðə ðə ˈwɛst ˈwɛst ˈɪndɪz ˈɪndɪz ‖‖ . ʌɪ ˈɔːl ðə ˈdɑːk ˈgəːlz ˈðɛː | ˈwɔːkɪŋ əˈraʊnd ǀ wɪð ðɪs ˈtʌɪp əv ˈhɛːstʌɪl ‖ səʊ ʌɪ ˈθɔːt | ˈwɛl | ʌɪ ˈθɪŋk ɪf ʌɪ ˈduː ɪt ˈwɛl | ʌɪ ˈmʌɪt ˈstand ə ˈtʃans ‖ səʊ ʌɪ ˈθɔːt | ˈjɛː | ˈgəʊ ɒn ǀ ˈduː ɪt ‖ ˈstɪk tʊ ɪt ‖ and səʊ ʌɪ ˈdɪd ‖

10

0.BB- ‖ ˈwɛl | ət ˈliːst ɪts amˈbɪʃəs | bət ʌɪ səˈpəʊz tə ˈbiː fɛː | ɪf ˈɔːl ðə ˈgəːlz ə ˈlɪsņɪŋ ˈθɪŋkɪŋ | « ˈʌɪ ˈmʌɪt həv ə ˈgəʊ ət ˈðat mɪˈsɛlf | nɒt ˈɛvrɪbɒdi ɪz ˈsuːtɪd | ɔː kʊd ˈwɛːr ə ˈbəʊ ˈdɛrɪk ˈstʌɪl ˈhɛːduː ‖

14

. A-A-‖ ‖əʊəʊ| ˈnəʊ juːvjuːv ˈgɒtˈgɒt tə biː ˈvɛriˈvɛri əˈtraktɪv tə ˈwɛː ˈðɪs ‖ˈðɪs ‖ 4. | ˈnəʊ| |ˈnəʊ ˈnəʊ‖ ɑː ‖ ˈθɪŋk ɑː ˈθɪŋk tə biː əˈtraktɪv tə ˈwɛː ˈvɛriˈhɑːd ˈhɑːd‖ ‖ ɪtsɪtsˈvɛri

237

13. D´ »geIm ´v »tSIkIn 1

. A- ‖ ˈwɛl ǀ ɪf juːv ˈgɒt ˈtʃɪldrən | ju:l ˈnɒt ˈniːd ˈmiː tuː rɪˈmʌɪnd ˈjuː | ðət ðeɪ ˈgɛt ˈʌp tuː ˈɔːl ˈsɔːts əv ˈθɪŋz | mɔːr ɪˈspɛʃl̩« i ˈdjʊərɪŋ ðə ˈlɒŋ ˈsʌmə ˈhɒlədeɪz ‖ bət ˈwʌn əv ðə ˈməʊst ˈdeɪndʒǝrəs ˈpɑːstʌɪmz ðeɪ kən gɛt ɪnˈvɒlvd ˈɪn | ɪz ðə ˈgeɪm əv ˈtʃɪkɪn ‖

6

Ǥ juː ˈprɒbəbli ˈnəʊ ðə ˈgeɪm | wɛː ˈjʌŋstəz ˈdaʃ ɪn ˈfrʌnt əv ˈkɑːz | ɔː ˈtreɪnz ‖ ən ˈnɒt ˈlɔːŋ əˈgəʊ | ə ˈtʃʌɪld wəz ˈkɪld nɪə ˈbʌkstən ‖ ənd ɪn ðə ˈgrɪndl̩« fəd ˈɛːrɪə | ˈreɪlweɪ ˌɛmˈplɔɪiːz | həv ˈsiːn ˈʌðə ˈtʃɪldrən ˈpleɪɪŋ ðə ˈgeɪm ‖ z | pəˈliːs ɪn ˈdɑːbɪʃər ə kənˈsəːnd ðət mɔːr ˈaksɪdņts kʊd əˈkəː ˈdjʊərɪŋ ðiːz ˈsʌmə ˈhɒlədeɪz ‖ «

13

.3.ˈwɛl ˈwɛl| |ʌɪm ʌɪm ˈdʒɔɪnd ˈdʒɔɪndɒn ɒnðəðəˈtɛlɪfəʊn ˈtɛlɪfəʊnˈlʌɪn ˈlʌɪnˈnaʊ ˈnaʊbʌɪ bʌɪˌsuːpərɪnˈtɛndənt ˌsuːpərɪnˈtɛndənt ˈsɪdni ˈsɪdniˈtɒmsņ ˈtɒmsņ| |əvəvˈdɑːbɪʃə ˈdɑːbɪʃəpəˈliːs pəˈliːs‖ ‖ ˈgʊd ˈmɔːnɪŋ ‖ B- ‖ ˈgʊd ˈmɔːnɪŋ ‖ A- ‖ ðɪs ˈmʌst biː fə ðə pəˈliːs ə ˈvɛri ǀ ˈsɪərɪəs ǀ ˈbɪznəs ‖

18

23

238

8.BB- ‖ ˈjɛs ‖ ɪt ˈɪz ‖ ɪt ɪz əˈlɑːmɪŋ tə ˈseɪ ðə ˈliːst əv ɪt ‖ ˈɪt ɪz ˈsʌmθɪŋ wɪtʃ ɪz ˈɔːlwɪz ɪn ˈpiːpl̩« z ˈmʌɪndz | ˈreɪlweɪ ˈlʌɪnz ən ˈtʃɪldrən ‖ bət ðɪs ˈleɪtəst ˈaksɪdənt | ðɪs | ǝː…| ˈtʃɪkɪn ˈbɪznəs | wɪtʃ ˈtʊk ˈpleɪs ˈaʊt ət ˈgrɪndl̩« fəd | ˈbʌɪðəðəˈweɪ ˈweɪ| |ðɛː ðɛːwəz wəzˈəʊnli ˈəʊnliˈwʌn ˈwʌnˈɪnstəns ˈɪnstəns| | ənənˈbʌɪ ʌɪmˈnɒt ˈnɒtˈtrʌɪɪŋ ˈtrʌɪɪŋtətəˈseɪ ˈseɪɪtsɪtsˈsʌdņli ˈsʌdņli bɪˈkʌmə əˈfaʃņ ˈfaʃņ .3.ʌɪm bɪˈkʌm « « || ərərˈɛnɪθɪŋ ˈɛnɪθɪŋlʌɪk lʌɪkˈðat ˈðat| |bət bətɪtɪtˈdʒʌs ˈdʒʌsˈmeɪd ˈmeɪdmiː miːˈwʌri ˈwʌriˈðat ˈðat bɪt ˈmɔː | juː ˈnəʊ | wɪð ðə ˈhɪnt əv ˈnʌɪs ˈwɛðər... | ən ðə ˈsʌmə ˈhɒlədeɪz... | ðət | ǝː…| ˈtʃɪldrən kʊd ˈgɛt ɒntə ˈreɪlweɪ ˈlʌɪnz ən kʊd ˈgɛt ðəmˈsɛlvz | ˈwɛl | jə ˈnɒt ˈtɔːkɪŋ əˈbaʊt ðǝm biːɪŋ ˈsɪərɪəsli ˈhəːt ‖ ðə ˈfakt ˈɪz | ðeɪ ˈgɛt ˈkɪld ‖

14. ´ »v´˘dIkt ´v »man«slç˘t´ 1

A- ‖ ˈɑː jʊ ˈseɪɪŋ ðət ðɪs ˈdʒʌdʒ | ɪn ðə ˈkeɪs əv ˈkiːθ ˈdʒəʊnz | tə rɪˈtəːn ə ˈvəːdɪkt əv ˈmanˌslɔːtər ɪz ˈrɪəli | ˈbɛndɪŋ ɔː | ˌmɪsɪnˈtəːprɪtɪŋ ðə ˈlɔː ‖

4

11

B- ‖ ʌɪm ɪn ˈnəʊ pəˈzɪʃņ« tə ˈseɪ ˈðat | bɪkəz ʌɪ ˈhavņt « siːn ðə ˈkɔːt ˈpeɪpəz ‖ ʌɪ ˈhavņt siːn ðə ˈtranskrɪpt ‖ « ˈɔːl ʌɪ ˈnəʊ əˈbaʊt ðɪs ˈkeɪs | ɪz ˈwɒt ʌɪv ˈrɛd ɪn ðə ˈnjuːspeɪpəz ‖ ˈðɛːfɔː ǀ ʌɪ kʊdņt « ˈdʒʌdʒ ðɪs pəˈtɪkjʊlə ˈkeɪs ‖ bət ˈsəːtņli z | « | ɪn ˈwɒt ʌɪ ˈrɛd | ˈðɛː ˈsiːmz ˈnəʊ ˈɒbvɪəs ˈriːzņ « tə ˈθɪŋk ðət ðɪs wəz ə ˈkeɪs ɪn ˈlɔːr əv ˈmanˌslɔːtə ˈrɑːðə ðən ˈməːdə ‖ hɒlǝd ˈwɒt ɪz ˈpəːfɪktli ˈpɒsəbļ« | bət ʌɪ ˈdəʊnt nəʊ | ɪz ðət ðə ˈdʒʌdʒ wəz ˈaŋkʃəs | z | ðət ðɪs ˈman ʃʊdņt biː ˈsɛntənst tə ˈlʌɪf ɪmˈprɪzņmənt « hɒlǝd ən ˈðɛn ˈlɛt ˈaʊt ə ˈʃɔːt ˈtʌɪm ˈleɪtə ‖ ðət hiː ˈniːdɪd səm ˈhɛlp | ən ˈðɛːfɔːr | ˈɔːt tə biː ˈpʊt ɒn prəˈbeɪʃņ« | ən hav ðə ˈbɛnɪfɪt əv ðɪ ədˈvʌɪs əv ə prəˈbeɪʃņ« ˈɒfɪsə ‖ ən ðɪ ˈəʊnli ˈweɪ | jʊ kʊd əˈtʃiːv ˈðat | wʊd bɪ...| tʊ ɪnˈʃɔː...| ðət hiːz kənˈvɪktɪd əv ˈmanˌslɔːtə ‖ wɛː jʊ hav... | ðə dɪˈskrɛʃņ« əv ˈpʊtɪŋ ɪm ɒn prəˈbeɪʃņ« ˈrɑːðə ˈrɑːðəðən ðən ˈməːdə ˈməːdə|| wɛː wɛː jʊ jʊ hav hav tə təˈgɪv ˈgɪv ɪm ɪm əəˈlʌɪf ˈlʌɪfˈsɛntəns ˈsɛntəns‖‖ ˈðats ˈðatsəəˈpɒsəbļ ˈpɒsəbļ« ˌɛkspləˈneɪʃņ ˌɛkspləˈneɪʃņ bət ʌɪ ʌɪˈɛmfəsʌɪz ˈɛmfəsʌɪz|| ʌɪ ʌɪdəʊnt dəʊnt ˈnəʊ ˈnəʊðə ð ˈfakts ‖ « ||bət

20

A- ‖ ðɪs ɪz ˈnɒt ðə ˈfəːst tʌɪm ðət ə ˈməːsi ˈkɪlə həz biːn ˈlɛt ˈɒf ‖ djuːˈsiː ˈsiːðɪs ðɪsəz əzəəˈtrɛnd ˈtrɛndðəts ðətsˈhapənɪŋ ˈhapənɪŋˈnaʊ ˈnaʊɪn ɪnðɪs ðɪsˈkʌntri ˈkʌntri‖‖ djuː

22

B- ‖ ʌɪ ˈdəʊnt ˈθɪŋk hiː wəz ˈlɛt ˈɒf ‖ hiː wəz kənˈvɪktɪd ‖ ənd hiː həz bɪn ˈpʊt ɒn prəˈbeɪʃņ« | ən hiːl ˈnaʊ ˈgɛt ðə ˈhɛlp ðət hiː ˈniːdz ‖ ‖ṃ « ‖ ʌɪ wʊd ˈhəʊp | ðət wiː ʃəl ˈnɒt ˈgɛt ɪntʊ ə ˈsteɪt | wɛː ˈmə:si ˈkɪlɪŋ bɪˈkʌmz ɪn sʌm ˈsɛns ə ˈsɛprǝt ən ˈnjuː əˈfɛns | ˈdɪfrənt | frəm ðə trəˈdɪʃņļ « « ˈwʌnz əv ˈməːdər ənd | ˈmanˌslɔːtə ‖

239

15. »INgl´nd ´n DI »i˘ »ju˘ 1

A- ‖ ˈnaʊ ʌɪl ˈspɛː juː ðɪ ˈjʊərəʊˌdʒɑːgən ‖ bət ʌndə ˈðat ˈsɪstəm | ðə ˈmʌni ɪz ˈrʌnɪŋ ˈʌp ˈnʌɪntiːn ˈeɪti ˈwʌn | rl« ˈpɒləsi | wɪtʃ ˈteɪks ˈsɛvņti ənd ɪts ðə ˈkɒst əv ðɪ ˌagrɪˈkʌltʃərəl pəˈsɛnt əv ðə ˈb « ə ˈbʌdʒɪt ‖ ɪt ‖ ‖ ´z əz |»sImpl ˈsɪmpl̩Ç ´z | əz»DQt | ˈðat bət bɪˈliːv ˈjuː ˈmiː | ðə ˈfɑːm ˈlɒbɪz ǀ əz ˈvɪgərəs əz ˈɛvər ɪn ðat jʊərəˈpiːən ˈpɑːləmənt | ðə ˈhandz ə ˈstrɛtʃt ˈaʊt fə ˈjɛt ˈmɔː prəˈtɛkʃņ« ˈhɪə | ˈsʌbsədɪz ˈðɛː | ˈprʌɪs ˈɪŋkriːsɪz ˈðɛː ‖ ˈsəʊ | ˈdʒɒn | ʌɪ ˈθɪŋk ðə ˈkrʌntʃ ɪz ˈkʌmɪŋ ‖ juː kən ˈhapəli rɪˈlaks | ɪts ˈkʌmɪŋ ˈvɛri ˈkwɪkli ‖

10

B- ‖ bət jɔː ˈðɛː tə ˈhɛlp ˈsɔːt ɪt ˈaʊt fər ʌs | ʌɪm ˈʃɔː ˈbɑːbrə ˈkɑːsļ« ‖ ˈtɛri ˈwəʊgən ‖

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C- ‖ ʌɪ ˈdəʊnt ˈnəʊ ˈhaʊ ʌɪm ɪkˈspɛktɪd tə ˈkap ˈbɑːbrə ˈkɑːsļ« | ɔː ˈrɒbət ˈdʒaksņ« | bət ʌɪ dəʊnt ˈθɪŋk ðət ðɪ ˈiː iː ˈsiː ɪz gəʊɪŋ tə ˈfɔːl əˈpɑːt ‖ ʌɪ ˈnɛvə səˈspɛktɪd ˈdʒɒn ˈmɔːtɪmər əv biːɪŋ ə ˈlɪtļ« ˈɪngləndə ‖ ənd ʌɪ ˈθɪŋk wɪə gɒnə biː ɪn ˈjʊərəp | ʌɪ ˈθɪŋk wiː həv ˈnəʊ ɔːlˈtəːnətɪv ‖ wiː hav tə ˈsteɪ ˈðɛː | ˈnaʊ ðət wɪə ˈðɛː ‖ ʌɪ ˈθɪŋk ðɛːr ˌagrɪˈkʌltʃərəl rl« ˈpɒləsi həz biːn | ɪn ˈkɒmən wɪð | ˈseɪ | ðɪ rl« ˈpɒləsi ðɪ ˌagrɪˈkʌltʃərəl ˌagrɪˈkʌltʃərəl ˈpɒləsiəv əvðə ðəjʊˈnʌɪtɪd jʊˈnʌɪtɪdˈsteɪts ˈsteɪts‖‖ ɪt ˈsiːmz tə biː ˈgɪəd təˈwɔːdz ˌəʊvəprəˈdʌkʃņ« | bɪˈkɒz ɪts ɪˈfɪʃņt « ‖ rl« ˈɪndəstri ˈɪz ɪˈfɪʃņt bɪˈkɒz ðɪ ˌagrɪˈkʌltʃərəl « ‖ ɪts prəˈdju:sɪŋ ˈfuːd | ɪts prəˈdjuːsɪŋ ˈwʌɪn | ˈbʌtə ˈmaʊntɪnz | ˈwʌɪn ˈleɪks | ðɛː prəˈdjuːsɪŋ ˈtuː ˈmʌtʃ ‖ ðeɪ ˈhav tə biː ɑːtɪˈfɪʃəli səˈsteɪnd bʌɪ ˈðat ‖ ˈprʌɪsɪz ˈhav tə bɪ ˈhɛld ˈʌp | ən ðɪs ɪz ˈwɒt ˈhapənz ‖ ənd ˈɛvrɪθɪŋ ˈkɒsts ˈmɔː ðən ɪt ˈɔːt tuː ‖ ðəz ˈtuː ˈmʌtʃ biːɪŋ prəˈdjuːst | ˈagrɪkʌltʃər ɪz ˈtuː ɪˈfɪʃņt « ǀ ɪf ˈwʌn kən ˈseɪ ˈðat ‖ rl ɪn ˈʌɪələnd | ʌɪ rɪˈmɛmbər ə ˈkʌpļ« əv ˈjɪəz əˈgəʊ | ðə ˈkɒmən ˌagrɪˈkʌltʃərəl ˈpɒləsi wəz ən ɪˈnɔːməs ˈbuːn ‖ ˈɛnɪbɒdi huː ˈhad ə ˈhʌndrəd ˈeɪkəz wəz ˈvəːtʃʊǝli ə ˌmɪljəˈnɛː | bɪkəz juː wər ˈeɪbļ« tə ˈsɛl jɔːr ˈeɪkərɪdʒ fə ˈfʌɪv ˈθaʊzņd « ˈpaʊndz ən ˈeɪkə ‖ ˈnaʊ ˈðats biːn rɪˈvʌɪzd…‖ ɪts ɪts ˈmeɪd ˈmeɪd əə trəˈmɛndəs trəˈmɛndəs ˈdɪfrəns ˈdɪfrəns tə tə ðɪ ðɪ ˈʌɪrɪʃ ˈʌɪrɪʃ ˈfɑːmə ˈfɑːmə ‖‖ ɪtɪt ˈhazņt ˈhazņt ˈmeɪd əə trəˈmɛndəs trəˈmɛndəs ˈdɪfrəns ˈdɪfrəns tə tə ðə ðə ˈbrɪtɪʃ ˈbrɪtɪʃ ˈfɑːmə ˈfɑːmə || « ˈmeɪd bɪkəz ðə ˈbrɪtɪʃ ˈfɑːmər ɪz ˈmɔːr ɪˈfɪʃņt ‖ bɪˈkɒz hiːz ˈbɛtər ˈɔːgənʌɪzd ‖

