Editores María Luisa Carrió Pastor Miguel Ángel Candel Mora ACTAS DEL III CONGRESO INTERNACIONAL DE LINGÜÍSTICA DE CORPUS. LAS TECNOLOGÍAS DE LA INFORMACIÓN Y LAS COMUNICACIONES: PRESENTE Y FUTURO EN EL ANÁLISIS DE CORPUS EDITORIAL UNIVERSITAT POLITÈCNICA DE VALÈNCIA Esta editorial es miembro de la UNE, lo que garantiza la difusión y comercialización de sus publicaciones a nivel nacional e internacional. Primera edición, 2011 © de la presente edición: Editorial Universitat Politècnica de València www.editorial.upv.es © Editores: María Luisa Carrió Pastor Miguel Ángel Candel Mora ISBN: 978-84-694-6225-6 Ref. editorial: 6032 Queda prohibida la reproducción, distribución, comercialización, transformación, y en general, cualquier otra forma de explotación, por cualquier procedimiento, de todo o parte de los contenidos de esta obra sin autorización expresa y por escrito de sus autores. ÍNDICE Prólogo ...................................................................................................... 13 Diseño, elaboración y tipología de corpus .............................................. 15 PEPCO: DESIGNING A PARALLEL AND COMPARABLE TRANSLATIONAL CORPUS IN BRAZIL Lautenai Antonio Bartholamei Junior .................................................................................. 17 NIP & TUCK: A CORPUS-BASED QUALITATIVE TYPOLOGY FOR CONCISION IN SCIENTIFIC WRITING Marta Conejero, Asunción Jaime and Debra Westall ........................................................... 25 TURIGAL: COMPILATION OF A PARALLEL CORPUS FOR BILINGUAL TERMINOLOGY EXTRACTION Adonay Custódia Santos Moreira ......................................................................................... 33 CRITERIOS ESPECÍFICOS PARA LA ELABORACIÓN Y DISEÑO DE LOS CORPUS ESPECIALIZADOS PARA LA TERMINOGRAFÍA Isabel Duran ......................................................................................................................... 43 HERRAMIENTAS Y CRITERIOS PARA LA CREACIÓN DE UN BANCO DE CONOCIMIENTO SOBRE LOS USOS DEL LENGUAJE EN LA RED Joseba Ezeiza and Agurtzane Elordui ................................................................................... 51 ARE YOU A MAN? ON SEEING GENDER IN SHAKESPEARE Heather Froehlich ................................................................................................................. 67 THE CORPUS OF GREEK APHASIC SPEECH: DESIGN AND COMPILATION Dionysis Goutsos, Constantin Potagas, Dimitris Kasselimis, Maria Varkanitsa & Ioannis Evdokimidis .......................................................................................................................... 77 INTERACTION OF TECHNOLOGY AND METHODOLOGY IN BUILDING AND SHARING AN ANNOTATED LEARNER CORPUS OF SPOKEN GERMAN Hanna Hedeland ................................................................................................................... 87 DESIGN AND COMPILATION OF A LEGAL ENGLISH CORPUS BASED ON UK LAW REPORTS: THE PROCESS OF MAKING DECISIONS Maria Jose Marin Perez and Camino Rea Rizzo .................................................................. 101 GLEANING MICRO-CORPORA FROM THE INTERNET: INTEGRATING HETEROGENEOUS DATA INTO EXISTING CORPUS INFRASTRUCTURES Karlheinz Moerth, Niku Dorostkar and Alexander Preisinger .............................................. 