calls: Second Call for Papers: Special Issue Sociolinguistic Studies. Fictionalising Orality

Harold Schiffman hfsclpp at
Tue Feb 10 21:58:26 UTC 2009

Sociolinguistic Studies

Full Title: Sociolinguistic Studies

Linguistic Field(s): Discourse Analysis;Ling &
Literature;Pragmatics;Sociolinguistics;Text/Corpus Linguistics

Call Deadline: 30-Mar-2009

Second Call for Papers: Special Issue Sociolinguistic Studies.
Fictionalising Orality

Co-edited by Prof. Kevin McCafferty and Dr. Carolina Amador-Moreno

Proposal Submission Deadline: 30th March, 2009

Editor: Equinox, London.

Fictional texts often display traces of orality to a greater or lesser
extent. Whatever the precise characteristics of this representation of
orality, verbal interaction in fiction can only be understood and
interpreted in relation to the same rules of discourse that govern everyday
interaction. Although evidently lacking the spontaneity of spoken oral
interaction, and differing in important ways from text types that may
record the spoken word more authentically (cf. Schneider 2002:70-77),
fictional dialogue is, nonetheless, rooted in ordinary discourse and
everyday situations. While they are certainly invented and hypothetical in
Schneider's typology, as Fowler points out, fictional dialogues are built
upon models of language use which tend to occur in 'non fictional' texts
(conversation, meetings, political speeches, news reports, etc.) and they
are, in a sense, transcripts of naturally occurring speech:

Ordinary, conventional language has its rules of structure: eg. dialect and
accent are recognizable through regular features of a person's speech; and
in conversation, different people's contributions are linked to each other,
by various cohesive devices, into an integrated communicative whole. These
conventional regularities of structure, non-literary in origin, may be as
it were 'transcribed' out of real life into written fiction. (Fowler 1989: 114)

However, a certain degree of language awareness is required of an author
when it comes to (re)-creating the features of spoken language, especially
when dialogues are presented without narratorial comments or any other form
of authorial direction. Papers are sought that explore how the features of
spoken language are fictionalised. Some of the research questions this
special issue will address are:

- What are the strategies used in fiction to represent the spoken mode?
- How is characterisation created through patterns of language in fiction?
- To what extent is fictional discourse like or unlike informal casual
- How are dialect, false starts, overlapping, incomplete sentences,
elisions, interruptions, turn-taking, backchannelling, hedging,
repetitions, hesitation, and other features of spoken discourse represented
in novels, short stories, plays, films and even advertising?
- What are the functions of bilingual or multilingual fictional dialogue in
these genres?
- How is code-switching constructed in the work of bilingual authors?
- How can the tools of corpus analysis and/or (historical) sociolinguistics
contribute to the study of the spoken mode in fiction?
- What principles need to be observed in the study of literary dialect?

Researchers and scholars are invited to submit a paper proposal of not more
than 500 words, stating the purpose of the paper, its contents, and methodology
as well as how the proposed paper relates to the overall topic of this
special issue. Submissions should be in Microsoft Word or Rich Text Format.
Please send proposals to: /

Authors of accepted proposals will be notified by 30th April, 2009. Upon
acceptance of their proposals, authors will have until 30th November 2009
to prepare their papers. Submissions should be between 6,000 and 8,000
words (inclusive of notes and bibliography). Appendices may be attached but
are to be included in the total word count. All submitted papers will be
reviewed on a double-blind peer-review basis.

Guidelines for preparing the papers will be sent upon acceptance of
proposals. For additional information regarding the publisher, please
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