16. »g´˘l »tç˘k 1

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A.AA - ‖ ˈsuːzi ˈhʌʃ | huː ˈmeɪ | ə meɪ ˈnɒt duː ˈdamɪdʒ wɪð əː ˈnjuː ˈkɒmədi ˈsɪəriːz ɒn ˈʌɪ ˈtiːˈviː | wɪtʃ ɪz ˈsɛvņ« hɑːf ˈɑː ˈkɒmədɪz ˈrɪtņ« bʌɪ ˈsɛvņ« ˈwɪmɪn | ɪz ˈnaʊ əˈbaʊt tə biː ɪnˈtɛrəgeɪtɪd bʌɪ ˈbəːnəd ˈfɔːlk ‖ ˈgəːl ˈtɔːk | ðə ˈsɪəriːz ɪz ˈkɔːld ‖ B. -‖ ɪts | əː | ɪts ə ˈsɪəriːz əv ˈkɒmədi hɑːf ˈɑː ˈprəʊgramz | ˈrɪtņ« bʌɪ ˈsɛvņ« ˈwɪmɪn ‖ Bʌɪ ˈθɪŋk ɪts ə sɪstəˈmatɪk | ɪkˈstrɔːdņrəli ˈfʌni əˈtak əˈpɒn ˈmɛn ‖ « ˈhaʊ wʊd juː dɪˈskrʌɪb jɔː ˈsɪəriːz | ˈsuːzi ‖ C.C- ‖ ʌɪ wʊdņt « dɪˈskrʌɪb ɪt lʌɪk ˈðat | ɪts ˈnɒt ˈmɛnt tə biː ən əˈtak ə ˈtɔːl ‖ ˈwɒt ɪts ˈmɛnt tə biː | ɪz ə ˈkʌɪnd əv | ˈɑːnsər | ˈɑːftər ˈɔːl ˈðiːz ˈjɪəz { tʊ ˈɔːl ðə ˈpiːpļ« huː ˈseɪ | ˈwɪmɪn ɑːnt ˈfʌni ‖ ˈwɛːr ə ðə ˈwɪmɪn ˈstand ʌp ˈkɒmɪks ǀ ɛtˈsɛtrə ǀ ɛtˈsɛtrə ‖ ðeɪ ɑː ˈðɛː | ðeɪ ɑː ˈwəːkɪŋ ‖ bət ɪn ə ˈmɔː ˈdʒɛnrəl« ˈsɛns | ˈwɪmɪn ər ˈaktʃʊəli ɪkˈstriːmli ˈfʌni ‖ pəˈtɪkjʊləli ˈwɛn ðeɪ ə ˈtɔːkɪŋ tʊ iːtʃ ˈʌðə ‖ ən ðɛː ˈhjuːmə | ʌɪ ˈθɪŋk | ɪz ɪkˈstriːmli ˈbreɪv | ɪkˈstriːmli kəˈreɪdʒəs ‖ ˈwɪmɪn kən dɪˈskrʌɪb tə juː ðə ˈməʊst əˈpɔːlɪŋ ˈlʌɪvz | ðə ˈməʊst əˈpɔːlɪŋ ˈkʌɪndz əv ˈtrʌɪəlz ən ˈtraʊməz | ən ˈmeɪk ɪt əˈmjuːzɪŋ ‖ ənd ʌɪ ˈθɪŋk ˈðats ə ˈnak ðət ə ˈlɒt əv wɪmɪn ˈhav | ənd ə ˈlɒt əv ˈmɛn meɪbi ˈdəʊnt ‖ i ˈdəʊnt ‖ ˈsəʊ ʌɪ ˈdʒʌst ˈθɔːt ɪt wəz ˈtʌɪm | ˈðɪs ˈhɪt ðə ˈskriːn ‖ ˈsəʊ ʌɪ ˈdʒʌst ˈθɔːt ɪt wəz ˈtʌɪm | ˈðɪs ˈhɪt ðə ˈskriːn ‖ ʌɪm ˈɔːlsəʊ ˈvɛri ˈaŋgri əˈbaʊt… | wɛl | juː ˈlɪsņ« tə ˈmɛn ˈstandʌp ˈkɒmɪks | ən ðeɪ ˈtɛl ˈdʒəʊks əˈbaʊt | ˈwɪmɪn hʊ ə ˈgriːdi... | rəˈpeɪʃəs... | əˈpɔːlɪŋ... | məˈnɪpjʊlətɪv... | ənd… ‖ wɪə ˈsəʊ kənˈdɪʃņd « | bɪkəz ðə ˈruːlɪŋ ˈnɔːm əv səˈsʌɪəti ɪz dɪkˈteɪtɪd bʌɪ ˈmɛn | ðət wiː ˈlɑːf əz ˈwɛl ‖ ənd ʌɪ ˈlɑːf əz ˈwɛl ‖ B- ‖ ˈjɛː ‖ C- ‖ˈɑːftər ˈɔːl ˈðiːz ˈjɪəz | ʌɪ ˈdʒʌst ˈgɒt| |ˈaŋgri ˈaŋgriəbaʊt əbaʊtɪtɪt| | B- ‖ ˈjɛː | ˈjɛː ‖ C- | ənd ɪt ˈdʒʌst əˈnɔɪz mɪ ˈnaʊ | ənd ʌɪ ˈθɪŋk ɪts ˈtʌɪm wiː had ðə ˈrʌɪt əv rɪˈplʌɪ ‖ ɪts ə ˈvɛri ˈmʌɪnə ˈrʌɪt əv rɪˈplʌɪ | ʌɪ ˈmiːn | ɪts ˈθriː hɑːf ˈaʊəz ɪn ə | ˈwɛltər əv ˈaʊəz əv ˈtɛlɪvɪʒņ« wɪtʃ prɪˈdɒmɪnəntli bɪˈlɒŋ tə ˈmɛn ‖ pəˈtɪkjʊləli ɪn ˈhjuːmə ‖ B.- ‖ ʌɪ ˈraŋ ˈʌp ə ˈpal əv ˈmʌɪn | huːz ə ˈstand ʌp ˈkɒmɪk | ən ˈsɛd | Bdjuː ˈnəʊ ˈɛni ˈfɑːðərɪnlɔː gagz ‖ ən hiː kʊdņt « ˈθɪŋk əv ˈwʌn ‖ ən hiː ˈsɛd | ˈiːvņ« ɪf hiː ˈdɪd θɪŋk əv ˈwʌn | ðɛː ˈnɒt ˈfʌni ‖

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17. »du˘ »fEm´nIsts »fç˘l In »l√v 1

AA.- ‖ ˈduː ˈfɛmənɪsts ˈfɔːl ɪn ˈlʌv əz ˈwɛl ‖ BB. -‖ ˈəʊ | ʌɪm ˈʃɔː | ˈjɛs ‖

7

ʌɪ dəʊnt ˈθɪŋk ˈfɛmənɪsts ər ˈɛni ˈmɔːr | ɪˈmju:n tʊ ɪt ðən ˈɛnɪbɒdi ˈɛls ‖ ʌɪ ˈθɪŋk ɪts fanˈtastɪkli ˈstrɒŋ ‖ ʌɪ ˈmiːn | ɪts ˈnɒt ˈrɪəli ˈvɛri səˈprʌɪzɪŋ jʊ ˈθɪŋk | ˈɛvrɪθɪŋ əˈraʊnd juː | juː ˈtəːn ˈɒn ðə ˈreɪdɪəʊ | ən ˈpɪk ʌp ˈɛni ˈɔːdņri ˈwɪmɪnz ˌmagəˈziːn | « ðə ˈmɛsɪdʒ ðəts biːɪŋ ˈpʊt ˈaʊt ɪz ðət | jʊ ˈnəʊ | ɪf jʊ ˈfʌɪnd ðə ˈrʌɪt ˈpəːsņ« | ˈðɛn juːl bi ˈhapi ‖ ənd ɪf jʊ ˈdəʊnt ˈfʌɪnd ðə ˈrʌɪt ˈpəːsņ« | juː ˈwəʊnt biː ‖ ənd ɪts ɪts ˈwʌn ˈwʌn ˈpəːsņ ˈpəːsņ« || ənd ənd ɪtɪt ˈʃʊd ˈʃʊd biː biː fərˈɛvə fərˈɛvə ‖‖ ənd ʌɪ ˈmiːn ˈmiːn || ˈɔːl ˈɔːl ˈðəʊz ˈðəʊz ˈmɪθs ˈmɪθs ðət ðət ˈrʌn ˈrʌn ˈsəʊ ˈsəʊ ˈstrɒŋli ˈstrɒŋli θruː θruː aə aə səˈsʌɪəti səˈsʌɪəti ‖‖ ʌɪ

12

A.- ‖ ˈdjuː ˈθɪŋk ðəz ˈɛnɪweɪ əˈraʊnd ðat ðɛn ǀ ˈgɪvņ« ðǝt ˈpi:pl̩« z A-

ɪˈməʊʃņz ər ˈɒbvɪəsli | ˈθɪŋz ðət ðeɪ kɑ:nt ˈrɪəli kənˈtɛnd wɪð | ˈwʌns ˈsʌmθɪŋz gɒt ˈstɑ:tɪd | wɪtʃ ɪz ðə ˈfi:l… | ðə ˈkʌɪndz əv ˈfiːlɪŋz ðət ˈpiːpl̩« hav wɛn ðɛː ˈfɔ:lɪŋ ɪn ˈlʌv ‖ ɪz ɪt ˈlʌɪkli ðət ˈmɛn ən ˈwɪmɪn wɪl biː ˈeɪbl̩« tə hav rɪˈleɪʃņʃɪps « ɪn ˈɛni ˈʌðə ˈweɪ ‖

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26

242

B- ‖ ˈwɛl ǀ ˈɒbvɪəsli ǀ ʌɪ ˈθɪŋk ðət ǀ ˈpɑːt əv ðə ˈprɒbləm ɪz | ðǝt B.ɪn ˈlɒts əv rɪˈleɪʃņʃɪps | ðə ˈmɛn ˈrɪəli ˈduː hav ˈmɔː ˈpaʊə ‖ « ðət ðɛː ˈmɔː ˈlʌɪkli tə hav ˈbɛtə ˈpeɪd ˈdʒɒbz ‖ ņ ðə ˈhəʊl səˈsaɪəti wʊd ˈsaŋkʃņ« | ðə ˈkʌpl̩« ˈmuːvɪŋ ˈwɛː ˈwɛː ðə ðə ˈhʌzbəndz ˈhʌzbəndz ˈdʒɒb ˈdʒɒb wɒz wɒz ‖‖ ´nd »hIz z ˈlʌɪf ˈkʌmɪŋ ˈfəːst ˈwʊmən əv… ənd ɪz ˈlʌɪf ˈkʌmɪŋ ˈfəːst | ən| ən ðə ðə ˈwʊmən ˈsɔːtˈsɔːt əv… | | ˈɔːl ˈɔːlðəʊz ðəʊzˈkʌɪnd ˈkʌɪndəv əvˈθɪŋz ˈθɪŋzwɪtʃ wɪtʃʌɪ ʌɪ ˈθɪŋk ˈθɪŋk||ˈaktʃʊəli ˈaktʃʊəli ||ˈmeɪk ˈmeɪkɪtɪt ˈvɛri ˈvɛri ˈdɪfɪkl̩ ˈdɪfɪkl̩t« t fə rɪˈleɪʃņʃɪps | bɪˈtwiːn ˈmɛn ən ˈwɪmɪn tə ˈwəːk | ˈɛnɪweɪ ‖ « bət ʌɪ səˈpəʊz | ʌɪ ˈθɪŋk ðət | wiːv ˈgɒt tə ˈstɑːt ˈteɪkɪŋ əˈpɑːt | ðɪ ʌɪˈdɪər əv rəʊˈmans | ənd jʊ ˈhav tə ˈstɑːt ˈθɪŋkɪŋ əbaʊt ˈɔːl ðə ˈdɪfrənt ˈɛ t ˈɛlɪmənts ɪn | ˈlʌɪk… | fər ˈɪnstəns | ɪf juː ˈfansi ˈsʌmbədi | dʌz ˈðat ˈmiːn ðət ðɛː ˈrɪəli ˈgəʊɪŋ tə biː ˈsʌmbədi juː ˈwɒnt tə biː ˈwɪð ɪn jɔːr ˈəʊld ˈeɪdʒ ‖ ənd | əv ˈkɔːs | ˈwɛn jʊ ˈstɑːt ˈθɪŋkɪŋ əbaʊt ɪt | juː ˈθɪŋk ðəz | ˈnəʊ ˈtɛst ə ˈtɔːl əv ˈwɛðə ˈsʌmbədi | jɔːr ˈaktʃʊəli gəʊɪŋ tə ˈlʌɪk ˈsʌmbədi ɪf ðeɪ ˈmeɪk juː ˈkʌɪnd əv ˈflatəri əˈkrɒs ə ˈdɑːns flɔː ‖ ðəz ˈnəʊ ˌgarənˈti: ju: kʊd ˈaktʃəli ˈhav ə ˌkɒnvəˈseɪʃn͎« əv ˈmɔː ðən ˈtɛn ˈwəːdz wɪð ‖

18. »traNkwIl√Iz´z 1

6

12

18

25

29

A- ‖ ˈɑː | ˈgʊd ˌmɔːnɪŋ | mɪsɪz ˈrɒbɪnsǝn ‖ ən ˈsɪt…| ˈsɪt ˌdaʊn wǝʊnt ˈjuː ‖ B- ‖ ˈθaŋk juː ˈdɒktǝ ‖ ʌɪm ˈsɒri tə ˈteɪk ʌp jɔː ˈtʌɪm | bət…| ʌɪm ˈgɛtɪŋ ɪntə ə ˈsteɪt əˈgeɪn ‖ A- ‖ ˈəʊ ‖ B- ‖ ɪts ǝ ˈsɔːt ǝv ˈθɪŋ… ‖ ʌɪ ˈkɑːnt ˈkəʊp ‖ ʌɪ ˈdʒʌst ˈfiːl Bðət mʌɪ ˈdʒɒb ɪz ˈtuː ˈmʌʧ fǝ ˈmiː ‖ ɪts ˈnɒt ʌɪm dɪˈprɛst ‖ ʌɪ gɛt ˈtɛns ˈɔːl ˈwəːkt ˈʌp ‖ ɪts ˈnɒt ˈdʒʌst ðə ˈdʒɒb ‖ ʌɪm ðə ˈseɪm wɪð ðǝ ˈʧɪldrən ‖ ʌɪ…| gɛt səʊ ˈkrɒs wɪð ðɛm ‖ A- ‖ ˈjɛː | ʌɪ ˈsiː ‖ B- ‖ ˈan wɪð mʌɪ ˈhʌsbənd ˈtuː ‖ ʌɪ…| A- ‖ ˈjɛː | ʌɪ ˈsiː əʊnli tuː ˈwɛl ‖ bət ˈwɒt kṇ« ə ˈdɒktǝ ˈduː z | t´ »pUt |»r√It tə ˈpʊt ˈrʌɪt ´ə ˈlʌɪf ðəts ˈdʒʌst ə ˈbɪt əv ə ˈmɛs ‖ wiːv ˈtrʌɪd ˈɛvrɪθɪŋ əʊvə ðə ˈjɪǝz... | ɪnˌvɛstɪˈgeɪʃṇz... | rɪˈfəːrəlz tə ˈspɛʃl̩« ɪsts... | ˈmarɪdʒ ˈgʌɪdəns... | ðə ˈlɒt ‖ «« ʌɪ ˈsəpəʊz wɒt ɪt ˈkʌmz ˈdaʊn tʊ ɪt ɪz ðət | ɛvri ˈnaʊ ən əˈgɛn | ʃiː ˈwɒnts tə ˈkʌm ɪntə ðə ˈsəːdʒəri | ˈdʒʌs ˈpɔːr ɪt ˈɔːl ˈaʊt | ən ˈðɛn ˈwɔːk aʊt wɪð ðə prɪˈskrɪpʃṇ« | fər ə ˈtraŋkwɪlʌɪzə ‖ B- ‖ səʊ wət ˈʌɪ wəz ˈwʌndərɪŋ | ˈdɒktǝ | wǝz…| ˈwɛl | kʊd juː prɪˈskrʌɪb ˈsʌmθɪŋ fə ˈmiː ‖ ˈdʒʌs ˈsʌmθɪŋ tə ˈhɛlp miː tɪl ʌɪ ˈfiːl ə bɪt ˈbɛtə ‖ A- ‖ ˈhɪə wiː ˈgəʊ əˈgɛn… | ʃɪ ˈwɒnts ə ˈtraŋkwɪlʌɪzə ‖ ən ɪt ɪs ˈdʒʌstɪfʌɪd ʌɪ səˈpəʊz | ɪf ɪtl̩« ˈhɛlp əː θruː ðə ˈnɛks fjuː ˈwiːks ‖ əʊˈkeɪ ðɛn ‖ ˈvalɪəm ‖ ˈhɪə jʊ ˈɑː ˈðɛn | mɪsɪz ˈrɒbɪnsǝn ‖ ɪts…| əː…|ˈvalɪəm ‖ B- ‖ ˈɑː… | ˈθaŋk juː ˈdɒktǝ ‖ ˈsɛvṛḷ« əv mʌɪ ˈfrɛndz ˈɑːr ɒn ɪt ‖ A- ‖ ʌɪ ˈbɛt ðeɪ ˈɑː ‖ B- ‖…ən ˈsʌmwʌn ət ˈwəːk ˈsʌmtʌɪmz ˈgɪvz miː həːz | ðeɪ meɪk mɪ ˈfiːl ˈmʌʧ bɛtǝ ‖ C- ‖ ˈwɛl | ˈjɛs ‖ ən ˈlɑːst jɪǝ ˌfamɪli ˈdɒktǝz ˈrəʊt ˈaʊt ˈmɔː ðən ˈθriː ˈmɪljən prəˈskrɪpʃṇs « fə ˈvalɪəm əˈləʊn | tə ˈmeɪk ˈpiːpḷ« lʌɪk mɪsɪz ˈɑː ˈfiːl bɛtǝ ‖ ǝnd ˌəʊvərˈɔːl | ˈfɔːti ˈtuː ˈmɪljən prəˈskrɪpʃṇs « wə ˈrɪtṇ« aʊt fə ˈtraŋkwɪlʌɪzəz ən ˈsɛdǝtɪvz | ǝt ǝ ˈkɒst ǝv ˈmɔː ðən ˈfɔːti ˈmɪljən ˈpaʊndz ‖ ˈteɪkɪŋ əˈsʌɪd ðə ˈkwɛsȷṇ« əv ðə ˈniːd fə ˈsʌʧ ˈwʌɪdsprɛd prəˈskrʌɪbɪŋ ǝv ˈmuːd ɔːltɛrɪŋ ˈdrʌgz | ˈwɒt əbaʊt ðɛː ˈkɒst ‖ naʊ wɛn ə ˈdrʌg z ˈfəːst prəˈdjuːst | ðə ˌpeɪtənt ˈlɔːz | ˈgɪv ɪts ˌmanjəˈfakȷərə » ðɪ ɪksˈkluːsɪv ˈrʌɪt tə ˈmeɪk ən ˈmɑːkɪt ɪt fər ə ˈnʌmbər əv ˈjɪəz | ˈnǝʊ wʌn ˈɛls kən prəˈdjuːs ɪt ɔːr ˈjuːz ɪts ˈbrand neɪm…‖

243

7.3.4 Further mixed systems 7.3.4.1 D. Jones’s allophonic–quantitative Used by D. Jones in the 3rd and 4th editions of The Pronunciation of English (1950 and 1956) this system combines some qualitative characteristics such as the difference established between [e] and [ei] and vowel lengthening, typical of a quantitative representation. The model is as follows: MONOPHTHONGS

DIPHTHONGS

i˘ ñ i

i´ ei E´

E a

u ñ u˘ ´˘ñ´ √

çñç˘ A˘

u´ ou çi Ai ñ Au

Transcription samples (D. Jones’ allophonic-quantitative model) The telegraph explained To explain simply the working of the telegraph is a puzzle for the philosopher; and no wonder simple folks come to grief over the task. The following is the explanation given to his fellow by an Italian peasant. ‘D’you see those poles and wires that run along by the side of the railway?’ ‘I know that’s the telegraph. But how does it work?’ ‘Nothing more simple. You’ve only to touch one end of the wire and klick – the other end writes it down just the same as a pen’. ‘Still, I don’t quite see how it’s done’. ‘Let me try to make it plain. Have you got a dog?’ ‘Yes’ ‘What does he do if you pinch its tail?’ ‘Why, bark to be sure’ ‘Well then, supposing your dog were long enough to reach in body from Florence here to the capital’ ‘Well?’ ‘ It’s clear, then, that if you pinch its tail in Florence he’ll bark in Rome. And that’s exactly how the electric telegraph works’ (Jones 1966: 185)