111 TOWARDS A LATVIAN TREEBANK *XQWD1HãSRUH/DXPD3UHWNDOQLƼD%DLED6DXOƯWHDQG.ULVWƯQH/HYƗQH3HWURYD MATVA: 119 A DATABASE OF ENGLISH TELEVISION COMMERCIALS FOR THE STUDY OF PRAGMATICCOGNITIVE EFFECTS OF PARALINGUISTIC AND EXTRALINGUISTIC ELEMENTS ON THE AUDIENCE OF ENGLISH TV ADS Laura Ramírez Polo .............................................................................................................. 129 DESIGN AND DEVELOPMENT OF THE BULGARIAN SENSE-ANNOTATED CORPUS Ekaterina Tarpomanova, Svetlozara Leseva, Svetla Koeva, Borislav Rizov, Hristina Kukova, Tsvetana Dimitrova and Maria Todorova ............................................................... 143 DESIGNING A DEPENDENCY REPRESENTATION AND GRAMMAR DEFINITION CORPUS FOR FINNISH Atro Voutilainen, Krister Linden and Tanja Purtonen .......................................................... 151 Discurso, análisis literario y corpus ........................................................ 159 AN APPROACH TO NATIVE AND NON-NATIVE WRITERS’ METADISCOURSAL FEATURES IN SCIENTIFIC ABSTRACTS IN USE ENGLISH OF INTERACTIONAL WITHIN THE FIELD OF AGRICULTURAL SCIENCES Mª Milagros del Saz Rubio ................................................................................................... 161 EVALUATIVE ADJECTIVES IN A CORPUS OF GREEK OPINION ARTICLES Georgia Fragaki .................................................................................................................... 169 POLITICAL LANGUAGE IN 140 SYMBOLS: TWITTER USE BY BARACK OBAMA AND DMITRY MEDVEDEV Anna Ivanova ........................................................................................................................ ELECTRONIC 177 DECONSTRUCTION OF AN ARGUMENT’S RHETORICAL STRUCTURE USING ITS DISCUSSION FORUM SUPPLEMENT Kieran O’Halloran ................................................................................................................ 185 BUILDING A COMPARABLE CORPUS (ENGLISH-SPANISH) OF NEWSPAPER ARTICLES ON GENDER AND SEXUAL (IN)EQUALITY (GENTEXT-N): PRESENT AND FUTURE APPLICATIONS IN THE ANALYSIS OF SOCIO-IDEOLOGICAL DISCOURSES José Santaemilia y Sergio Maruenda ..................................................................................... METAPHOR IDENTIFICATION IN CORPORA: THE CASE OF ‘AS’ 197 IN A BUSINESS PERIODICAL CORPUS Hanna Skorczynska ............................................................................................................... 205 A CORPUS ANALYSIS OF RHETORICAL STRATEGIES IN THE DISCOURSE OF CHOMSKY Keith Stuart .......................................................................................................................... 215 A CONTRASTIVE STRUCTURAL ANALYSIS OF SHAKESPEARE’S HAMLET VERSUS SUMAROKOV’S GAMLET: A CORPUS-BASED APPROACH Irina Keshabyan Ivanova ...................................................................................................... 445 HACIA UN ENFOQUE EMPÍRICO EN LA SEMÁNTICA A TRAVÉS DE LA TRADUCCIÓN: ESTUDIO CONTRASTIVO DEL VERBO SENTIR. Jansegers Marlies & Enghels Renata .................................................................................... 