244

ðǝ 'tɛligrɑːf iks'pleind

tu iks·plein 'simpli ðǝ 'wǝːkiŋ ǝv ðǝ 'tɛligrɑːf iz ǝ pʌzl fǝ ðǝ fi'lɔsǝfǝ ‖ ǝnd nou 'wʌndǝ 'simpl fouks 'kʌm tǝ 'griːf ouvǝ ðǝ 'tɑːsk ‖ ðǝ 'fɔlouiŋ iz ði eksplǝ neiʃŋ 'givn tu iz 'fɛlou bɑi ǝn i'taljǝn 'peznt ‖ djuː 'siː ðouz 'poulz ǝn 'wɑiǝ ðǝt 'rʌn ǝ'lɔŋ bǝ ðǝ 'sɑid ǝv ðǝ 'reilwei ‖ ai 'nou ðats ðǝ 'teligrɑːf | bǝt hɑu dǝz it 'wǝːk ‖ 'nʌθiŋ mɔː 'simpl | juː v 'ounli tǝ 'tʌtʃ 'wʌn 'ɛnd ǝv ðǝ 'wɑiǝ, ǝn klik –ði 'ʌðǝr ɛnd 'rɑits it 'dɑun 'dʒʌst ðǝ 'seim ǝz ǝ 'pen ‖ 'stil, ɑi 'dount kwɑit 'siː hɑu its 'dʌn ‖ 'lɛt miː trɑi tǝ 'meik it 'plein | 'hav juː gɔt ǝ 'dɔg ‖ 'jɛs ‖ 'wɔt dǝz iː 'duː if juː 'pintʃ iz 'teil ‖ 'wɑi, bɑːk tǝ bi 'ʃuǝ ‖ 'wɛl ðen | sǝ'pouziŋ jɔː 'dɔg wǝ lɔŋ inʌf tǝ 'riːʧ in bɔdi frǝm 'flɔrǝns 'hiǝ tǝ ðǝ 'kapitl ‖ wɛl ‖ 'it s 'kliǝ ðǝn ðǝt if juː 'pinʧ iz 'teil in 'flɔrens hiː l bɑːk in 'roum. ‖ ǝn ðat s ig'zakli hɑu ði i'lɛktrik 'teligrɑːf wǝːks ‖

7.3.4.2 Palmer and Blandford’s model (1922) The notation used by these authors in Everyday Sentences in Spoken English with Phonetic Transcription & Intonation Marks (For the use of Foreign Students) as well as in their Dictionary of English Pronunciation with American Variants (1926) is essentially qualitative – similar to that of Abercrombie – although length is included and they draw a phonemic distinction between /i/-/I/ and /i/. The former would occur with ‘long’ nuclei, optionally followed by a superscript dot to show degree of length (e. g. /t´ bi·/ = to be); /I/ would correspond to the ‘short’ phoneme in the stressed position (e. g. /sIt/= sit, it would also be used in the unstressed position in words of Latin or Greek origin (e. g. /»laetIn/ = Latin, or in those unstressed syllables where it is not heard as a ‘hidden vowel’ (e. g. outfit); and lastly /i/ which would occur in an unstressed position and as a second element of a diphthong (e. g. /»veri »bIzi/ = very busy; /taim/ = time) but not as a first element (/»hI´/ = here).

245

MONOPHTHONGS i (i>) E Q

u (u>) I U Œ(Œ>) ñ ´ √

Å ñ ç (ç>) A (A>)

DIPHTHONGS I´ ei E´

U´ oU çi ai ñ aU

Sample expressions (From Palmer and Blandford’s Everyday Sentences in Spoken English) 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26.

246

I shall be staying there for three weeks. If I go to bed early, I get up early the next day. I believe he’s coming back tomorrow I dare say he isn’t here There’s not the faintest possibility I feel rather inclined not to do it at all. I wish I could speak as well as you do I’m not anxious to see it. I don’t want to go there. We could meet in Paris. I really don’t mind at all. Would you care for me to come with you? That’s just what I’ve always said. I rather doubt that I beg your pardon? I can’t understand how people like that sort of thing It’s too awful for words She’s a most charming girl I don’t like doing that sort of thing It’s almost perfect. I’ve enjoyed the film an awful lot. Do you see any objection to my taking this? Can you give me any idea as to what it is? Have you got one you could let me have? There’s no need for you to worry in the least It was one of those things you say on the spur of the moment and that you’re sorry for afterwards. I can’t think of the exact word. I’m so glad to have the opportunity of making your acquaintance. I’m a perfect stanger here, you see

Phonetic transcription 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23.


aɩ ʃl əv bin 'steɩɩŋ 'ðɛǝ fǝ 'θriˑ 'wiˑks ‖
ɩf aɩ 'goʊ tǝ 'bɛd 'зˑlɩ | aɩ 'gɛt ʌp 'ʌp 'зˑlɩ ðǝ 'nɛkst 'deɩ ‖
aɩ 'bɩ'liˑv i z 'kʌmɩŋ 'bæk tǝ'mɒrǝ ‖ 
aɩ 'dɛǝ 'seɩ hi 'ɪznt 'hɪǝ
ðǝz 'nɒt ðǝ 'feɩntɩst pɒsɩ'bɪlɩtɩ 
aɩ 'fiˑl 'rɑˑðǝ ɩŋ'klaɩnd 'nɒt tǝ du ɩt ǝ 'tɔˑl ‖ˑ
aɩ wɪʃ aɩ kǝd 'spiˑk ǝz 'wɛl ǝz juˑ du 
aɩm 'nɒt 'æŋkʃǝs tǝ 'siˑ ɩt | aɩ 'doʊnt wɒnt tǝ 'goʊ 'ðɛǝ ‖ 
wɩ kǝd 'miˑt ɩn 'pærɩs | aɩ 'rɪǝlɩ doʊnt 'maɩnd ǝ'tɔˑl ‖ 
wǝd 'juˑ 'kɛǝ fǝ mi tǝ 'kʌm wɪð jʊ ‖ 
'ðæts 'dʒʌst wɒt aɩ v ɔˑlweɩz 'sɛd ‖ 
aɩ 'rɑˑðǝ daʊt 'ðæt ‖ 
aɩ 'bɛg jɔ 'pɑˑdņ ‖ 
ʃi 'kɑˑnt ʌndǝs'tænd haʊ 'piˑpl 'laɩk ðæt 'sɔˑt ǝv 'θɪŋ ‖ 
ɩt s 'tuˑ 'ɔfǝl fǝ 'wзˑdz ‖ 
ʃi z ǝ 'moʊst 'tʃɑˑmɩŋ 'gзˑl ‖ 
aɩ 'doʊnt 'laɩk 'duɩŋ ðæt sɔˑt ǝv θɪŋ ‖ 
ɩt s 'ɔˑlmoʊst 'pзˑfɩkt | aɩ v ɩn'dʒɔɩd ðǝ 'fɪlm ǝn ɔˑfǝl 'lɒt ‖ 
djuˑ 'siˑ 'ɛnɩ ǝb'dʒɛkʃn tǝ maɩ 'teɩkɩ ŋ ðɪs ‖ 
kǝn 'juˑ 'gɪv mɩ ɛnɩ aɩ'dɪǝ æz tǝ 'wɒt ɩt ɪz ‖ 
hǝv 'juˑ gɒt wʌn jʊ kǝd 'lɛt mɩ 'hæv ‖ 
ðǝz 'noʊ 'niˑd fǝ jʊ tǝ 'wʌrɩ ɩn ðǝ 'liˑst ‖ 
ɩt wǝz 'wʌn ǝv ðoʊz 'θɪŋz jʊ seɩ ɒn ðǝ 'spɛˑr ǝv ðǝ 'moʊmǝnt | | ǝn ðǝt jɔ 'sɒrɩ fɔr 'ɑˑftǝwǝdz ‖

24. 25. 26.


aɩ 'kɑˑnt 'θɪŋk ǝv ðɩ ɩg'zækt 'wзˑd ‖ 
aɩm 'soʊ 'glæd tǝ hæv ði ɒpǝtjuɩˑnɩtɩ ǝv 'meɩkɩŋ jɔˑr ǝ'kweɩntǝns ‖ 
aɩm ǝ 'pзˑfɩkt 'streɩndʒǝ hɪǝ, jʊ siˑ ‖

7.3.4.3 Narrow IPA (Armstrong/Ward 1923) Qualitative at monophthong level, this transcription incorporates length, drawing an allophonic distinction between long, semi-long and short vowels in the case of /i/ ([i:]-[i·]-[i]), /u/ ([u:]-[u·]-[u], 247

/Œ/ ([Œ˘]-[Œ·]-[Œ], and /ç/ ([ç:]-[ç>]-[ç], /A/ ([A:]-[A>]-[A]). This type of transcription is used in A Handbook of English Intonation by both authors, and also in a previous publication (An English Phonetic Reader, 1923) written by L. E. Armstrong at the request of D. Jones. MONOPHTHONGS iñI E Q

Œñ´ √

Uñu Åñç A

DIPHTHONGS I´ eI E´

U´ oU çI aI ñ aU

Samples A) A few evenings ago I was helping a friend to make out a list of invitations for a party she was giving. The list grew longer and longer and finally I said: ‘If you invite any more people you’ll spoil the whole thing because your room isn’t large enough for this crowd. Must you invite all these? Mrs B, for instance? I thought you didn’t like her. And Miss Q? You say she’s spiteful and always rubs you the wrong way?’ ‘She does too. But I simply can’t leave her out. Nor Mrs B’ ‘Oh, why haven’t you the courage to stop doing what you don’t want to?’ I cried. ‘Seems to me you’re always running about with people who don’t matter not because you enjoy it, but because they expect it or you think they do. ǝ 'fju· 'i·vnɪŋz ǝ'goʊ | aɪ wǝz 'hɛlpɪŋ ǝ 'frɛnd | tǝ 'meɪk 'aʊt ǝ 'lɪst ǝv ɪnvɪ'teɪʃnz | fǝ ǝ 'pa·tɪ ʃi wǝz 'gɪvɪŋ ‖ ðǝ 'lɪst gru 'lɒŋgǝr ǝn 'lɒŋgǝ | ǝn 'faɪnǝlɪ aɪ 'sɛd ‖ 'ɪf ju ɪn'vaɪt 'ɛnɪ 'mɔː 'pi·pl | ju l 'spɔɪl ðǝ 'hoʊl 'θɪŋ | bɪkɒz jʊǝ 'ru·m ɪznt 'lɑ·dʒ ɪ'nʌf fǝ 'ðɪs kraʊð. | 'mʌst ju ɪn·vaɪt ɔːl ðiːz | 'mɪsɪz 'biː fǝr 'ɪnstǝns | aɪ 'θɔ·t ju dɪdnt 'laɪk hз. | ǝnd 'mɪs 'kjuː ? | ju 'seɪ ʃi· z sǝʊ'spaɪtfʊl | ǝnd 'ɔ·lweɪz 'rʌbz ju ðǝ 'rɒŋ 'weɪ ‖ ʃi 'dʌz, 'tuː | bǝt aɪ sɪmplɪ 'kɑ·nt li·v hзr 'aʊt | nɔ· mɪsɪz 'biː ‖ oʊ, 'waɪ hævnt ju ðǝ 'kʌrɪdʒ tǝ 'stɒp duːɪŋ wɒt ju 'doʊnt 'wɒnt tʊ | aɪ kraɪd | siːmz tǝ miː | 'jʊ ǝr 'ɔːlweɪz 'rʌnɪŋ ǝ'baʊt wɪð 'pi·pl hu doʊnt 'mætǝ | 'nɒt bɪkɒz ju ɪn'dʒɔɪ ɪt | bǝt bɪkɒz ðeɪ ɪks'pɛkt ɪt | ɔ ju 'θɪŋk ðeɪ du· ‖

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B) It is extremely difficult to gage the wear and tear of work that we are not used to do. Every man is apt to think his neighbour has an easy time of it. He who delves for his bread talks as if all the work of the world was done by hands. The man of business thinks in his heart that poets and painters play. The man of letters envies the artisan whose work grows hour by hour in response to the effort spent on it. A planter’s life sounds like an everlasting holiday on horseback. And most of us have heard of Mr Darwin’s housekeeper who thought her master would be all the better for “something to do” ɪt ɪz ɪk'striːmlɪ 'dɪfɪklt | tǝ geɪdʒ ðǝ 'wɛǝr ǝn 'tɛǝr ǝv 'wз·k | ðǝt wi· ǝ 'nɒt ju·st tǝ 'duː ‖ 'ɛvri 'mæn ɪz 'æpt tǝ 'θɪŋk hɪz 'neɪbǝ hæz ǝn i·zɪ 'taɪm ǝv ɪt | 'hiː hu 'dɛlvz fǝr ɪz brɛd | 'tɔ·ks ǝz ɪf 'ɔːl ðǝ'wз·k ǝv ðǝ 'wзːld wǝʒ 'dʌn baɪ 'hændz ‖ ðǝ mæn ǝv bɪznǝz | θɪŋks ɪn ɪz 'hɑ·t | ðǝt 'pɔɪts ǝnd 'peɪntǝz 'pleɪ | ðǝ mæn ǝv lɛtǝz | 'ɛnvɪz ðɪ 'ɑ·tɪzæn hu·z 'wз·k 'groʊz 'aʊǝ baɪ aʊǝ | ɪn rɪ'spɒns tǝ ðɪ 'ɛfǝt 'spɛnt ɒn ɪt | ǝ 'plɑːntǝz laɪf | 'saʊndz laɪk ǝn ɛvǝ'lɑ·stɪŋ 'hɑlɪdɪ ɒn 'hɔ·sbæk | ǝnd 'moʊst ǝv ǝs | hǝv 'hзːd ǝv mɪstǝ 'dɑːwɪnz 'haʊski·pǝ | hu 'θɔ·t hǝ 'mɑ·stǝ wʊd bɪ 'ɔːl ðǝ 'bɛtǝ | fǝ 'sʌmθɪŋ tǝ 'duː ‖

(Armstrong / Ward 1926: 117–119) C) Here we’ve been three years buried in the country and as happy as a bird the whole time. I say as a bird, because other people have used that simile to describe absolute cheerfulness, although I don’t believe birds are any happier than any one else, and they quarrel disgracefully. I’ve been as happy then, we’ll say, as the best of birds, and have had seasons of solitude at intervals before now during which dull is the last word to describe my state of mind. Everybody it is true, woundn’t like it, and I had some visitors here a fortnight ago who left after staying about a week and clearly not enjoying themselves. They found it dull, I know, but that, of couse, was their own fault; how can you make a person happy against his will? You can knock a great deal into him in the way of learning and what the schools call extras, but if you try forever you won’t knock any happiness into a being who hasn’t got it in him to be happy. The only result, probably, would be that you knock your own out of yourself. 'hɪǝ wi· v bi·n 'θriː 'jɪǝz | 'bɛrɪd ɪn ðǝ 'kʌntrɪ | ǝnd ǝz 'hæpɪ ǝz ǝ 'bзːd | ðǝ 'hoʊl 'taɪm ‖ aɪ 'seɪ ǝz ǝ 'bзːd | bɪkɒz 'ʌðǝ piːpl hǝv 'juːzd 'ðæt 'sɪmǝlɪ | tǝ dɪ·skraɪb 'æbsǝlju·t 'tʃɪǝflnǝs | ɔ·lðoʊ aɪ 'doʊnt bɪ'liːv 'bзːdz ǝr 'ɛnɪ 'hæpɪǝ ðǝn 'ɛnɪwʌn 'ɛls | ǝnd ðeɪ 'kwɒrl dɪs'greɪsfʊlɪ. ‖ aɪ v bi·n 'hæpɪ ðen, wi l seɪ, ǝz ðǝ 'bɛst ǝv 'bзːdz | ǝnd ǝv hæd 'siːznz ǝv 'sɒlɪtjuːd ǝt 'ɪntǝvlz | bɪfɔː 'naʊ | sjʊǝrɪŋ 'wɪʧ | 'dʌl ɪz ðǝ 'lɑ·st 'wзːd tǝ dɪ'skraɪb maɪ 'steɪt ǝv 'maɪnd ‖

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'evrɪbɒdɪ | ɪt ɪz 'truː | 'wʊnt 'laɪk ɪt | ǝn aɪ hæd sǝm 'vɪzɪtǝz 'hɪǝr ǝ 'fɔ·naɪt ǝgoʊ | hu 'lɛft ɑ·ftǝ 'steɪɪŋ ǝbaʊt ǝ 'wi·k | ǝnd 'klɪǝlɪ nɒt ɪn 'dʒɔɪɪŋ ðǝmsɛlvz ‖ ðeɪ 'faʊnd ɪt 'dʌl | aɪ 'noʊ | bǝt ðæt, ǝv 'kɔ·s wǝz ðɛǝr 'oʊn 'fɔ·lt | 'haʊ kǝn ju 'meɪk ǝ 'pз·sn 'hæpɪ ǝ'geɪnst hɪz 'wɪl | ju kǝn 'nɒk ǝ 'greɪt 'diːl ɪntǝ hɪm | ɪn ðǝ 'weɪ ǝv 'lзːnɪŋ | ǝnd wɒt ðǝ 'skuːlz 'kɔːl 'ɛkstrǝz | bǝt ɪf ju 'traɪ fǝ ɛvǝ | ju 'woʊnt 'nɒk 'ɛnɪ hæpɪnǝs | ɪntʊ ǝ bi·ɪŋ hu 'hæznt gɒt ɪt 'ɪn hɪm tǝ 'biː hæpɪ ‖ ðɪ 'oʊnlɪ ri'zʌlt | 'prɒbǝlɪ | wʊd biː ðǝt ju 'nɒk jʊǝr oʊn 'aʊt ǝv jʊǝ'sɛlf ‖

(Armstrong / Ward 1926: 80–81)

7.3.4.4 Ripman’s model (1928) The extracts that follow belong to the book entitled English Phonetics and Specimens of English published by W. Ripman in 1928. It is, in fact, a revised and considerably extended version of two books previously published: The Sounds of Spoken English and Specimens of English. As said above, W. Rimpan is not mentioned by Jones or Gimson nor by any other British phonetician when, in fact, his model of transcription presents, as far as high and low monopthongs are concerned, a great similarity to the initial system of phonetic representation proposed by Gimson as the following chart shows: MONOPHTHONGS i˘ ñ I e Q

´˘ ñ ´ √

U ñ u˘ ç ñ ç˘ A˘

DIPHTHONGS I´ eI E´

U´ oU çI aI ñ AU

Samples (Ripman’s model, pp. 118, 119) A) Everyone endeavours to make himself as agreeable to society as he can; but it often happens that those who most aim at shining in conversation overshoot their mark. Though a man succeeds, he should not (as is frequently the case) engross the whole talk to himself; for that destroys the very essence of conversation, which is talking together. We should try to keep up conversation like a ball bandied to and fro from one to the other, rather than seize it all to ourselves, and drive it before us like a football. We should likewise be cautious to adapt the matter of our discourse to our company, and not talk Greek before ladies, or of the last new furbelow to a meeting of country justices.

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»evrIw√n In»dev´.z t´ »meIk hImself ñ ´z ´»grI´bl t´ s´»saI´tI ´z hi »kQn Ñ b´t It »çfn »hQpnz ñ Det »DoUz hu »moUst »eIm ´t »SaInIN In «kçnv´»seISn ñ «oUv´»Su˘t DE´ »mA˘k Ñ »DoU ´ mQn s´k»si˘dz Ñ hi »SUd nçt ñ Qz Iz »fri˘kw´ntlI D´ »keIs ñ In»groUs D´ »hoUl »tç˘k tU hIm»self Ñ fç »DQt dIs»trçIz D´ veri »es´ns ´v «kçnv´»seISn ñ wItS Iz »tç˘kIN tU»geD´ ñ wi S´d »traI t´ »ki˘p »√p «kçnv´»seISn laIk ´ »bç˘l ñ »bQndId »tu˘ ´n »froU fr´m w√n t´ DI »√D´ Ñ rA˘D´ D´n »si˘z It »ç˘l tU AU´»selvz ñ ´nd »draIv It bI»fç˘r ´s ñ laIk ´ »fUtbç˘l Ñ wi S´d »laIkwaIs bi »kç˘S´s ñ tU ´»dQpt D´ »mQt´r ´v AU´ »dIskç˘s tU AU´ »k√mp´nI Ñ ´nd »nçt »tç˘k »gri˘k bIfç˘ »leIdIz Ñ çr ´v D´ »lA˘st »nju˘ »f´˘bIloU ñ tU ´ »mi˘tIN ´v »k√ntrI »dZ√stIsIz Ñ

B) But nothing throws a more ridiculous air over our whole conversation than certain peculiarities easily acquired, but very difficultly conquered and discarded. In order to display these absurdities in a truer light, it is my present purpose to enumerate such of them as are most commonly to be met with, and first to take notice of those buffoons in society, the Attitudinarians and Facemakers. These accompany every word with a peculiar grimace or gesture; they assent with a shrug, and contradict with a twisting of the neck; are angry by a wry mouth, and pleased in a caper or minuet step. They may be considered as speaking harlequins; and their rules of eloquence are taken from the posture-maker. These should be condemned to converse only in dumb show with their own persons in the looking-glass, as well as the Smirkers and Smilers who so prettily set off their faces, together with their words, by a something between a grin and a dimple. With these we may likewise rank the affected tribe of Mimics, who are constantly taking off the peculiar tone of voice or gesture of their acquaintance, though they are such wretched imitators that (like bad painters) they are frequently forced to write the name under the picture before we can discover any likeness. b√t »n√TIN »TroUz ´ mç˘ rI»dIkjUl´s »E´ ñ oUv´r AU´ »hoUl «kçnv´»seISn Ñ D´n »s´˘tn pI«kju˘lI»QrItIz »i˘zIlI ´»kwaI´.d ñ b´t verI »dIfIkltlI »kçNk´.d ´n dIs»kA˘dId Ñ In ç˘d´ t´ dIs»pleI Di˘z ´b»s´˘dItIz ñ In ´ »tru˘´ »laIt Ñ It Iz maI »preznt »p´˘p´s tU I»nju˘m´reIt »s√tS ´v D´m ñ Qz ´ »moUst »kçm´nlI t´ bi »met wiD Ñ Qnd »f´˘st Ñ t´ »teIk »noUtIs ´v »DoUz b´»fu˘nz In s´»saItI ñ DI QtItju˘dI»nE´rI´nz ´nd »feIsmeIk´.z Ñ »Di˘z ´»k√mp´nI »evrI »w´˘d ñ wiD ´ pI»kju˘lj´ grI»meIs ç »dZestS´ Ñ DeI ´»sent wiD ´ »Sr√g ñ and «kçntr´»dIkt wiD ´ »twIstIN ´v D´ »nek Ñ Ar »QNgrI baI ´ »raI »mAUT ñ ´nd »pli˘zd In ´ »keIp´ ç mInjU»et step Ñ DeI meI bi k´n»sId´.d ´z »spi˘kIN »hA˘lIkwInz Ñ Qnd DE´ »ru˘lz ´v el´»kw´ns ñ A »teIkn frçm D´ »pçstS´«meIk´ Ñ Di˘z »S´d bI k´n»demd tU k´n»v´˘s ñ »oUnlI In »d√m »SoU ñ wiD DEr »oUn »p´˘snz In D´ »lUkINglA˘s Ñ Qz »wel ´z D´ »sm´˘k´.z ´n »smaIl´.z Ñ hu soU »prItIlI »set »çf DE´ »feIsIz ñ t´»geD´ wiD DE´ »w´˘dz ñ baI ´ »s√mTIN bItwi˘n ´ »grIn ´nd ´ »dImpl Ñ wiD »Di˘z wi meI »laIkwaIz »rQNk ñ DI ´»fektId »traIb ´v »mImIks Ñ hu ´ »kçnst´ntlI »teIkIN

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»çf ñ D´ pI»kju˘lj´ »toUn ´v »vçIs ç »dZestS´ ´v DEr ´»kweInt´ns Ñ DoU DeI ´ s√tS »retSId »ImI«teIt´.z Ñ »DQt ñ laIk »bQ˘d »peInt´.z ñ DeI ´ »fri˘kw´ntlI »fç˘st t´ »raIt D´ »neIm √nd´ D´ »pIktS´ Ñ bIfç˘ wi k´n dIs»k√v´r enI »laIknIs Ñ

C) Next to those whose elocution is absorbed in action, and who converse chiefly with their arms and legs, we may consider the Professed Speakers. And first, the Emphatical, who squeeze and press and ram down every syllable with excessive vehemence and energy. These orators are remarkable for their distinct elocution and force of expression: they dwell on the important particles of and the, and the significant conjunction and, which they seem to hawk up, with much difficulty, out of their own throats, and to cram them, with no less pain, into the ears of their auditors. These should be suffered only to syringe (as it were) the ears of a deaf man, through a hearing-trumpet, though I must confess that I am equally offended with the Whisperers or Low-speakers, who seem to fancy all their acquaintance deaf, and come up so close to you that they may be said to measure noses with you. »nekst t´ »DoUz ñ huz el´»kju˘Sn Iz ´b»sç˘bd In »QkS´n ñ ´nd hu k´n»v´˘s »tSi˘flI wiD DEr »A˘mz ´nd »legz Ñ wi meI k´n»sId´ D´ pro»fest »spi˘k´.z Ñ Qnd »f´˘st Ñ DI em»fQtIkl ñ hu »skwi˘z ´nd »pres ´nd »rQm »dAUn »evrI »sIl´bl ñ wiD Ik»sesIv »viIm´ns ´nd »en´.dZI Ñ »Di˘z »çr´t´.z A rI»mA˘k´bl f´ DE´ »dIs»tINkt el´»kju˘Sn ñ Qnd »fç˘s »çf »Iks»pre»S√n Ñ DeI »dwel çn DI Im»pç˘tnt »pA˘tIklz »çv ´nd »DI˘ ñ ´nd D´ sIg»nIfIknt k´n»dZ√NS´n »Qnd Ñ witS DeI »si˘m t´ »hç˘k »√p ñ wiD »m√tS »dIfIkltI ñ AUt ´v DEr »oUn »TroUts Ñ ´n tU »krQm D´m ñ wiD »noU »les »peIn ñ Into DI »I´z ´v DEr »ç˘dIt´.z Ñ »Di˘z S´d bi »s√f´.d »oUnlI t´ »sIrInZ ñ Qz It »w´˘ ñ DI »I´z çv ´ »def mQn ñ Tru ´ »hI´rIN--tr√mpIt Ñ DoU aI m´st k´n»fes ñ D´t aI ´m »i˘kw´lI ´»fendId wiD D´ »wIsp´r´.z ç »loUspi˘k´.z Ñ hu »si˘m t´ »fQnsI »ç˘l DEr ´»kweInt´ns »def Ñ ´nd »k√m »√p »soU »kloUs t´ ju ñ D´t DeI meI bi »sed t´ »meZ´ »noUzIz wiD ju Ñ

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7.4 A model for the web: SAMPA (Speech Assessment Methods Phonetic Alphabet)

This is a computer-readable phonetic alphabet developed by a group of phoneticians for the encoding of phonetic notation where unicode symbols are not available or adequate. Initially applied to several European languages (Danish, English, French, German, Italian, Spanish, Polish, Greek, etc.) it has been extended to languages such as Arabic, Hebrew or Turkish, and the idea is to produce a machinereadable phonetic transcription for every known human language. According to Wells (1997) – from whom all the following information is extracted, see – these are the main characteristics of this alphabet: •

•

• •

•

SAMPA symbols have been devised by an international group of speech researchers working on projects like EUROM, BABEL, OrienTell, etc. It is included among the resources of the Linguistic Data Consortium. SAMPA maps the symbols of the IPA onto ASCII codes. With X-SAMPA, an extended version of SAMPA, all IPA symbols – diacritics included – will be catered for. SAMPA transcription is uniquely parsable. It is used mainly for a segmental, phoneme-type of transcription. Prosodic notation is catered for by a different system called SAMPROSA. The two systems are kept separate as certain symbols have different meanings depending on whether they are used in a segmental or a suprasegmental transcription. The utility Instant IPA in Word, downloadable from Wells’ home page, converts SAMPA to IPA.

A description of the SAMPROSA scheme can be found at .

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Word Pit pet pat pot cut put another happy into ease raise rise noise lose nose rouse furs stars cause fears stairs cures fin vim thin this sin zing shin measure hit chin gin thing

Symbol I e { Q V U @ I u i:1 eI aI OI u: @U aU 3: A: O: I@ e@ U@ f v T D s z S Z h tS dZ N

SAMPA pIt pet p{t pQt kVt pUt @''nVD@ ''h{pi ''Intu i:z reIz raIz nOIz lu:z n@Uz raUz f3:z stA:z kO:z fI@z ste@z kjU@z fIn vIm TIn DIs sIn zIN SIn ''meZ@ hIt sSIn dZIn TIN

IPA pIt pet pæt pÅt k√t pUt ´»n√ð´ »hæpi »Intu i˘z reIz raIz nçIz lu˘z n´Uz raUz fŒ˘z stA˘z kç˘z fI´z ste´z kjU´z fIn vIm tIn ðIs sIn zIN SIn »meZ´ hIt tSIn dZIn TIN

N.B. All the rest of the consonants have a SAMPA symbol identical with their orthographic representation. Table 5. SAMPA symbols for English and their IPA equivalent (Adapted from ). 1

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Length marks can be dispensed with in a qualitate type of phonemic representation, although such policy clashes with the use of i-u as archiphonemes in unstressed position.

7.4.1 SAMPA texts Note: only 10 texts are transcribed. The corresponding ordinary spelling on pages 63–80. Comments to the sample transcriptions on pages 191 to 221.

1. D@ ''weD@ ''fO:kA:st 1

ññññ {n ''naU D@ ''weD@ ''fO:kA:st ÑÑ @n aI "h@Up ju In"dZOId D@ "sVm@ "jest@deI ñ bI"kQz It "meI nQt "lA:st "mVtS "lQNg@ Ñ "INgl@nd @n "weIlz wIl "stA:t "draI @n "sVni ñ b@t "klaUdz wIl In"kri:s In D@ "west DIs "mO:nIN ñ wID "reIn "reIn In In "pleIsIz "pleIsIz "spredIN "spredIN "i:st "i:st tu tu ""O:l "pA:ts baI baI DIs DIs"i:vnIN "i:vnINÑÑ wID :l "pA:ts "reInfO:l "@maUnts "@maUnts wIl wIl bi bi "veri "veri »smO:l »smO:l In D@ "saUT ñ "reInfO:l "menI "pleIsIz "pleIsIz "steIIN "steIIN "draI "draI ññ b@t b@t De@ De@ "meI bI s@m "hevI@r "aUtbreIks ñ "menI In "nO:Twest "nO:Twest "INgl@nd "INgl@nd ÑÑ In

10

"reIn "hevi "hevi In In "pleIsIz "pleIsIz In In "west=n "west=n "skQtl@nd "skQtl@nd @n "nO:D@n "aI@l@nd ñ "reIn wIl "spred "spred tutu"i:st@n "i:st@n »skQtl@nd »skQtl@nd DIs DIs "mO:nIN "mO:nIN ññ wI "fQl@Ud baI baI "braIt@ "braIt@ "weD@ "weD@ wIð wIð "SaU@z "SaU@z Ñ "fQl@Ud "tempr@tS@z ññ "sIm@l@ "sIm@l@ tu: tu: ññ O:r O:r @ @ "lIt=l "lIt=l "haI@ D@n "jest@deIz Ñ "tempr@tS@z "wIndzññ"laIt "laIt O: O:"mQd@r@t "mQd@r@t "sVD@lI "sVD@lI ÑÑ "wlndz

15

Di "aUtlUk "aUtlUk ÑÑ @ @ "fju: "fju: "SaU@z "SaU@z In In D@ D@ "nO:T @t "f3:st Ñ Di b@t "O:l "O:l "plelslz "pleIsIz bl"kVmIN bl"kVmIN "draI "draI ññ "sVni "sVni @nd @nd "wO:m "wO:m ññ b@t O:l»D@U "leIt@ "leIt@ s@m s@m "aUtbreIks "aUtbreIks @v @v "hevI "hevI "reIn O:l»D@U mel mel »spred »spred tu tu "sVD@n "sVD@n "dIstrIkts "dIstrIkts ÑÑ

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2. %VnIm''plOIm@nt 1

Ñ D@ ''stA:k ''f{kt D@t %VnIm''plOIm@nt In »brItn¶ » ¶ñ h@z ''naU ''ri:tSt ñ ''wVn ''pOInt ''naIn ''mIlj@n ñ @ ''lev=l ''n@t si:n sIns D@ ''mId ''T3:tiz ñ pr@''vaIdz DIs ''mO:nINz ''peIp@z wID De@ ''meIn ''Ti:m Ñ

5

D@ ''deIli Ik''spres ''sVmz It ''Vp Ñ @ ''dZQb ''lQst ''evri ''twenti ''sek@ndz Ñ @n D@ ''mIr@ ''fO:kA:sts D@t ''baI ''krIsm@s ñ ''tu: ''mIlj@n wIl bi ''aUt @v ''w3:k ñ I''nVf t@ ''fO:m @ ''d@Ul ''kju: ''stretSIN fr@m ''l{ndz ''end t@ ''dZQn @''gr@Uts Ñ D@ ''taImz ''sez D@ ''fIg@z @r ''O:l D@ ''w3:s ñ f@ ''h{vIN aUt''peIst D@ ''m@Ust pes@''mIstIk ''fO:kA:sts Ñ

12

D@ ''deIli ''stA: ñ ''ju:zIz D@ ''pIktS@r @v ''jVN ''sti˘v @U''ni:l ñ tu: ''Il@streIt D@ ''tr{dZ@di Ñ hi:z ''sIks''ti:n @nd @ @ ''hA:f ''hA:fññ@nd @nd IzIz ''dZQb ''dZQb ''prQspekts ''prQspekts @ @''nIl ''nIl ÑÑ ''sIksti:n @nd D@ ''meIl rI»pi:ts ''mIsIz ''T{tS@z %dekl@''reIS=n ñ D@t De@ k @n bi: ''n@U ''mIr@k=l kjU@ Ñ ''O:l D@ ''peIp@z @''gri: ñ D@ ''fIg@z @ ''SQkIN Ñ b@t @''pInj@nz @''baUt ''hu:z @t ''fO:lt ñ @n ''wQt SUd bi ''dVn ñ ''ve@ri Ñ

20

D@ ''telIgrA:f ''sez Its D@ ''bIt@ ''hA:vIst ñ @v D@ ''fQliz @v a@ ''mA:st@z @Uv@ ''meni ''jI@z ñ {nd It ''kO:lz Qn D@ ''gVv@nm@nt ñ t@ ''st{nd ''f3:m Qn Its ''prez=nt ''pQl@siz Ñ D@ ''taImz meIn''teInz D@t ''QUnli @ ''pQl@si ñ ''eImd @t ''brININ ''daUn In“fleIS=n ñ wIl pr@''vaId @ lQN ''t3:m kjU@ f@r %VnIm''plOIm@nt Ñ @n De@z @ ''sIm@l@ ''sentIm@nt ñ In D@ ''sVn Ñ

256

3. ''di:''n{S=n@laIzd ''Ind@strIz 1

5

11

17

ÑÑ ÑÑ A- ÑÑÑ naU ÑÑÑ ''wQt h@v D@ ''fQl@UIN ''Ind@strIz In ''kQm@n ñ ñ ñ ññ I%lek''trIs@ti dZen@''reIS=n ñ ñ ññ D@ ''reIlweIz ññ ''r@Ud ''p{sIndZ@ ''tr{nspO:t ñ ñ Ñ ñ ñ Ñ ñ ñ Ñ D@ ''dQks D@ ''p@Ust ''sIv=l %eIvi''eIS=n Ñ ÑÑ ÑÑ Di ''A:ns@ ÑÑÑ De@r ''O:l ''bi:IN %di:''n{S=n@laIzd ''raUnd DI ''edZIz ññ ññ t@''deI ññññ wi:l ''wItn@s D@ ''T3:d ''ri:dIN In D@ ''kQm@nz ññ ññ ''wen It bI''kVmz @n ''{kt ñ ñ ññ @v D@ ''sIv=l %eIvI''eiS=n ''bIlññ ññ wItS ÑÑ ÑÑ wIl p@''mIt D@ ''seIl t@ D@ ''pVblIk @v ''Se@z In ''brItIS ''e@weIz Ñ Ñ Ñ DI ''e@laIn wIl bI''kVm ''brItIS ''e@weIz ''lImItId Ñ ññ ññ ''A:T@ ''ri:d ñññ ''e@ %kQr@“spQnd@nt f@ D@ ''taImz ñ ÑÑ ÑÑ ''t@Uld ''ni:l ''ber@tñ ñ ''haU D@ ''gVv=nm@nt In''tendz t@ ''g@U @baUt ''DIs Ñ ñ ñ ññ wID D@ B- ÑÑ Di aI''dI@r Iz D@t It wIl bI''kVm @ ''praIvIt ''kVmp@ni √ ´ Ñ √ ÑÑ Ñ ''g√v=nm@nt ''h@UldIN In In D@D@ ''SO:t ''t3:m ''hVndr@dp@ p@''sent ''sent@v @vD@ D@''Se@z ''Se@z ''SO:t ''t3:m ''g√v=nm@nt ''h@UldIN´´´''hVndr@d ñ ñ ññ ñ @n ''Den ññ @t @ ''deIt wItS Iz t@ bi @''naUnst Ñ ÑÑ Ñ D@ ''gVv=nm@nt wIl ''O:f@r @ maI''nQr@ti ñ PrI''zju:m@bli @''baUt ''sent @v@v D@D@ ''Se@z Qn Qn Di ''@Up=n ''mA:kIt ññ ñ PrI''zju:m@bli @''baUt''fO:ti ''fO:ti''naIn ''naInp@ p@ ''sent ''Se@z Di ''@Up=n ''mA:kIt ñ Ñ ÑÑ Ñ fO:r ''enibQdi ññ ''memb@z @v D@ ''pVblIk O: %kO:p@''reIS=nz t@ ''baI Ñ Ñ Ññ Ñ Ñ A- ÑÑ ''h{z D@ ''gVv=nm@nt ''sed ''haU ''DIs ''seIl Iz ''g@UIN t@ ''teIk ''pleIs ññ ñ ''haU ''meni ''Se@z Ñ ''i:tS %IndI''vIdjU@l ''p3:tSIs@ wIl bi @''laUd t@ ''baI f@r Ig''zA:mp=lÑÑÑ

257

4. ''hO:tI%kVltS@ 1

A- Ñ ''naU ñ ''lIs=nIN t@ ''dZeIn ''@Uv@ D@ ''pA:st ''jI@r O: ''s@U ñ Qn D@ ''sVbdZIkt @v ''gA:d=nIN ñ ''aIv ''faUnd h@ sIst@''m{tIk k{m''pein @v dI''strVkS=n ñ @v ''O:l Di Ik''skju:sIz aIv ''ke@f@lI ''n3:tS@d ñ f@ ''nQt du:IN ''dZQbz @''raUnd D@ ''gA:d=n ñ rA:D@ ñ dIs''teIstf=l @nd ''h3:tf=lÑÑ