457 A CORPUS-BASED STUDY ON THE USE OF NARRATIVE IN ENGLISH AND SPANISH YOUTH CONVERSATION 0RQLFD3DOPHULQLDQG6HUHQHOOD=DQRWWL 467 ‘WELL’ IN SPANISH TRANSLATIONS: EVIDENCE FROM THE P-ACTRES PARALLEL CORPUS Noelia Ramón ....................................................................................................................... 485 TRANSLATING RESEARCH ARTICLES FROM SPANISH INTO ENGLISH: A CORPUS-BASED COMPARATIVE ANALYSIS OF THE GENRE Cristina Toledo Báez ............................................................................................................. 495 Variación lingüística y corpus .................................................................. 505 LA REFORMA FEMINISTA DEL ESPAÑOL EN LOS ANUNCIOS DE PRENSA. UN ESTUDIO BASADO EN CORPUS Merceces Bengoechea y José Simón ................................................................................... 507 LA LINGÜÍSTICA FORENSE Y EL USO DE LOS CORPUS LINGÜÍSTICOS Jordi Cicres ........................................................................................................................... 517 STRUCTURED PARALLEL COORDINATES: A VISUALIZATION FOR ANALYZING STRUCTURED LANGUAGE DATA Chris Culy, Verena Lyding and Henrik Dittmann ................................................................. 525 REQUEST MARKERS IN DRAMA: DATA FROM THE CORPUS OF IRISH ENGLISH Fátima Faya Cerqueiro .......................................................................................................... 535 A PRELIMINARY STUDY OF NEUTRAL MOTION VERBS IN LOB AND FLOB Iria Gael Romai ..................................................................................................................... 543 DISCIPLINARY DIFFERENCES IN THE USE OF SUB-TECHNICAL NOUNS: A CORPUS-BASED STUDY María José Luzón Marco ...................................................................................................... 553 VOICE-OVERS IN BRITISH TV ADS: CHARACTERISING A WRITTEN-TO-BE-SPOKEN CORPUS Barry Pennock ....................................................................................................................... 563 LAS TIC: PRESENTE Y FUTURO EN EL ANÁLISIS DE CORPUS A corpus-based study on the use of narrative in English and Spanish youth conversation Monica Palmerini and Serenella Zanotti Roma Tre University, Italy Abstract ,QWKLVSDSHUZHSUHVHQWWKH¿UVWUHVXOWVRIDFRUSXVEDVHGDQDO\VLVRIQDUUDWLYH LQ 6SDQLVK DQG (QJOLVK \RXWK ODQJXDJH 7KH VWXG\ IRFXVHV RQ FRQYHUVDWLRQDO narrative, i.e. on natural occurring narratives that emerge in young people’s everyday interactions. Our analysis is based on two Bergen Corpora of teenage informal conversation: the Corpus of London Teenage Language &2/7  DQG the Madrid subcorpus of the Corpus Oral de Lenguaje Adolescente (COLAm). ,QWKLVSDSHUZHGLUHFWRXUDQDO\VLVWRVRPHVSHFL¿FDVSHFWVRI\RXWKQDUUDWLYH QDPHO\VWRU\RSHQHUVDQGFORVHUVDQGTXRWDWLRQVWUDWHJLHV7KHDQDO\VLVKLJKOLJKWV remarkable similarities in narrative construction in the two linguistic communities and illustrates how the study of both youth language and conversational narrative FDQEHQH¿WIURPWKHXVHRIFRPSDUDEOHFRUSRUD Key words: corpus linguistics, conversational narrative, youth language, Spanish, English. Resumen En este artículo presentamos los primeros resultados