6

haU''ev@ ñ aI ''TO:t D@t ''spreIIN ''SrVbz f@ ''gri:nflaI ñ w@z @ ''prIti ''seIf t@''bu: Ñ It In''vQlvd ''di:lIN wID ''deIndZ@r@s ''pOIz=nz ñ wItS aI maIt ''spIl Qn maI''self Ñ

10

It In''vQlvd ''we@rIN ''rVb@ ''glVvz ñ wItS wUd ''meIk It ''veri ''dIfIk=lt f@ ''mi t@ ''h{nd=l ''TINz ñ @n ñ ''eniweI ñ aI ''kUd=nt faInd D@ ''gri:nflaI ñ ''i:v=n If aI ''wQntId tu: Ñ aI ''h{v @ ''nA:stI ''fi:lIN ''D@U ñ D@t ''fIlIs ñ D@ ''fI@lIs %hO:tI''kVltS@r@lIst ñ Iz ''dZVst @''baUt t@ ''pUt ''peId tU @''nVD@ ''kVmft@b=l ''fIkS=n Ñ

16

B- Ñ ''aI ''{m ñ bIk@z ju: ''n@U ñ ''spreIIN Iz ''rI@li ''wVn @v D@Uz ''dZQbz D@t Izn=t ''nI@li @z ''dIfIk=lt @z It ''si:mz Ñ aI dI''skVv@d ''D{t ñ''wen aI ''wQtSt @n Ik''sperIm@nt In ''spreIIN ñ ''ri:s=ntli baI @ ''blaInd ''gA:dn@ ñ wID D@ ''help @v @ ''saItId ''wVn ñ ''dVn ''ri:s=ntlI hu:z ''ç:ls@U @ ''regjUl@ ''tju:t@r @t ði ''{nju:@l ''gA:d=nIN ''wi:kend ''kO:sIz Ñ

21

''wQt ju: ''ni:d ñ Iz ''eni ''kaInd @v ''spreI@ ñ D@t ju: k@n ''h@Uld wID ''wVn ''h{nd ñ bIk@z Di ''VD@ ''h{nd Iz ''ni:dId t@ ''gaId ju: @''raUnd D@ ''bUS O: ''SrVb Ñ

258

5. ''Vnj@nz v3:s@s S@''lQts 1

A- Ñ ''naU ñ tu @ ''bIt @v ''kUkIN Ñ D@z ''ske@sli @ ''seIv@ri ''res@pi D@t ''dVz=nt ''kO:l f@r @ ''lIt=l ''Vnj@n Ñ @n Di ''Vnj@n @n Its ''kl@Us ''rel@tIvz ñ laIk D@ ''li:k ñ A:r @''mVN Di ''@Uld@st ''vedZt@b=lz ñ @''p{r@ntli ''n@un ''n@Un tU tu @s Ñ @n ''De@r A:r ''O:l ''sO:ts @v tr@''dIS=nz @''t{tSt t@ D@m Ñ

6

''Vnj@nz w@ ''gIv=n @z ''wedIN ''prez=nts In ''eInS=nt ''gri:s Ñ ''streIndZ ''wedIN ''prez=nts Ñ b@t @''p{r@ntli DeI w@ bI''li:vd t@ ''h{v %{fr@''dizI{k ''kwQl@tiz Ñ @n ''li:ks @v bi:n @''raUnd sIns D@ ''taImz @v D@ ''fe@r@Uz Ñ

10

''p{t ''teIl@z bIn ''tO:kIN ''Vnj@nz wID ''h@Um I''kQn@mIst ñ ''keIt ''h{strQp Ñ {n Si bI''g{n baI ''A:skIN ñ ''wQt ''A: D@ ''memb@z @v Di ''Vnj@n ''f{m@li Ñ B- Ñ ''@U ñ ''wI@ ''tO:kIN @''baUt ''Vnj@nz In ''O:l Its %ve@ri''eIS=nz Ñ ''li:ks ñ ''gA:lIk ñ ''tSaIvz ñ ''sprIN ''Vnj@nz ñ @n @v ''kO:s ñ S@''lQts Ñ @n D@ %ve@rI''eiS=n %ve@rI''eIS=n @v D@ ''sprIN ''Vnj@n D@t ''lUks @ ''bIt laIk @ S@''lQt S@''lQt ññ wItS Iz @ ''welS Vnj@n ñ wItS Iz ''wel ''w3:T ''h{vIN In D@ ''gA:d=n ñ bIk@z ''D{ts @ p@''renI@l Ñ

17

A- Ñ ''wQts D@ ''dIfr@ns bI''twi:n @ S@''lQt @nd @n ''Vnj@n Ñ B- Ñ ''wel ñ @ S@''lQt ''gr@Uz In ''klVmps t@''geD@ ñ @n ''sprINz ''aUt fr@m D@ ''saId fr@m @ ''sentr@l ''bVlb Ñ @n De@ ''dZen@r=li ''ju:zd In DIs ''kVntri f@ ''pIklIN ñ @n DeI ''SUd=nt bi: k@n''fju:zd wID D@ ''lIt=l beIbi ''Vnj@n Ñ A- Ñ =m Ñ aI ''TINK ''meni ''pi:p=l ''du: In ''f{kt Ñ

23

B- Ñ D{ts ''raIt Ñ beIbi ''Vnj@nz @ nQt O:t@''m{tIkli S@''lQts Ñ @n ''pIklIN ''Vnj@nz A: ''ju:ZU@li @ ''naIs ñ ''raUnd ñ ''SeIp ñ D@t ''A:r @ ''smO:l v@''raI@ti wItS @v bIn ''gr@Un In ''rA:D@ ''pO: ''sOIl ñ {n ''s@U D@t DeI ''d@Unt ''gr@U ''Int@ D@ ''bIg ''bVlb@s ''wVnz ñ D@t wi ''wQnt In D@ ''mVtS ñ ju ''n@U ñ ''bIg@ ''kUkIN ''Vnj@n Ñ D@ S@''lQts @ ''mVtS ''maIld@ ñ ''mVtS ''mO: ''delIk@t ñ @n ''mVtS ''mO: ''su:t@b=l f@ ''delIk@t ''fleIv@d ''fu:dz Ñ

259

6. Di @''merIk@n Ik''spI@rI@ns 1

Ñ…''wel ñ ''n@U Ñ Di @''merIk@nz h{v ''dIfr=nt t@''bu:z tu ''Vs ÑÑ Ñ aI ''mi:n ñ De@ ''mç: ç ''fraIt=nd ''stIl @v ''TINz ññ wI@ ''nQt s@U ''fraIt=nd ''Qf ''hI@ ÑÑ b@t ñ ''@n ñ 3: ñ b@t …ññ aI ''mi:n ññ DeI ''d@Unt laIk ''dZ@Uks @''baUt ''deT In @''merIk@ñ ñ ''we@z ''we@z ''wi: ''rA:D@ ''rev=l ÑÑ ''stO:riz @v ''O:lweIz ''O:lweIz ''gQn ''gQn ''daUn ''daUnññ@''tri:t @''tri:t InIn ''brIt=n ''brIt=nÑÑ ''stO:rIz @''baUt @''baUt ''Vnd@teIk@z @v aI ''Iz ÑÑ aI ''d@Unt ''d@Unt ''n@U ''waI It ''Iz

8

''{nñ ''d@Unt ''laIk ''laIk ''sekSU@l ''sekSU@l ''refr@nsIz ''refr@nsIz InIn D@ D@ ''seIm ''seIm''weI ''weIÑÑ ''{nñ 3:... ñ DeI ''d@Unt ñ ''d@Unt DeI ''geIn@s ññ b@t b@t ItIt ''h{s ''h{s t@ t@ ''bi: ''bi: In In @ @ ''mO: ''mO: ''sVt=l ''sVt=lweI weIÑÑ DeI ''d@Unt ''maInd ''geIn@s @n ''gru:p @v @v ''t{l@ntId ''t{l@ntId p@''fO:m@z p@''fO:m@z ñ ñ @n De@ w@z ''sVtS @ ''gru:p @n ''raIt@z ÑÑ D@ D@ w@ w@ »fIfti:n »fIf''ti:n@v @v@s @s''A:ft@r ''A:ft@r''O:l ''O:lñ ñ @n s@U ''meni @v ''Vs ''raIt@z ''w{kIN »fIf''ti:n''mInIts ''mInIts@@''wi:k ''wi:kñ ñ ''w{kIN ''aUt Di:z ''S@Uz ñ »fIfti:n 3:…ñ ''mi:n ññ ju: ju: ''h{d ''h{d t@ t@ bi: bi: @ @ tek''nIS=n tek''nIS=n t@ t@ ''w3:k ''w3:k''De@ ''De@ñ ñ 3:…ñ D@t It w@z ñ aI ''mi:n b@t b@t aI ''r{D@ ''laIkt It Ñ

15

D @s ññ t@ t@ ''g@U ''g@U ''aUt ''aUt t@ t@ ''lVntS ''lVntS ÑÑ DI pr@''dju:s@ pr@''dju:s@ ''dId=n »laIk @s hi: @n D@ D@ ''raIt@z ''raIt@z ññ ItIt w@z w@z ''laIk ''laIk @ @ ''f{ktri ''f{ktri''fA:m ''fA:mÑÑ hi: ''ju:st t@ ''send ''fu:d ''In ññ @n {nd ''kVm ''eIt ''eIt ''TaUz=n ''TaUz=n ''maIlz ''maIlz ''nQt ''nQt t@ t@ ''h{v ''h{v ''lVntS ''lVntSñ ñ {nd aI ''sed ñ aI ''h{v=n ''kVm aI ''ter@b=l ''brItIS ''brItIS ''vOIs ''vOIs ÑÑ aI ''sed ''sed t@ D@m ñ wID DIs ''ter@b=l @n wen ''aI ''aI ''keIm ''keIm Int´ Int´ D@ D@ ''bIldIN ''bIldIN InIn D@ D@ @n DeI ''ju:st ñ t@ ''SaUt ñ wen ''mO:nIN ''mO:nIN ñ D@ D@ ''brItIS ''brItIS @ @ ''kVmIN ''kVmIN ÑÑ D@ ''brItIS @ ''kVmIN Ñ D@

260

7. ''kQm@di raItIN 1

A- Ñ jO: ñ ''jO: ''fO:teI ñ ''QbvI@sli ñ w@z ''raItIN f@r ñ ''VD@ ''pi:p=l ñ @n I''speS=li f@ ''ken@T ''hO:n Ñ In ñ ''f3:st @v ''O:l ñ bI''jQnd ''A: ''ken ñ @n ''Den ñ ''raUnd D@ ''hO:n Ñ B- Ñ je@ Ñ A- Ñ naU...ñ ju: ''r@Ut wID ''mA:tI ''feldm@n ''D{t ''sek@nd ''sI@ri:z ñ ''dId=nt ju: Ñ B- Ñ je@ Ñ A- Ñ ''Iz It ''{ktSU@lI ''{ktSU@li @ ''gUd aI''dI@ f@ ''kQm@di ''raItIN ñ t@ ''baUns aI''dI@z ''Qf ''sVmb@di ''els Ñ

9

B- Ñ jes aI ''''TINk INk Its Its I''senS=l I''senS=l ÑÑ D@ ''h@Ul ''pOInt @''baUt ''hju:m@r Iz D@t ñ Vn''les ju: ''get @ ''lA:f ñ ju: ''h{v=nt ''meId @ ''dZ@Uk Ñ aI ''mi:n ñ If ju: ''seI ''sVmTIN @n ''n@Ub@di ''lA:fs ñ ''D{ts ''nQt @ ''dZ@Uk ñ ''D{ts ''dZVst @ ''steItm@nt Ñ ''{n Di @d''vA:ntIdZ @v ''raItIN In ''pA:tn@SIp ñ Iz D@t DI ''VD@ ''pA:tn@ ñ hu:''ev@r Iz ''kr{kIN D@ ''dZ@Uk ñ Di ''VD@ ''wVn wIl ''g@U ñ ''heI ñ ''jes ñ ''D{ts ''fVni ñ aI kwaIt ''laIk ''D{t Ñ

16

In ''VD@ ''w3:dz ñ ''jO: ''getIN ''sVm ''wO:mT ñ ''sVm rI''spQns ''b{k Ñ @n ''O:ls@U ñ jU@r ''edItIN jO:''self ñ s@U D@t jO: ''nQt ''pUtIN ''eni @Uld ''gA:bIdZ t@''geD@ ñ jO: ''rI@li ''w3:kIN It ''aUt Ñ aI ''mi:n ñ ''mA:tI ''feldm@nz ñ @ ''m@Ust In''telIdZ@nt ''m{n ñ @ ''gIftId ''m{n In ''evri ''weI Ñ ''aIm ''nQt ñ k@m''pli:tli ''stju:pId ñ t@''geD@ wi: ''w3:kt

23

@n ''mA:ti ''sed ñ Its ''nQt ''Vs D@ts ''raItIN ñ Its @ ''nju: ''kri:tS@ ''kO:ld ''b{ri ''feldm@n Ñ @ ñ ''S{l wi ''kO:l Im ''mA:ti ''tUk Ñ A- Ñ mA:ti ''tUk ñ ''je@ Ñ B- Ñ Ig''z{ktli Ñ @n ''hi: dId D@ ''raItIN Ñ b@t ''raUnd D@ ''hO:n w@z ''wVnd@f=l ñ bIk@z It ''saUndz ''laIk ''evri ''S@U bIz ''TIN ju:v ''ev@ ''h3:d Ñ b@t Its ''{bs=lu:tli ''tru: ñ De@ w@z ''nev@r @ ''hA:S ''w3:d Ñ

261

8. ''kQnt{kt ''lenzIz 1

5

A- Ñ ''tSIldr@n u ''h{f t@ ''we@ ''spekt@k=lz ñ k@n ''Qf=n ''get ''sINg=ld ''aUt ñ f@ ''rVf ''tri:tm@nt fr@m De@ ''klA:smeIts Ñ D@ ''wVnz hu: I''skeIp ''laItli ñ k@n ''stIl bi: ''s{d=ld wID ''nIkneImz ñ ''laIk... ñ ''fO:r ''aIz ñ O: ''speks ñ O:r ''i:v=n ''w3:s Ñ ''lO:d ''si:g=l ''reIzd D@ ''sVbdZIkt @v ''sens@tIv ''tSIldr@n In DIs p@''zIS=n ñ hu: ''maIt ''ben@fIt ñ If ''kQnt{kt ''lenzIz w@r @''veIl@b=l Qn prI''skrIpS=n ñ f@ %saIk@''lQdZIk=l ''ri:z=nz Ñ @t D@ ''m@Um@nt ñ ju: k@n ''@Unli ''get D@m Qn D@ ''n{S=n=l ''helT ñ @t ''sIks paUndz ''twenti ''faIv @ ''taIm ñ f@ ''klInIk=l ''ri:z=nz Ñ

10

B- Ñ ''meni ''tSIldr@n ñ @ ''veri... @''we@ ñ D@t DeI ''si:m t@ bI ''rA:D@ ''dIfr=nt fr@m De@ ''fel@U... ñ ''stju:d=nts In D@ ''klA:s Ñ ''meni @v D@m ''fi:l %SO:t“saItId ñ DeI ''teIk @...ñ ''lQt @v ''taIm Ñ tu @''d{pt D@m''selvz Ñ It k@n @''fekt De@ ''ri:dIN Ñ DeI fi:l De@ ''g@UIN t@ bi: k@n''demd t@ we@ ''glA:sIz ñ f@ D@ ''rest @v De@ ''laIvz ñ @z In''di:d ''DeI ''A: Ñ b@t wID D@ ''we@rIN @v ''kQnt{kt ''lenzIz ñ ''O:l DIs ''SUd %dIs@''pI@ Ñ

17

A- Ñ ''du: ''ju: ''TINk ñ ''D@U ñ D@t ''tSIldr@n ''k{n bi: ''trVstId wID ''kQnt{kt ''lenzIz Ñ De@ ''nQt ''i:zi t@ ''fIt ñ @n De@ ''nQt i:zi t@ ''pUt ''In @n ''teIk ''aUt Ñ

25

262

B- Ñ ''@U ñ ''jes ñ @v ''kO:s Ñ ''D{ts we@ D@ ''dIf@k=lti @''raIzIz Ñ b@t In D@ ''keIs @v ''jVN tSIldr@n ñ D@ ''pe@r@nts SUd ''n{tS@r=li ''teIk @ ''kl@Us ''Intr@st In De@ ''tSaIldz ''fju:tS@… ñ ''sku:l k@''rI@ … ñ ''meIdZ@ k@''rI@ @n ''laIf ñ ''SUd bi: ''gIv=n Di: ñ 3: ñ %Qp@''tSu:n@ti @v ''fItIN D@ ''glA:sIz D@m''selvz Ñ D@ ''tSaIld SUd ''teIk @n ''Intr@st In ''h{vIN t@ ''we@ D@m ñ @n''tIl ''sVtS @ ''taIm @z D@ ''tSaIld k=n bi ''eIb=l ñ wen hi: ''ri:tSIz hIz ''ti:nz ñ ''leIt@ ''ti:nz ñ tu:... ñ m@''nIpjUleIt D@ ''kQnt{kt ''lenzIz hIm''self Ñ

9. ''nQv=ltiz 1

''b{n D@ D@ ''seIlz ''seIlz @v @v ''s3:t=n ''s3:t=n ''nQv=ltIz ''nQv=ltIz ññ A- …Ñ It ''Iz ñ haU''ev@ ñ ''g@UIN t@ ''b{n ''tI@ ''g{s ''g{s ''k{psju:lz ''k{psju:lz ññ In p@''tIkj@l@ ñ ''lA:dZ ''stINk ''bQmz ññ ''tI@ @n b@''lu:n meIkIN ''kQmpaUndz Ñ Qn In In D@ D@ ''haUzIz ''haUzIz @v @v ''pA:l@m@nt ''pA:l@m@nt ññ ''naU ñ aI ''d@Unt ''n@U ''wQt ''g@Uz Qn ''lO:dSIps ññ b@t aI ''TINk ju:l @''gri: ñ De@ ''lO:dSIps dI''spleId @ ''greIt f@mIlI''{r@ti f@mIli''{r@ti wID Di:z ''QbdZIkts ñ In D@ D@ ''haUs ''haUs ÑÑ wen ''lO:d tref''gA:n dI''faInd ''nQv=ltiz In A:ft@ ''laIts ''laIts ''aUt ''aUt In In D@ D@ ''dO:m ''dO:m ññ ''pVblIk sku:l ''mem@riz @v ''trIks A:ft@ aI ''wVnd@ Ñ

10

B- Ñ D@ ''w3:d ''nQv=lti ñ Iz ''ju:zd ''ju:Z@li t@ dI''skraIb D@ ''rel@tIvli InIk''spensIv ''prQdVkts ñ fO: ''pA:staImz O: ''dZ@Uks ññ wItS ''sVmtaImz @ dI''zaInd t@ kri:''eIt @''mju:zm@nt @t Di: Ik''spens @v Vns@''spektIN ''vIktImz ÑÑ ''tIpIk=l Ig''zA:mp=lz @r ''ItSIN @n ''sni:zIN paUd@z... ññ ''feIk ''lVmps @v ''SUg@... ñ ''fu:d ''meId fr@m ''pl{stIk... ññ ''glA:sIz D@t ''li:k De@ ''kQntents... {nd ññ ''blVd ''steInd ''b{ndIdZIz ÑÑ

17

C- Ñ hI@ ñ ''hI@ Ñ

23

B- Ñ nVn @v ði:z ''prQdVkts Iz ''laIkli tu: ''Qf@ s@b''st{nS=l ''rIsks @v ''p3:s=n=l ''IndZ@ri ÑÑ haU''ev@ ñ D@ ''Tri: ''aIt@mz ''kVv@d baI ði:z %regj@''leIS=nz ññ ''A: bI''li:vd tu: ''Qf@ sVtS @ ''rIsk D@ b@''lu:n meIkIN ''kQmpaUnd ññ bIk@z @v D@ ''prez=ns @v ''benzi:n ñ @ ''wel ''n@Un ''kA:sIn@dZ@n ññ {nd ñ D@ ''tI@ ''g{s ''k{psu:lz ñ {n ''lA:dZ ''stINk ''bQmz ññ bIk@z @v D@ ''rIsk @v ''IndZ@ri ñ fr@m D@ ''kemIk=lz ''ju:zd ññ t@ D@ ''feIs ññ I''speS=li ññ DI ''aIz ññ @nd ''VD@ ''sens@tIv ''pA:ts @v D@ ''bQdi ÑÑ

263

10. @ ''SO:t ''daI@lQg 1

Ñ neI@mi ''fIS@ w@z ''weItIN @t ''tSest@ ''terIs wen ''k{r@n gQt ''h@Um Ñ D@ ''mO:nIN ''ru:m we@ DeI h@d ''pUt h3: ñ w@z @ ''bli:k ñ ''restl@s ''pleIs we@ ''n@Ub@di ''ev@ ''set=ld Ñ D@ ''g{s ''faI@ w@z ''seld@m ''Qn Ñ t@ bi: ''pUt In ''hI@ baI @ ''s3:v@nt ñ ''S@Ud D@ ''s3:v@nts dI''stINkS=n ñ bI''twi:n ''bi:IN ''S@Un ''In ñ @n bi:IN ''A:skt t@ ''weIt Ñ

7

''neI@miz ''{NkS@s ''braUn ''aIz @n ''hVmb=l ''m{n@ ñ ''mVst h@v ''led D@m t@ ''TINk De@ ''mVst bi: ''sVmTIN Si: ''wQntId ñ @n ''De@fO: Si: w@z ''n@U ''leIdi Ñ ''wQt Si: ''dId ''wQnt ñ @n ''wQntId ''b{dli ñ w@z t@ ''si: ''k{r@n Ñ @ ''ni:d ''s@U ''presIN ñ @z t@ ''bi: wI''DaUt ''greIs Ñ s@U ''hI@ Si: ''wQz ñ ''sItIN Qn Di ''edZ @v @ ''k@Uld ñ ''leD@r ''A:mtSe@ Ñ

13

jO: ''feIs Iz ''k@Uld ñ sed ''k{r@n Ñ Its ''ter@bli ''k@Uld In ''hI@ Ñ aI h@v ''kVm ''tu: ''3:li Ñ ''n@U Ñ ''waI ñ sed ''k{r@n ñ ''pUlIN ''Qf h@ ''glVvz Ñ jU ''mVst bI ''taI@d ñ ''neI@mI sed ñ ''{NkS@s Ñ aI ''slept In D@ ''treIn Ñ ''haU ''lQN @v ju: ''bIn In ''lVnd@n Ñ ''dZVst ''fO: ''deIz Ñ ''nekst ''tju:zdeI wi: ''mVst ''g@U ''b{k Ñ ''neI@mI ''sp@Uk wID @n %VnrI''pr@UtS@b=l ''s{dn@s ñ D@t ''meId ''k{r@n Ik''skleIm ñ ''waI ''dId=nt ju: ''let mi: ''n@U Ñ aI ''ni:d=nt h@v bIn @''weI Ñ

264

Appendix: the chaos

(Using the EPD/LPD system, try to transcribe the following poem taken from Trenité (1932). It is an excellent compendium of those English words whose pronunciation defies logic. Dearest creature in Creation /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Studying English pronunciation /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / I will teach you in my verse /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Sounds like corpse, corps, horse and worse /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / It will keep you, Susy, busy, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Make your head with heat grow dizzy; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Tear in eye your dress you’ll tear /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / So shall I. Oh, hear my prayer, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Pray, console your loving poet, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Make my coat look new, dear, sew it /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Just compare heart, beard and heard, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Dies and diet, lord and word, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Sword and sward, retain and Britain /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / (Mind the latter, how it’s written ) /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Made has not the sound of bade, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Say said, pay paid, laid but plaid. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . /

Now I surely will not plague you /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / With such words as vague and ague, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / But be careful how you speak, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Say break, steak, but bleak and streak. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Previous, precious; fuchsia, via; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Pipe, snipe, recipe and choir, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Cloven, oven; how and low; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Script, receipt; shoe , poem, toe; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Hear me say, devoid of trickery, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Daughter, laughter and Terpsichore, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Typhoid, measles, topsails, aisles, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Exiles, similes, reviles, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Wholly, holy;signal, signing; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Thames; examining, combining; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Solar, vicar and cigar, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Scholar, mica, war and far. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . /

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From ‘desire’: desirable /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Admirable from ‘admire’; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Lumber, plumber; bier but brier; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Chatham, Brougham; renown but known; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Knowledge; done but gone and tone, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / One, anemonae; Balmoral; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Kitchen, lichen; laundry, laurel; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Gertrude, German; wind and mind; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Scene, Melpomene, mankind; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Tortoise, turquoise, chamoisleather, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Reading, Reading, heathen, heather. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / This phonetic labyrinth /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Gives moss, gross, brook, brooch, ninth, plinth. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Billet does not end like ballet; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Bouquet, wallet, mallet, chalet; . /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Blood and flood are not like food, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Nor is mould like should and would. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Banquet is not nearly parquet, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / (Which is said to rhyme with “Darky”) /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Viscous, viscount; load and broad; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Toward, to forward, to reward. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . /

266

And your pronunciation is O. K. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / When you say correctly croquet; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Rounded, wounded, grieve and sieve; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Friend and fiend; alive and live; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Liberty, library; heave and heaven; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Rachel, ache, moustache; eleven. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / We say hallowed, but allowed, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / People, leopard, towed, but vowed. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Mark the difference, moreover, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Between mover, plover, Dover, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Leeches, breeches; wise, precise; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Chalice, but police and lice. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Camel, constable, unstable; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Principle, disciple; label; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Petal, penal, and canal; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Wait, surmise, plait, promise; pal. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Suit, suite, ruin, circuit, conduit /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Rime with “shirk it” and “beyond it”. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / But it is not hard to tell, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Why it’s pall, mall, but Pall Mall. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Muscle, muscular; gaol, iron; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . /

Timber, climber; bullion, lion, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Worm and storm; chaise, chaos, chair; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Senator, spectator, mayor. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Ivy, privy; famous, clamour /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / And enamour rimes with „hammer“. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Pussy, hussy and possess, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Desert, but dessert, address. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Golf, wolf; countenance; lieutenants /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Hoists, in lieu of flags, left pennants. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / River, rival; tomb, bomb, comb; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Doll and roll and some and home. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Stranger does not rhyme with anger, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Neither does devour with clangour. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Soul, but foul and gaunt, but aunt; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Font, front, won’t; want, grand, and grant; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Shoes, goes, does. Now firts say: finger, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / And then: singer, ginger, linger. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Real, zeal; mauve, gauze and gauge; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Marriage, foliage, mirage, age. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Query does not rhyme with very, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Nor does fury sound like bury. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . /

Dost, lost, post and doth, cloth, loth; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Job, Job, blossom, bosom, oath. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Though the difference means little, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / We say actual, but victual. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Seat, sweat; chaste, caste; Leigh, eight, height; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Put, nut, granite but unite. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Reefer does not rhyme with “deafer”, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Foeffer does, and zephyr, heifer. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Dull, bull; Geoffrey, George; ate, late; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Hint, pint; senate, but sedate; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Scenic, Arabic, pacific; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Science, conscience, scientific; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Tour, but our, and succour, four; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Gas, alas, and Arkansas. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Sea, idea, guinea, area, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Psalm; Maria, but malaria; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Youth, south, southern; cleanse and clean; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / doctrine, turpentine, marine. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Compare alien with Italian, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Dandelion with battalion. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Sally with ally; yea, ye, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . /

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Eye, I, ay, aye, whey, key, quay. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Say aver, but ever, fever, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Neither, leisure, skein, receiver. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Never guess it is not safe, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / We say calves, walves, half but Ralf. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Heron; granary, canary; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Crevice and device, and eyry; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Face, but preface, but efface, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Phlegm, phlegmatic; ass, glass, bass. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Large, but target, gin, give , verging; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Ought, out, joust and scour, but scourging; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Ear, but earn, and wear and tear /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Do not rhyme with “here”, but “ere”. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Seven is right, but so is even; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . /

268

Hyphen, roughen, nephew, Stephen; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Monkey, donkey; clerk and jerk; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Asp, grasp, wasp; and cork and work. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Pronunciation think of Psyche /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Is appalling, odd and spiky; /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / It’s a dark abyss or tunnel, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Strewn with stones, like rowlock, gunwale. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Islington and Isle of Wight, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Housewife, verdict and indict. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Don’t you think so, reader, rather, /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Saying lather, bather, father? /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Finally: which rimes with “enough”? /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Though, through, plough, cough, bough or tough ? /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / Hiccough has the sound of “cup” /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . / My advice is give it up. /. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . /

References and further reading

Pronunciation dictionaries Afzelius, J. A. (1909). Concise English Pronouncing Dictionary. Stockholm: Nordstedt. Hornby, Albert S. 2010 [1983]. Oxford Advanced Learner’s Dictionary of Current English (7th ed.). Oxford: Oxford University Press. Jones, D. / Michaelis, H. A. 1913. Phonetic Dictionary of the English Language. Berlin: Carl Meyer. Jones, Daniel 1956 [1917]. An English Pronouncing Dictionary. London: Dent & Sons Ltd. Jones, Daniel 1977 [1917] (ed. by Gimson, Alfred C.) Everyman’s English Pronouncing Dictionary (14th ed.). London: Dent. & Sons Ltd. Jones, Daniel 2006 [1917] (Roach, Peter / Hartman, James / Setter, Jane, eds), Cambridge English Pronouncing Dictionary (17th ed.). Cambridge: Cambridge University Press. Kenyon, John S. / Knott, Thomas A. 1953 [1944]. A Pronouncing Dictionary of American English. Springfield, Mass: Merriam-Webster. Miller, Gertrude M. 1971 (ed. by Graham E. Pointon, 1983). BBC Pronouncing Dictionary of British Names. Oxford: Oxford University Press. Roach, Peter / Hartman, James / Setter, Jane (eds) 2006 [1991], Cambridge English Pronouncing Dictionary. Cambridge: Cambridge University Press. Olausson, Lena / Sangster, Catherine 2006. Oxford BBC guide to pronunciation. Oxford: Oxford University Press. Upton, Clive / Kretzschmar, William A. Jr / Konopka, Rafal 2001. The Oxford dictionary of pronunciation for current English (ODP). Oxford: Oxford University Press. Wells, John C. 2008 [1990]. Longman Pronunciation Dictionary (3rd ed.). Harlow: Pearson / Longman. 269

Windsor Lewis, Jack 1972. A Concise Pronouncing Dictionary of British and American English.Oxford: Oxford University Press.

Phonetics / Phonology textbooks Abercrombie, David 1967. Elements of general phonetics. Edinburgh: Edinburgh University Press. Afrelius, J. A. 1909. Concise English Pronouncing Dictionary. Stockholm: Nordstedt. Ashby, Patricia 1995. Speech Sounds. London: Routledge. Ashby, Michael / Maidment, John 2005. Introducing Phonetic Science. Cambridge: Cambridge University Press. Bauman-Waengler, Jacqueline 2009. Introduction to Phonetics and Phonology. From Concepts to Transcription. Boston: Pearson. Bloch, Bernard / Trager, George, L. 1942. Outline of Linguistic Analysis. Baltimore: Waverly Press. Bogle, Dorothea 1996. Practical Phonology. Edinburgh: Moray House. Brazil, David 1994. Pronunciation for Advanced Learners of English. Cambridge: Cambridge University Press. Catford, John C. 1988. A Practical Introduction to Phonetics. Oxford: Clarendon Press. Car, Philip 2003 [1999]. English Phonetics and Phonology. An Introduction. Oxford: Blackwell. Cohen, Antonie 1971 [1952]. The Phonemes of English. A Phonemic Study of Wowels and Consonants of Standard English. The Hague: Martius Nijhoff. Crystal, David (ed.) 1982. Linguistic controversies: Essays in Linguistic Theory and Practice in Honour of F. R. Palmer. London: Arnold. Cruttenden, Alan (ed.) 2008 [1962] Gimson’s Introduction to the Pronunciation of English. London: Edward Arnold. Collins, Beverly / Mees, Inger M. 2008. Practical Phonetics and Phonology. A resource book for students. London: Routledge.

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Davenport, Mike / S. J. Hannahs 2004 [1998]. Introducing Phonetics and Phonology. London: Hodder Arnold. Digby, Christine / Myers, John 1993. Making Sense of Spelling and Pronunciation. Hemel Hempstead: Prentice Hall International. Edwards, Harold T. 1992. Applied Phonetics: The Sounds of American English. San Diego, CA: Singular Publishing. Edwards, Harold, T. / Gregg, Alvin, L. 1997. Applied Phonetics Workbook. A Systematic Approach to Phonetic Transcription. San Diego, CA: Singular Publishing. Fletcher, Clare 1992. Longman Pronunciation Dictionary. Study Guide. London: Longman. Gimson, Alfred C. 1989 [1962] An Introduction to the Pronunciation of English. London: Arnold. Gut, Ulrike 2009. Introduction to English phonetics and phonology. Frankfurt: Peter Lang. IPA (International Phonetic Association) 1949.The Principles of the International Phonetic Association. London: University College London. IPA (International Phonetic Association) 1999. Handbook of the International Phonetic Association. Cambridge: Cambridge University Press. Jones, Daniel 1966 [1909]. The Pronunciation of English. Cambridge: Cambridge University Press. Jones, Daniel 1976 [1918]. An Outline of English Phonetics. Cambridge: Cambridge University Press. Knowles, Gerald 1987. Patterns of spoken English. London: Longman. Kreidler, Charles.W. 1989. The Pronunciation of English. Oxford: Basil Blackwell. Ladefoged, Peter 1967. Three areas of experimental phonetics.Oxford: Oxford University Press. Ladefoged, Peter 1971. Prelinimaries to linguistic phonetics. Chicago, Il: University of Chicago Press. Ladefoged, Peter 2006 [1975]. A Course in Phonetics (5th ed.). Boston, MA: Thompson / Wadsworth. Laver, John 1994. Principles of Phonetics. Cambridge: Cambridge University Press.

271

MacCarthy, Peter 1978. The Teaching of Pronunciation. Cambridge: Cambridge University Press. McMahn, April 2002. An Introduction to English Phonology. Edinburgh: Edinburgh University Press. Merton Wise, Claude 1957. Applied Phonetics. Englewood Cliffs, N. J.: Prentice-Hall Inc. Monroy, Rafael 1979. La pronunciación del inglés RP para hablantes de español. Madrid: Paraninfo. Monroy, Rafael 2004. New transcriptional policies in the latest English pronunciation dictionaries. A help or hindrance to the foreign learner? International Journal of Lexicography, 17,3, 275– 290. Odden, David 2008 [2005]. Introducing Phonology. Cambridge: Cambridge University Press. Reetz, Henning / Jongman, Allard 2009. Phonetics. Transcription, Production, Acoustics, and Perception. Hong Kong: Wiley-Blackwell. Sigur-Nilsen, Thor 2002. British and American English Pronunciation. Oslo: Universitetsforlaget. Tiffany, William R. / Carrell, James 1973. Phonetics. Theory and Application. New York: McGraw Hill Publishing Co. Roach, Peter 2009 [1991]. English Phonetics and Phonology. A Practical Course (Cambridge: Cambridge University Press. Shockey, Linda 2003. Sound Patterns of Spoken English. Oxford: Blackwell Publishing. Wells, John 2001. IPA transcription systems for English. P[honetics] G[roup] Bulletin, 9, 3–8 Santiago, Chile. Windsor Lewis, Jack 1969. A Guide to English Pronunciation. Oslo: Scandinavian University Press.

Pronunciation / transcription practice and phonetic readers Armstrong, Lilias E. 1943. An English Phonetic Reader. London: University of London Press. 272

Armstrong, Lilias E. / Ward, Ida C. 1967 [1931]. A Handbook of English Intonation. Cambridge: Heffer. Abercrombie, David 1964. English Phonetic Texts. London: Faber & Faber. Arnold, G. F. / Gimson, Alfred C. 1987 [1965]. English Pronunciation Practice. London: Hodder & Stoughton. Combe Martin, M. H. 1970. Exercising Spoken English. London: Macmillan. García-Lecumberri, María Luisa / Maidment, John A. 2000. English Transcription Course. London: Arnold. Gimson, Alfred C. 1975. A practical course of English pronunciation. A perceptual approach. London: E. Arnold. Gimson, Alfred C. / Ramsaran Susan 1982. An English pronunciation companion. Oxford: Oxford University Press. Jassem, Wiktor 1995. Exercises in English Pronunciation. Warswawa: Widawnictwo Naukome PWN. Jones, Daniel 1955. Phonetic Readings in English. Heidelberg: Carl Winter Universitätsverlag. Lillo, Antonio 2009. Transcribing English. The nuts and bolts of phonemic transcription. Granada: Comares. Longman Interactive English Dictionary (LIED). 1993. Multimedia CD-Rom. London: Longman. MacCarthy, Peter A. D. 1944. English Pronunciation. Cambridge: Heffer. MacCarthy, Peter A. D. 1960. English Conversation Reader in Phonetic Transcription with Intonation Marks. London: Longmans. Morris-Wilson, Ian 1984. English Phonemic Transcription. Oxford: Basil Blackwell. Mortimer, Colin 1985. Elements of Pronunciation. Intensive Practice for Intermediate and Advanced Students. Cambridge: Cambridge University Press. O’Connor, Joseph D. 1971. Advanced Phonetic Reader. Cambridge: Cambridge University Press. O’Connor, Joseph D. 1973. Phonetic Drill Reader. Cambridge: Cambridge University Press. O’Connor, Joseph D. 1980. Better English Pronunciation. Cambridge: Cambridge University Press. 273

O’Connor Joseph D. / Fletcher, Clare 1989. Sounds English. A pronunciation practice book. London: Longman. Palmer, Harold E. 1924. English intonation with systematic exercises. Cambridge: Heffer. Palmer, Harold E. / Blandford, F. G. 1922. Everyday Sentences in Spoken English. Cambridge: Heffers. Ripman, Walter 1928. English Phonetics and Specimens of English. London: Dent. Tench, Paul 1981. Pronunciation Skills. London: Macmillan. Tibbits, E. L. 1947. A Phonetic Reader for Foreign Learners of English. Cambridge: Heffer. Trenité, Gerard N. 1932. Drop your Foreign Accent. London: Dent. True, E. T. / Jespersen, Otto 1904 [1897]. Spoken English. Everyday Talk with Phonetic Transcription. Leipsig: O. R. Reisland. Windsor Lewis, Jack 1977. People Speaking: Phonetic Readings in Current English. Oxford: Oxford University Press. Wells, John C. / Colson, Greta 1971. Practical Phonetics. London: Pirman.