de un análisis basado en corpora de narraciones en el lenguaje juvenil español e inglés. La investigación se centra en la narración conversacional, es decir, en las narraciones espontáneas que emergen en las interacciones cotidianas de los jóvenes. El análisis se basa en dos corpora juveniles de conversación informal elaborados en la Universidad de Bergen: el Corpus of London Teenage Language &2/7  \ HO VXEFRUSXV de Madrid del Corpus Oral de Lenguaje Adolescente (COLAm). En esta FRQWULEXFLyQ VH DQDOL]DQ DOJXQRV DVSHFWRV HVSHFt¿FRV GH OD QDUUDFLyQ HV GHFLU los recursos de apertura y de cierre de la narración y las estrategias de cita. El estudio subraya considerables semejanzas en la construcción de la narración en las dos comunidades lingüísticas y pone de relieve cómo la investigación sobre el OHQJXDMHMXYHQLODVtFRPRVREUHODQDUUDFLyQFRQYHUVDFLRQDOVHSXHGHEHQH¿FLDU del uso de corpora comparables. Palabras clave: lingüística de corpus, narración conversacional, lenguaje juvenil, español, inglés. 467 ACTAS DEL III CONGRESO INTERNACIONAL DE LINGÜÍSTICA DE CORPUS INTRODUCTION105 Pioneered by Labov and Waletsky’s seminal work (1967; Labov 1972; 1997), narrative analysis, i.e. the study of oral narratives of ordinary people, developed on the basis of elicited, interview-style stories. In more recent times, a new direction of research has focused attention on the simplest and most fundamental context where narrative surfaces, LHVSRQWDQHRXVLQIRUPDOFRQYHUVDWLRQ :ROIVRQ3RODQ\L7RRODQ 1RUULFNDQG/DQJHOOLHU 3HWHUVRQ 7KHVHVWXGLHVKDYHSRLQWHG out that, rather than a de-contextualized phenomenon, narrative in its everyday dimension is to be regarded as “a conversational strategy for accomplishing some interactional end” (Norrick, 2000: 1-2). In this paper conversational narrative will be approached combining two different perspectives: a sociolinguistic one, as the analysis will concentrate on youth language; and a contrastive one, as it will offer a comparison of the use of narrative in British English DQG3HQLQVXODU6SDQLVK\RXWKWDON7KHRYHUDOODSSURDFKHQYLVDJHGLVXOWLPDWHO\FRUSXV based, since the analysis has been carried out on and through two comparable corpora of youth language that have both been constructed at the University of Bergen: the Corpus of London Teenage Language &2/7 DQGWKH0DGULGVXEFRUSXVRIWKHCorpus Oral de Lenguaje Adolescente (COLAm).106 Studies carried out over the last decade (Briz, 2003; Rodríguez, 2002; Androutsopoulos & Georgakopoulou, 2003; Stenström & Jørgensen, 2009; Jørgensen, 2010 and Bucholtz, 2011) have demonstrated the interest of youth language as a site of innovation and identity construction and paved the way for further research from a wide range of perspectives. Single-language and contrastive studies have been carried out on the two Bergen corpora, which have investigated different aspects of youth language, with special reference to GLVFRXUVHPDUNHUVLQWHQVL¿HUVWDERRZRUGVWDJVDQGSKDWLFWDON 6WHQVWU|P$QGHUVHQ and Hasund, 2002; Stenström, 2005a, 2005b, 2006a, 2006b, 2006c; Jørgensen, 2008b, F   +RZHYHU QRQH RI WKHVH VWXGLHV KDV VSHFL¿FDOO\ DGGUHVVHG WKH LVVXH RI narrative. More generally, it should be noted that, while a general model for the analysis RI FRQYHUVDWLRQDO