Further references Barry, William / Jürgen, Trouvain 2008. Do we need a symbol for a central open vowel? JIPA. 38/3, 349–357. See also their reply (2009) to Recasens and to Ball in JIPA. 39/3, 365–366. Baurley, G. I. 1987. Revision of the IPA: do you know the onion chart? JIPA. 17, 118–120. Butcher, Andrew 1982. Cardinal vowels and other problems. In D. Crystal (ed.) Linguistic Controversies. London: E. Arnold, 50–72. Canaperi, Luciano 1987. The revision of the IPA, JIPA. 17/2, 121– 123. Catford, John, C. 1990. A proposal concerning central vowels. JIPA. 20/2, 26–28. Duckworth, Martin / Allen George / Hardcastle, William / Ball, Martin J. 1990. Extensions to the International Phonetic Alphabet 274

the transcription of atypical speech. Clinical Linguistics and Phonetics. 4, 273–280. Esling, John H. 1993. Computer codes for phonetic symbols. JIPA. 23/2, 83–97. Hammarström, Göran 1973. Revision of cardinal vowels, and some other problems. JIPA, 3, 22–28. IPA 1989. Report on the 1989 Kiel Convention. JIPA. 19/2, 67–80. IPA 1990. Revision of the IPA: Further report on the 1989 Kiel Convention. JIPA. 20/2, 22–28. Ladefoged, Peter / Roach, Peter 1986. Revising the International Alphabet: A plan. JIPA. 16, 22–29. Lindbland, Per 2001. Critique of the IPA vowel quadrangle, especially the use of vowel points in it. Working Papers. 49, 104 –107. Martin J. Ball 1991. Computer coding of the IPA: Extensions to the IPA. JIPA. 21/1, 36–41. Martin J. Ball / Esling, John / Dickson Craig 1955. The VoQS for System the Transcription of Voice Quality. JIPA. 25/2, 71–80. Martin, J. Ball 2009. Response to W. J. Barry & J. Trouvain, Do we need a symbol for a central open vowel? JIPA. 39/2, 233–24. MacMahon Michael K. C. 1986. The International Phonetic Association: the first 100 years. JIPA 16, 30 –38. McClure, J. Derrick 1972. A suggested revision for the Cardinal Vowel system. JIPA. 2, 2025. Pullum, Geoffrey, K. 1990. Remarks on the 1989 revision of the International Phonetic Alphabet. JIPA. 20/1, 33–40. Recasens, Daniel 2009. Response to W. J. Barry & J. Trouvain, Do we need a symbol for a central open vowel? JIPA. 39/2, 231–233. Trudgill, Peter 2002. Sociolinguistic Variation and Change. Edinburgh: Edinburgh University Press, pp. 175–180. Wells, J. C. 1997. SAMPA computer readable phonetic alphabet. In Gibbon, Daffyd / Moore, Roger / Winski, Richard (eds), Handbook of Standards and Resources for Spoken Language Systems. Berlin and New York: Mouton de Gruyter. Part IV, section B. Windsor Lewis, J. 1985. British non-dialectal accents. In . Windsor Lewis, J. 2003. IPA vowel symbols for British English in dictionaries. JIPA. 33/2, 143–152. 275

Computer software / tutorials An automatic phonetic / phonemic transcriber supporting English, German and Danish. The output transcription can be either IPA or SAMPA. PhoTransEdit (English Transcriptor Editor). A free tool to make automatic phonemic transcription in both BrE and AmE. A free online tool to transcribe phonetics using the IPA alphabet. Broad transcription of a text into IPA or the American system. New IPA’S website (from 1 February 2009). Audio files of the language illustrations appearing in the Handbook of the International Phonetic Association. Audio files of the recorded material appearing in the Journal of the International Phonetic Association. IPA fonts.

Wells’ web page. Tips on word processing with IPA fonts. Wells’ tips to display IPA symbols in Unicode. Tips for generating characters from IPA. (SAMPA’s page. See also ).

276

Index

Abercrombie, D. 16, 22, 23, 25, 31, 36, 38, 40, 112, 113, 114, 115, 116, 137, 138, 159, 161, 224, 245, 270, 273 Armstrong, I. E. 113, 114, 161, 224, 248, 272, 273 Armstrong / Ward 247, 249, 250 Allophones 35, 36, 188 definition 35 extrinsic 35, 36 intrinsic 36, 40 Allophonic transcription 37, 38, 162 American English 31, 32, 33, 116, 138, 185, 222, 269, 270, 271, 272 Arnold, G. F. 162, 273 Assimilation 51, 52, 195, 202, 204 Association Phonétique Internationale (API) 15, 18 Back vowels 21 Bell, A. M. 16, 17, 22 Bloch / Trager 111, 112, 270 British English 113, 162, 185, 187, 191, 202, 216, 220, 275 Broad transcription 27, 36, 276 Cardinal Consonants 24 Cardinal Vowels 20, 21, 22, 23, 24, 25, 27, 274, 275 areas of influence 23, 26, 27 characteristics 22, 23, 24 primary 22, 24, 25, 26, 27 secondary 22, 24, 25, 26, 27 Catford, J. C. 22, 23, 25, 270, 274 Consonant assimilation 51 specific behaviour of some consonantal categories 51 individual consonants 52 Consonant representation. See English consonants

Corpus of oral texts 61 the weather forecast 63 unemployment 64 denationalized industries 65 horticulture 66 onions vs shallots 67 the American experience 68 comedy writing 69 contact lenses 70 novelties 71 a short dialogue 72 pre-retirement courses 73 hair-style 74 the game of chicken 75 a verdict of manslaughter 76 England and the E. U. 77 girl talk 78 Do feminists fall in love? 79 Tranquillisers 80 Diacritics 20, 41, 253 Diaphone 35, 36 Diphthongs 38, 83, 84, 106, 111, 112, 115, 138, 139, 164, 225, 244, 246, 248, 250 English consonants 33, 42, 45 affricates 48, 49, 201 fricatives 24, 35, 46, 47, 48, 49, 51, 52, 208 individual consonants 52 liquids, nasals and approximants 49, 50 palato-alveolars 48 phonemic transcription 27, 35, 45 plosive sounds 45, 49 English vowels. General remarks. See transcribing English vowels Vowel length 137, 244

277

English Pronouncing Dictionary. See Transcription systems for English General American (GA) 32, 187 Gimson, A.C. 39, 114, 137, 138, 159, 162, 163, 185, 186, 188, 222, 224, 250, 269, 270, 271, 273 Handbook of the International Phonetic Association 18, 20, 271, 276 Hornby, A. S. 163, 269 International Phonetic Alphabet (IPA) 9, 17, 33, 83, 274, 275 basic principles 18 classifying criteria 20 Ext-IPA 28 IPA chart 41, 42 IPA and American alphabets 31 International Phonetic Association 9, 10, 18, 24, 25, 26, 106, 114, 271, 275 IPA. See International Phonetic Association and International Phonetic Alphabet IPA Handbook See Handbook of the International Phonetic Association IPA narrow 113 Jespersen, O. 16, 17, 138, 161, 274 Jones, D. A. 20, 21, 22, 23, 24, 25, 26, 27, 35, 36, 37, 38, 39, 52, 83, 84, 106, 113, 114, 137, 161, 162, 163, 185, 186, 224, 244, 248, 250, 269, 271, 273 Journal of the International Phonetic Association 18, 20, 276 Kenyon / Knott 32, 116, 269 Kingdon, R. 161 Ladefoged, P. 20, 22, 23, 33, 113, 114, 116, 271, 275 Longman Pronunciation Dictionary (LPD). See Transcription systems for English MacCarthy, P. A. D. 109, 111, 224, 272, 273

278

Mixed systems 161 EPD-14 138, 162, 163, 164, 167, 186, 188, 189 phonetic texts 167 LPD-3 and EPD-17 185 phonetic texts 191 OPD-1 10, 32, 222, 223, 224, 225, 226 phonetic texts 226 Further mixed systems 244 Jones’s allophonic-quantitative 244 Palmer / Blandford model 245 Narrow IPA (Armstrong / Ward, 1923) 113, 247 Ripman’s model 250 Notation 16, 17, 18 alphabetic 16 analphabetic 16 Notational typology 20 O’Connor, J. D. 39, 40, 83, 86, 163, 273, 274 Odden, D. 31, 272 Oxford Dictionary of Pronunciation for Current English (ODP). See Transcription systems for English Palmer, & Blandford 39, 245, 246, 274 Passy, P. 17, 18 Phonemes 23, 27, 28, 35, 36, 39, 45, 46, 47, 48, 49, 50, 51, 54, 112, 161, 192, 204 Definition 39 Phonemic Principle 16, 18 Phonetic / phonemic representation 9, 35 Phonetic / phonemic transcriptions 35 brief overview 15 broad. See broad transcription impresionistic 38 typology 35 narrow 37, 137, 159, 161, 162 systematic phonetic 38 Transcriptional criteria 38 The representation of written texts 40, 53

Phonetic readers 15, 272 Phonetic texts 11, 88, 113, 114, 119, 141, 162, 167, 191, 226 Edinburgh 114, 115, 119, 224 EPD 10, 32, 33, 38, 52, 83, 84, 85, 88, 114, 138, 161, 162, 163, 185, 186, 187, 188, 189, 198, 211, 215, 222, 223, 224, 265 EPD-14 138, 162, 163, 164, 167, 186, 188, 189 EPD-17 185 LPD-3 185 ODP-1 33, 269 Windsor Lewis 11, 32, 40, 113, 114, 138, 162, 270, 272, 274, 275 Pronunciation dictionaries. See Transcription systems for English Quantitative models 83 EPD System (D. Jones, 1917–1977) 189 characteristics 83 phonetic texts 88 Quantitative transcription: further samples 106 simplified 109 simplified (MacCarthy, 1944–1965) 109 the Bloch / Trager, Trager / Smith system (1941, 1951) 111 Qualitative models 113 the Edinburgh System 114, 115, 119, 224 characteristics 115 phonetic texts Windsor Lewis’ system (1977) 137, 141 characteristics 137 phonetic texts 119 Other samples of qualitative transcriptions Wells / Colson (1971) 159 Received Pronunciation (RP) 32, 163 Reformist Movement 17

Representation 9, 10, 16, 19, 24, 27, 35, 37, 38, 45, 52, 54, 83, 111, 114, 115, 159, 185, 186, 188, 192, 223, 224, 244, 250, 254 consonants 27, 28 suprasegmentals 28, 29, 42 vowels 25, 26, 27, 53, 54 written texts 40 Ripman, W. 107, 161, 162, 250, 274 Roach / Hartman / Setter 39, 52, 186, 269 EPD-17 185 Roach, P. 10, 20, 39, 114, 163, 222, 224, 272 Roman alphabet 19 Romic Alphabet 16 Sound representation in the USA 31 linguist’s alphabet 31 SAMPA: a model for the web 10, 253, 254, 275, 276 characteristics 253 SAMPA texts 255 Setter, J. 11, 39, 52, 186, 269 Standard Southern British 10 Strong / weak forms 42, 54, 118, 165, 218 articles and nouns 58 modal verbs 56 conjunctions and adverbs 59 prepositions 54, 59 pronouns and adjectives 57 to be 54 to do 56 to have 56 Sweet, H. 16, 17, 18, 38, 138 Organic Alphabet 16 Tiffany / Carrell 31, 272 Transcribing English vowels 53 general remarks 53 strong and weak forms. See corresponding entry Transcription systems for English 32, 33, 81, 185, 194, 196, 214, 216, 222, 223, 269, 272 Edinburgh, characteristics 114, 115, 119, 224

279

EPD, characteristics 83 EPD-14, characteristics 162 EPD-17, characteristics 185 LPD-3, characteristics 185 ODP-1, characteristics Transcription types broad 36, 276 complex 186 exclusive 38 impressionistic 38 inclusive 38 multiliteral 37 narrow transcription 37, 137, 159, 161, 162 simple 37, 38, 83, 137 systematic narrow transcription 37 systematic phonetic 27, 35, 45, 163, 188, 273, 276 uniliteral 37, 38 Transcriptional criteria 38 phonemic 39 sub-phonemic 39 pedagogic 39

280

Trenité, G. N. 265, 274 Upton / Kretzschmar / Konopka 10, 52, 222, 224, 225, 269 ODP. See Transcription systems for English USA-IPA vowel phonemes 33, 53, 161 Vowel representation 25, 116 Vowel quadrilateral 25, 27 Ward, I. 39, 113, 161, 247, 249, 250, 273 Weak forms 42, 54, 118, 165, 191, 198, 208, 215, 218, 220 Wells, J. 10, 18, 25, 39, 52, 163, 185, 186, 187, 188, 198, 202, 204, 206, 207, 208, 209, 211, 219, 222, 224, 253, 269, 272, 275, 276 LPD. See Transcription systems for English Wells / Colson 39, 113, 159, 274 Windsor Lewis, J. 11, 32, 40, 113, 114, 138, 162, 270, 272, 274, 275

Linguistic Insights Studies in Language and Communication

This series aims to promote specialist language studies in the fields of linguistic theory and applied linguistics, by publishing volumes that focus on specific aspects of language use in one or several languages and provide valuable insights into language and communication research. A cross-disciplinary approach is favoured and most European languages are accepted. The series includes two types of books: – Monographs – featuring in-depth studies on special aspects of language theory, language analysis or language teaching. – Collected papers – assembling papers from workshops, conferences or symposia. Each volume of the series is subjected to a double peer-reviewing process. Vol. 1

Maurizio Gotti & Marina Dossena (eds) Modality in Specialized Texts. Selected Papers of the 1st CERLIS Conference. 421 pages. 2001. ISBN 3-906767-10-8 · US-ISBN 0-8204-5340-4

Vol. 2

Giuseppina Cortese & Philip Riley (eds) Domain-specific English. Textual Practices across Communities and Classrooms. 420 pages. 2002. ISBN 3-906768-98-8 · US-ISBN 0-8204-5884-8

Vol. 3

Maurizio Gotti, Dorothee Heller & Marina Dossena (eds) Conflict and Negotiation in Specialized Texts. Selected Papers of the 2nd CERLIS Conference. 470 pages. 2002. ISBN 3-906769-12-7 · US-ISBN 0-8204-5887-2

Editorial address: Prof. Maurizio Gotti

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Vol. 4

Maurizio Gotti, Marina Dossena, Richard Dury, Roberta Facchinetti & Maria Lima Variation in Central Modals. A Repertoire of Forms and Types of Usage in Middle English and Early Modern English. 364 pages. 2002. ISBN 3-906769-84-4 · US-ISBN 0-8204-5898-8

Vol. 5

Stefania Nuccorini (ed.) Phrases and Phraseology. Data and Descriptions. 187 pages. 2002. ISBN 3-906770-08-7 · US-ISBN 0-8204-5933-X

Vol. 6

Vijay Bhatia, Christopher N. Candlin & Maurizio Gotti (eds) Legal Discourse in Multilingual and Multicultural Contexts. Arbitration Texts in Europe. 385 pages. 2003. ISBN 3-906770-85-0 · US-ISBN 0-8204-6254-3

Vol. 7

Marina Dossena & Charles Jones (eds) Insights into Late Modern English. 2nd edition. 378 pages. 2003, 2007. ISBN 978-3-03911-257-9 · US-ISBN 978-0-8204-8927-8

Vol. 8

Maurizio Gotti Specialized Discourse. Linguistic Features and Changing Conventions. 351 pages. 2003, 2005. ISBN 3-03910-606-6 · US-ISBN 0-8204-7000-7

Vol. 9

Alan Partington, John Morley & Louann Haarman (eds) Corpora and Discourse. 420 pages. 2004. ISBN 3-03910-026-2 · US-ISBN 0-8204-6262-4

Vol. 10

Martina Möllering The Acquisition of German Modal Particles. A Corpus-Based Approach. 290 pages. 2004. ISBN 3-03910-043-2 · US-ISBN 0-8204-6273-X

Vol. 11

David Hart (ed.) English Modality in Context. Diachronic Perspectives. 261 pages. 2003. ISBN 3-03910-046-7 · US-ISBN 0-8204-6852-5

Vol. 12

Wendy Swanson Modes of Co-reference as an Indicator of Genre. 430 pages. 2003. ISBN 3-03910-052-1 · US-ISBN 0-8204-6855-X

Vol. 13 Gina Poncini Discursive Strategies in Multicultural Business Meetings. 2nd edition. 338 pages. 2004, 2007. ISBN 978-3-03911-296-8 · US-ISBN 978-0-8204-8937-7 Vol. 14 Christopher N. Candlin & Maurizio Gotti (eds) Intercultural Aspects of Specialized Communication. 2nd edition. 369 pages. 2004, 2007. ISBN 978-3-03911-258-6 · US-ISBN 978-0-8204-8926-1 Vol. 15

Gabriella Del Lungo Camiciotti & Elena Tognini Bonelli (eds) Academic Discourse. New Insights into Evaluation. 234 pages. 2004. ISBN 3-03910-353-9 · US-ISBN 0-8204-7016-3

Vol. 16

Marina Dossena & Roger Lass (eds) Methods and Data in English Historical Dialectology. 405 pages. 2004. ISBN 3-03910-362-8 · US-ISBN 0-8204-7018-X

Vol. 17

Judy Noguchi The Science Review Article. An Opportune Genre in the Construction of Science. 274 pages. 2006. ISBN 3-03910-426-8 · US-ISBN 0-8204-7034-1

Vol. 18

Giuseppina Cortese & Anna Duszak (eds) Identity, Community, Discourse. English in Intercultural Settings. 495 pages. 2005. ISBN 3-03910-632-5 · US-ISBN 0-8204-7163-1

Vol. 19

Anna Trosborg & Poul Erik Flyvholm Jørgensen (eds) Business Discourse. Texts and Contexts. 250 pages. 2005. ISBN 3-03910-606-6 · US-ISBN 0-8204-7000-7

Vol. 20 Christopher Williams Tradition and Change in Legal English. Verbal Constructions in Prescriptive Texts. 2nd revised edition. 216 pages. 2005, 2007. ISBN 978-3-03911-444-3. Vol. 21 Katarzyna Dziubalska-Kolaczyk & Joanna Przedlacka (eds) English Pronunciation Models: A Changing Scene. 2nd edition. 476 pages. 2005, 2008. ISBN 978-3-03911-682-9. Vol. 22

Christián Abello-Contesse, Rubén Chacón-Beltrán, M. Dolores López-Jiménez & M. Mar Torreblanca-López (eds) Age in L2 Acquisition and Teaching. 214 pages. 2006. ISBN 3-03910-668-6 · US-ISBN 0-8204-7174-7

Vol. 23

Vijay K. Bhatia, Maurizio Gotti, Jan Engberg & Dorothee Heller (eds) Vagueness in Normative Texts. 474 pages. 2005. ISBN 3-03910-653-8 · US-ISBN 0-8204-7169-0

Vol. 24

Paul Gillaerts & Maurizio Gotti (eds) Genre Variation in Business Letters. 2nd printing. 407 pages. 2008. ISBN 978-3-03911-681-2.

Vol. 25 Ana María Hornero, María José Luzón & Silvia Murillo (eds) Corpus Linguistics. Applications for the Study of English. 2nd printing. 526 pages. 2006, 2008. ISBN 978-3-03911-726-0 Vol. 26

J. Lachlan Mackenzie & María de los Ángeles Gómez-González (eds) Studies in Functional Discourse Grammar. 259 pages. 2005. ISBN 3-03910-696-1 · US-ISBN 0-8204-7558-0

Vol. 27 Debbie G. E. Ho Classroom Talk. Exploring the Sociocultural Structure of Formal ESL Learning. 2nd edition. 254 pages. 2006, 2007. ISBN 978-3-03911-434-4 Vol. 28

Javier Pérez-Guerra, Dolores González-Álvarez, Jorge L. Bueno-Alonso & Esperanza Rama-Martínez (eds) ‘Of Varying Language and Opposing Creed’: New Insights into Late Modern English. 455 pages. 2007. ISBN 978-3-03910-788-9

Vol. 29

Francesca Bargiela-Chiappini & Maurizio Gotti (eds) Asian Business Discourse(s). 350 pages. 2005. ISBN 3-03910-804-2 · US-ISBN 0-8204-7574-2

Vol. 30

Nicholas Brownlees (ed.) News Discourse in Early Modern Britain. Selected Papers of CHINED 2004. 300 pages. 2006. ISBN 3-03910-805-0 · US-ISBN 0-8204-8025-8

Vol. 31

Roberta Facchinetti & Matti Rissanen (eds) Corpus-based Studies of Diachronic English. 300 pages. 2006. ISBN 3-03910-851-4 · US-ISBN 0-8204-8040-1

Vol. 32

Marina Dossena & Susan M. Fitzmaurice (eds) Business and Official Correspondence: Historical Investigations. 209 pages. 2006. ISBN 3-03910-880-8 · US-ISBN 0-8204-8352-4

Vol. 33

Giuliana Garzone & Srikant Sarangi (eds) Discourse, Ideology and Specialized Communication. 494 pages. 2007. ISBN 978-3-03910-888-6

Vol. 34

Giuliana Garzone & Cornelia Ilie (eds) The Use of English in Institutional and Business Settings. An Intercultural Perspective. 372 pages. 2007. ISBN 978-3-03910-889-3

Vol. 35

Vijay K. Bhatia & Maurizio Gotti (eds) Explorations in Specialized Genres. 316 pages. 2006. ISBN 3-03910-995-2 · US-ISBN 0-8204-8372-9

Vol. 36

Heribert Picht (ed.) Modern Approaches to Terminological Theories and Applications. 432 pages. 2006. ISBN 3-03911-156-6 · US-ISBN 0-8204-8380-X

Vol. 37

Anne Wagner & Sophie Cacciaguidi-Fahy (eds) Legal Language and the Search for Clarity / Le langage juridique et la quête de clarté. Practice and Tools / Pratiques et instruments. 487 pages. 2006. ISBN 3-03911-169-8 · US-ISBN 0-8204-8388-5



Vol. 38 Juan Carlos Palmer-Silveira, Miguel F. Ruiz-Garrido & Inmaculada Fortanet-Gómez (eds) Intercultural and International Business Communication: Theory, Research and Teaching. 2nd edition. 343 pages. 2006, 2008. ISBN 978-3-03911-680-5 Vol. 39

Christiane Dalton-Puffer, Dieter Kastovsky, Nikolaus Ritt & Herbert Schendl (eds) Syntax, Style and Grammatical Norms: English from 1500–2000. 250 pages. 2006. ISBN 3-03911-181-7 · US-ISBN 0-8204-8394-X

Vol. 40

Marina Dossena & Irma Taavitsainen (eds) Diachronic Perspectives on Domain-Specific English. 280 pages. 2006. ISBN 3-03910-176-0 · US-ISBN 0-8204-8391-5

Vol. 41

John Flowerdew & Maurizio Gotti (eds) Studies in Specialized Discourse. 293 pages. 2006. ISBN 3-03911-178-7

Vol. 42

Ken Hyland & Marina Bondi (eds) Academic Discourse Across Disciplines. 320 pages. 2006. ISBN 3-03911-183-3 · US-ISBN 0-8204-8396-6

Vol. 43

Paul Gillaerts & Philip Shaw (eds) The Map and the Landscape: Norms and Practices in Genre. 256 pages. 2006. ISBN 3-03911-182-5 · US-ISBN 0-8204-8395-4

Vol. 44

Maurizio Gotti & Davide Giannoni (eds) New Trends in Specialized Discourse Analysis. 301 pages. 2006. ISBN 3-03911-184-1 · US-ISBN 0-8204-8381-8

Vol. 45

Maurizio Gotti & Françoise Salager-Meyer (eds) Advances in Medical Discourse Analysis: Oral and Written Contexts. 492 pages. 2006. ISBN 3-03911-185-X · US-ISBN 0-8204-8382-6

Vol. 46

Maurizio Gotti & Susan Šarcevi´c (eds) Insights into Specialized Translation. 396 pages. 2006. ISBN 3-03911-186-8 · US-ISBN 0-8204-8383-4

Vol. 47 Khurshid Ahmad & Margaret Rogers (eds) Evidence-based LSP: Translation, Text and Terminology. 584 pages. 2007. ISBN 978-3-03911-187-9 Vol. 48

Hao Sun & Dániel Z. Kádár (eds) It’s the Dragon’s Turn: Chinese Institutional Discourses. 262 pages. 2008. ISBN 978-3-03911-175-6

Vol. 49

Cristina Suárez-Gómez Relativization in Early English (950-1250): the Position of Relative Clauses. 149 pages. 2006. ISBN 3-03911-203-1 · US-ISBN 0-8204-8904-2

Vol. 50

Maria Vittoria Calvi & Luisa Chierichetti (eds) Nuevas tendencias en el discurso de especialidad. 319 pages. 2006. ISBN 978-3-03911-261-6

Vol. 51

Mari Carmen Campoy & María José Luzón (eds) Spoken Corpora in Applied Linguistics. 274 pages. 2008. ISBN 978-3-03911-275-3

Vol. 52

Konrad Ehlich & Dorothee Heller (Hrsg.) Die Wissenschaft und ihre Sprachen. 323 pages. 2006. ISBN 978-3-03911-272-2

Vol. 53

Jingyu Zhang The Semantic Salience Hierarchy Model: The L2 Acquisition of Psych Predicates 273 pages. 2007. ISBN 978-3-03911-300-2

Vol. 54

Norman Fairclough, Giuseppina Cortese & Patrizia Ardizzone (eds) Discourse and Contemporary Social Change. 555 pages. 2007. ISBN 978-3-03911-276-0

Vol. 55

Jan Engberg, Marianne Grove Ditlevsen, Peter Kastberg & Martin Stegu (eds) New Directions in LSP Teaching. 331 pages. 2007. ISBN 978-3-03911-433-7

Vol. 56

Dorothee Heller & Konrad Ehlich (Hrsg.) Studien zur Rechtskommunikation. 322 pages. 2007. ISBN 978-3-03911-436-8

Vol. 57

Forthcoming.

Vol. 58

Carmen Frehner Email – SMS – MMS 294 pages. 2008. ISBN 978-3-03911-451-1

Vol. 59

Isabel Balteiro The Directionality of Conversion in English: A Dia-Synchronic Study. 276 pages. 2007. ISBN 978-3-03911-241-8

Vol. 60 Maria Milagros Del Saz Rubio English Discourse Markers of Reformulation. 237 pages. 2007. ISBN 978-3-03911-196-1 Vol. 61

Sally Burgess & Pedro Martín-Martín (eds) English as an Additional Language in Research Publication and Communication. 259 pages. 2008. ISBN 978-3-03911-462-7

Vol. 62

Sandrine Onillon Pratiques et représentations de l’écrit. 458 pages. 2008. ISBN 978-3-03911-464-1

Vol. 63 Hugo Bowles & Paul Seedhouse (eds) Conversation Analysis and Language for Specific Purposes. 2nd edition. 337 pages. 2007, 2009. ISBN 978-3-0343-0045-2 Vol. 64

Vijay K. Bhatia, Christopher N. Candlin & Paola Evangelisti Allori (eds) Language, Culture and the Law. The Formulation of Legal Concepts across Systems and Cultures. 342 pages. 2008. ISBN 978-3-03911-470-2

Vol. 65

Jonathan Culpeper & Dániel Z. Kádár (eds) Historical (Im)politeness. 300 pages. 2010. ISBN 978-3-03911-496-2

Vol. 66

Linda Lombardo (ed.) Using Corpora to Learn about Language and Discourse. 237 pages. 2009. ISBN 978-3-03911-522-8

Vol. 67

Natsumi Wakamoto Extroversion/Introversion in Foreign Language Learning. Interactions with Learner Strategy Use. 159 pages. 2009. ISBN 978-3-03911-596-9

Vol. 68

Eva Alcón-Soler (ed.) Learning How to Request in an Instructed Language Learning Context. 260 pages. 2008. ISBN 978-3-03911-601-0

Vol. 69

Domenico Pezzini The Translation of Religious Texts in the Middle Ages. 428 pages. 2008. ISBN 978-3-03911-600-3

Vol. 70

Tomoko Tode Effects of Frequency in Classroom Second Language Learning. Quasi-experiment and stimulated-recall analysis. 195 pages. 2008. ISBN 978-3-03911-602-7

Vol. 71 Egor Tsedryk Fusion symétrique et alternances ditransitives. 211 pages. 2009. ISBN 978-3-03911-609-6 Vol. 72 Cynthia J. Kellett Bidoli & Elana Ochse (eds) English in International Deaf Communication. 444 pages. 2008. ISBN 978-3-03911-610-2 Vol. 73 Joan C. Beal, Carmela Nocera & Massimo Sturiale (eds) Perspectives on Prescriptivism. 269 pages. 2008. ISBN 978-3-03911-632-4 Vol. 74

Carol Taylor Torsello, Katherine Ackerley & Erik Castello (eds) Corpora for University Language Teachers. 308 pages. 2008. ISBN 978-3-03911-639-3

Vol. 75

María Luisa Pérez Cañado (ed.) English Language Teaching in the European Credit Transfer System: Facing the Challenge. 251 pages. 2009. ISBN 978-3-03911-654-6

Vol. 76

Marina Dossena & Ingrid Tieken-Boon van Ostade (eds) Studies in Late Modern English Correspondence. Methodology and Data. 291 pages. 2008. ISBN 978-3-03911-658-4

Vol. 77

Ingrid Tieken-Boon van Ostade & Wim van der Wurff (eds) Current Issues in Late Modern English. 436 pages. 2009. ISBN 978-3-03911-660-7

Vol. 78

Marta Navarro Coy (ed.) Practical Approaches to Foreign Language Teaching and Learning. 297 pages. 2009. ISBN 978-3-03911-661-4

Vol. 79

Qing Ma Second Language Vocabulary Acquisition. 333 pages. 2009. ISBN 978-3-03911-666-9

Vol. 80

Martin Solly, Michelangelo Conoscenti & Sandra Campagna (eds) Verbal/Visual Narrative Texts in Higher Education. 384 pages. 2008. ISBN 978-3-03911-672-0

Vol. 81

Meiko Matsumoto From Simple Verbs to Periphrastic Expressions: The Historical Development of Composite Predicates, Phrasal Verbs, and Related Constructions in English. 235 pages. 2008. ISBN 978-3-03911-675-1

Vol. 82

Melinda Dooly Doing Diversity. Teachers’ Construction of Their Classroom Reality. 180 pages. 2009. ISBN 978-3-03911-687-4

Vol. 83

Victoria Guillén-Nieto, Carmen Marimón-Llorca & Chelo Vargas-Sierra (eds) Intercultural Business Communication and Simulation and Gaming Methodology. 392 pages. 2009. ISBN 978-3-03911-688-1

Vol. 84

Maria Grazia Guido English as a Lingua Franca in Cross-cultural Immigration Domains. 285 pages. 2008. ISBN 978-3-03911-689-8

Vol. 85

Erik Castello Text Complexity and Reading Comprehension Tests. 352 pages. 2008. ISBN 978-3-03911-717-8

Vol. 86

Maria-Lluisa Gea-Valor, Isabel García-Izquierdo & Maria-José Esteve (eds) Linguistic and Translation Studies in Scientific Communication. 317 pages. 2010. ISBN 978-3-0343-0069-8

Vol. 87

Carmen Navarro, Rosa Mª Rodríguez Abella, Francesca Dalle Pezze & Renzo Miotti (eds) La comunicación especializada. 355 pages. 2008. ISBN 978-3-03911-733-8

Vol. 88

Kiriko Sato The Development from Case-Forms to Prepositional Constructions in Old English Prose. 231 pages. 2009. ISBN 978-3-03911-763-5

Vol. 89

Dorothee Heller (Hrsg.) Formulierungsmuster in deutscher und italienischer Fachkommunikation. Intra- und interlinguale Perspektiven. 315 pages. 2008. ISBN 978-3-03911-778-9

Vol. 90

Henning Bergenholtz, Sandro Nielsen & Sven Tarp (eds) Lexicography at a Crossroads. Dictionaries and Encyclopedias Today, Lexicographical Tools Tomorrow. 372 pages. 2009. ISBN 978-3-03911-799-4

Vol. 91

Manouchehr Moshtagh Khorasani The Development of Controversies: From the Early Modern Period to Online Discussion Forums. 317 pages. 2009. ISBN 978-3-3911-711-6

Vol. 92

María Luisa Carrió-Pastor (ed.) Content and Language Integrated Learning: Cultural Diversity. 178 pages. 2009. ISBN 978-3-3911-818-2

Vol. 93

Roger Berry Terminology in English Language Teaching: Nature and Use. 262 pages. 2010. ISBN 978-3-0343-0013-1

Vol. 94

Roberto Cagliero & Jennifer Jenkins (eds) Discourses, Communities, and Global Englishes 240 pages. 2010. ISBN 978-3-0343-0012-4

Vol. 95

Facchinetti Roberta, Crystal David, Seidlhofer Barbara (eds) From International to Local English – And Back Again. 268 pages. 2010. ISBN 978-3-0343-0011-7

Vol. 96

Cesare Gagliardi & Alan Maley (eds) EIL, ELF, Global English: Teaching and Learning Issues 376 pages. 2010. ISBN 978-3-0343-0010-0

Vol. 97

Sylvie Hancil (ed.) The Role of Prosody in Affective Speech. 403 pages. 2009. ISBN 978-3-03911-696-6

Vol. 98

Marina Dossena & Roger Lass (eds) Studies in English and European Historical Dialectology. 257 pages. 2009. ISBN 978-3-0343-0024-7

Vol. 99

Christine Béal Les interactions quotidiennes en français et en anglais. De l’approche comparative à l’analyse des situations interculturelles. 424 pages. 2010. ISBN 978-3-0343-0027-8

Vol. 100

Maurizio Gotti (ed.) Commonality and Individuality in Academic Discourse. 398 pages. 2009. ISBN 978-3-0343-0023-0

Vol. 101

Javier E. Díaz Vera & Rosario Caballero (eds) Textual Healing: Studies in Medieval English Medical, Scientific and Technical Texts. 213 pages. 2009. ISBN 978-3-03911-822-9

Vol. 102

Nuria Edo Marzá The Specialised Lexicographical Approach: A Step further in Dictionary-making. 316 pages. 2009. ISBN 978-3-0343-0043-8

Vol. 103

Carlos Prado-Alonso, Lidia Gómez-García, Iria Pastor-Gómez & David Tizón-Couto (eds) New Trends and Methodologies in Applied English Language Research. Diachronic, Diatopic and Contrastive Studies. 348 pages. 2009. ISBN 978-3-0343-0046-9

Vol. 104 Forthcoming. Vol. 105

Javier Ruano-García Early Modern Northern English Lexis: A Literary Corpus-Based Study. 611 pages. 2010. ISBN 978-3-0343-0058-2

Vol. 106

Rafael Monroy-Casas Systems for the Phonetic Transcription of English: Theory and Texts. 280 pages. 2011. ISBN 978-3-0343-0059-9

Vol. 107

Nicola T. Owtram The Pragmatics of Academic Writing. A Relevance Approach to the Analysis of Research Article Introductions. 311 pages. 2009. ISBN 978-3-0343-0060-5

Vol. 108

Yolanda Ruiz de Zarobe, Juan Manuel Sierra & Francisco Gallardo del Puerto (eds) Content and Foreign Language Integrated Learning. Contributions to Multilingualism in European Contexts 343 pages. 2011. ISBN 978-3-0343-0074-2

Vol. 109

Ángeles Linde López & Rosalía Crespo Jiménez (eds) Professional English in the European context: The EHEA challenge. 374 pages. 2010. ISBN 978-3-0343-0088-9

Vol. 110

Rosalía Rodríguez-Vázquez The Rhythm of Speech, Verse and Vocal Music: A New Theory. 394 pages. 2010. ISBN 978-3-0343-0309-5

Vol. 111

Anastasios Tsangalidis & Roberta Facchinetti (eds) Studies on English Modality. In Honour of Frank Palmer. 392 pages. 2009. ISBN 978-3-0343-0310-1

Vol. 112

Forthcoming.

Vol. 113

Mihhail Lotman & Maria-Kristiina Lotman (eds) Frontiers in Comparative Prosody. In memoriam: Mikhail Gasparov. 426 pages. 2011. ISBN 978-3-0343-0373-6

Vol. 114

Merja Kytö, John Scahill & Harumi Tanabe (eds) Language Change and Variation from Old English to Late Modern English. A Festschrift for Minoji Akimoto 422 pages. 2010. ISBN 978-3-0343-0372-9

Vol. 115

Giuliana Garzone & Paola Catenaccio (eds) Identities across Media and Modes: Discursive Perspectives. 379 pages. 2009. ISBN 978-3-0343-0386-6

Vol. 116

Elena Landone Los marcadores del discurso y cortesía verbal en español. 390 pages. 2010. ISBN 978-3-0343-0413-9

Vol. 117

Maurizio Gotti & Christopher Williams (eds) Legal Discourse across Languages and Cultures. 339 pages. 2010. ISBN 978-3-0343-0425-2

Vol. 118

David Hirsh Academic Vocabulary in Context. 217 pages. 2010. ISBN 978-3-0343-0426-9

Vol. 119

Yvonne Dröschel Lingua Franca English. The Role of Simplification and Transfer. 358 pages. 2011. ISBN 978-3-0343-0432-0

Vol. 120

Tengku Sepora Tengku Mahadi, Helia Vaezian & Mahmoud Akbari Corpora in Translation. A Practical Guide. 135 pages. 2010. ISBN 978-3-0343-0434-4

Vol. 121

Davide Simone Giannoni & Celina Frade (eds) Researching Language and the Law. Textual Features and Translation Issues. 278 pages. 2010. ISBN 978-3-0343-0443-6

Vol. 122

Daniel Madrid & Stephen Hughes (eds) Studies in Bilingual Education. 472 pages. 2011. ISBN 978-3-0343-0474-0

Vol. 123

Vijay K. Bhatia, Christopher N. Candlin & Maurizio Gotti (eds) The Discourses of Dispute Resolution. 290 pages. 2010. ISBN 978-3-0343-0476-4

Vol. 124

Davide Simone Giannoni Mapping Academic Values in the Disciplines. A Corpus-Based Approach. 288 pages. 2010. ISBN 978-3-0343-0488-7

Vol. 125

Giuliana Garzone & James Archibald (eds) Discourse, Identities and Roles in Specialized Communication. 419 pages. 2010. ISBN 978-3-0343-0494-8

Vol. 126

Iria Pastor-Gómez The Status and Development of N+N Sequences in Contemporary English Noun Phrases. 216 pages. 2011. ISBN 978-3-0343-0534-1

Vol. 127 Forthcoming. Vol. 128

Tony Harris & María Moreno Jaén (eds) Corpus Linguistics in Language Teaching. 214 pages. 2010. ISBN 978-3-0343-0524-2

Vol. 129

Tetsuji Oda & Hiroyuki Eto (eds) Multiple Perspectives on English Philology and History of Linguistics. A Festschrift for Shoichi Watanabe on his 80th Birthday. 378 pages. 2010. ISBN 978-3-0343-0480-1

Vol. 130

Luisa Chierichetti & Giovanni Garofalo (eds) Lengua y Derecho: líneas de investigación interdisciplinaria 283 pages. 2010. 978-3-0343-0463-4

Vol. 131

Paola Evangelisti Allori & Giuliana Garzone (eds) Discourse, Identities and Genres in Corporate Communication. Sponsorship, Advertising and Organizational Communication. 324 pages. 2011. 978-3-0343-0591-4

Vol. 132 Forthcoming. Vol. 133

Thomas Christiansen Cohesion: A Discourse Perspective. 387 pages. 2011. 978-3-0343-0619-5

Vol. 134

Giuliana Garzone & Maurizio Gotti Discourse, Communication and the Enterprise. Genres and Trends. 451 pages. 2011. ISBN 978-3-0343-0620-1