QDUUDWLYH KDV EHHQ RIIHUHG VHH IRU LQVWDQFH 7RRODQ  %OXP .XOND1RUULFN YHU\OLWWOHKDVEHHQGRQHLQWKH¿HOGRIQDUUDWLYHLQ\RXWK conversation, with the notable exception of Cheshire, 2000, 2003 and Cheshire & Williams, 2002. ,QWKLVSDSHUZHLQWHQGWRWDNHDIXUWKHUVWHSLQWKLVGLUHFWLRQSUHVHQWLQJWKH¿UVW¿QGLQJV of a corpus-based investigation on how adolescent speakers in two of the most spoken DQGLQÀXHQWLDOODQJXDJHVLQWKHZRUOG(QJOLVKDQG6SDQLVKXVHDQGFRQVWUXFWQDUUDWLYH in conversation. At this early stage of our research we have focused our attention on two main aspects: 1. story opening and closing (see Cheshire, 2000: 251 and Norrick, 2007: 132), as we intended to investigate the dynamics between narrative and non-narrative space and study 468 105 7KLVDUWLFOHLVWKHUHVXOWRIDMRLQHGHIIRUWEHWZHHQWKHWZRDXWKRUV,WVKRXOGEHVSHFL¿HGKRZHYHUWKDW0RQLFD 3DOPHULQLLVUHVSRQVLEOHIRUSDUWDQG6HUHQHOOD=DQRWWLIRUSDUW7KHRWKHUVHFWLRQVDUHWREHDVFULEHGWRERWKDXWKRUV 106 Both corpora are available on the internet at http://torvald.aksis.uib.no/colt/cwb and http://www.colam.org. LAS TIC: PRESENTE Y FUTURO EN EL ANÁLISIS DE CORPUS the way young speakers mark the boundaries between “narrated world” and “commented world” (Weinrich, 1964); 2. reported speech, i.e. quotation strategies and other devices used by young speakers to PDUNWKHERXQGDU\EHWZHHQWKHLURZQDQGWKHRWKHUSHRSOH¶VYRLFHV VHH7DQQHQ and Mayes, 1990). 1. THE DATA: CORPORA AND SAMPLE SELECTION 7KHVWDUWLQJSRLQWDQGDQLQHVFDSDEOHSUHUHTXLVLWHIRURXUSURMHFWZDVWKHDYDLODELOLW\RI two comparable corpora of oral informal youth language, namely the above mentioned &2/7DQG&2/$P7KHVHFRUSRUDDSSHDUSDUWLFXODUO\VXLWDEOHWRVWLPXODWHUHVHDUFKRQ the communicative style of the young and to carry out sociolinguistic surveys, since they are complemented by important background information on the speakers. &2/7LVDFROOHFWLRQRIVSRQWDQHRXVFRQYHUVDWLRQVDPRQJ/RQGRQWHHQDJHUVUHFRUGHG in 1993 by student recruits aged 13 to 17. COLAm is a the Madrid subcorpus of the larger COLA project, aimed at building a corpus of informal youth language from various capitals of Spanish speaking countries (to date, it includes Argentina and Chile). ,WZDVFRPSLOHGLQ0DGULGLQRQWKH&2/7PRGHOXVLQJPRUHVRSKLVWLFDWHG equipment (Jørgensen 2008a). Both corpora contain approximately half a million words. 7KXVWKH\DUHSHUIHFWO\FRPSDUDEOHLQWHUPVRIFRUSXVGHVLJQPHWKRGRIGDWDFROOHFWLRQ and number of words, although they differ in chronological context, there being a gap of nine years between the recordings. 7KHFRQWUDVWLYHDQDO\VLVWKDWLVEHLQJSUHVHQWHGKHUHKDVEHHQFRQGXFWHGRQDVDPSOHRI 15 conversations from each corpus, casually selected on the basis of containing narrative signals such as tell me, you know what, and you know when7KHWRWDOQXPEHURIZRUGV for both samples is around 50.000, thus amounting to approximately 1/10 of the total corpus extension. 2. THE COLT DATA 2.1. Narrative density 7KHVDPSOHUHODWLQJWRWKH/RQGRQWHHQDJHUVFRQVLVWVRIFRQYHUVDWLRQVUHFRUGHGE\ UHFUXLWV JLUOVDQGER\V 7KHFRQYHUVDWLRQVDUHYDULDEOHLQOHQJWKUDQJLQJIURP to 10.798 words. As shown by table 1, some of the recruits contribute to the sample with more than one conversation. 469 ACTAS DEL III CONGRESO INTERNACIONAL DE LINGÜÍSTICA DE CORPUS Table 1. Narrative densit Recruit Josie 4 Sex F Age 14 Words per conversation Narrative units per conversation 1145 4 10.025 27 1080 3 7331 14 Cassie 1 F 15 4741 7 Craig 1 M 13 617 4 Sarah 2 F 13 9956 4 1176 2 Skonev 1 M 12 2586 9 Alex 1 M 14 3398 4 Caroline 1 F 14 3313 4 2719 1 6436 12 3839 3 10.798 18 Jack 470 Conversations per recruit 3 Catriona 1 TOT. 15 M F 16 16 69.160 Narrative density and length vary from conversation to conversation and from recruit to UHFUXLW7DEOHSUHVHQWVWKHGDWDUHJDUGLQJWKHQXPEHURIQDUUDWLYHVSHUWHOOHU LAS TIC: PRESENTE Y FUTURO EN EL ANÁLISIS DE CORPUS Table 2. Narrative units per teller Recruit Narrative units Tellers Josie 1 Josie 2 Josie 3 4 27 3 Josie Josie Josie Josie 4 14 Cassie 7 Craig 4 Sarah 1 4 Sarah 2 2 Skonev 9 Alex 4 Caroline 4 Jack 1 1 Jack 2 12 Josie (9) W34 (2) (Josie collaborates and joins in) W2 (3) Cassie (4) W26 (3) Craig (2) W2 (2) Sarah (2) W2 (1) Sarah + W4+W5+W2 (1) W6 (2) W2 + W3 (1) W3 (2) W3 + W2 (2) W2 (2) Skonev + W2 +W3 (2) Skonev (2) W 23 (1) W22+W23 (1) W31 (1) W26+W23 (1) W7 (1) Caroline (2) W2 (1) Jack (1) W4+W8+W9 W8 (4) W8+W7(1) W4+Jack (1) Jack (1) W7 + W1 W9 (1) W4 + W7 (1) Jack 3 3 Jack (1) W13 (1) W7 (1) Catriona 18 Catriona (9) W4 (8) W7 (1) 471 ACTAS DEL III CONGRESO INTERNACIONAL DE LINGÜÍSTICA DE CORPUS ,W LV HYLGHQW WKDW VRPH RI WKH VSHDNHUV DUH SDUWLFXODUO\DFWLYHDQG SUROL¿F DV QDUUDWRUV 7KHGDWDDOVRUHYHDOVWKDWJURXSRUSRO\SKRQLFQDUUDWLYHVDUHW\SLFDORIPDOHIULHQGVKLS groups, whereas single-teller narratives are the norm among girls107. 2.2. Story openers Narratives can be prompted in conversation by other speakers, who may invite other participants to tell a story (e.g. “right, Eleni and Lucinda, go on you explain the [story]”, “Okay tell me what happened last night”). However, elicited narratives are quite rare in RXUVDPSOHWKHPRVWUHFXUUHQWVLWXDWLRQEHLQJRQHZLWKWHOOHUVVWUXJJOLQJWRWDNHWKHÀRRU Boundaries between narrative and non-narrative space are signalled in a number of ways E\PHDQVRIVWRU\RSHQHUVDQGVWRU\FORVLQJGHYLFHV7KHRSHQLQJVWUXFWXUHVWKDWRFFXU more frequently in the sample can be grouped into 6 main categories: 1. opening formulae, which include structures aimed at emphasizing the teller’s subjectivity (e.g. I’ll tell you what happened), questions containing a request for telling rights (e.g. Did you hear about, (Do) you know what) and markers of shared reminiscence (e.g. Do you remember when, You know how, You know, You know when) (see Cheshire, 2000: 251); 2. temporal clauses (e.g. and yesterday, one day, last year, etc.); 3. left dislocation of thematic element (e.g. like, my dinner last night yeah); 4. discourse markers, which include connectors (so, well, right, okay, etc.: e.g. so, and he goes), conative signals (listen to this; watch this), and markers of discontinuity (typically realized by a negation: e.g. No, I was, I was taking the trombone); 5. presentative structures (e.g. there was this, there is this, etc.: e.g. There’s this girl and she comes home); 6. zero opener, which entails that the narrative opens up either with a so called abstract,108 that may take the form of a plot summary, or with an announcement making claims about WKHLQWHUHVWRIZKDWZLOOIROORZ VHH7RRODQ 6RPHWLPHVWKHODFNRIDVWRU\ opener is due to a delay in the moment of recording or to a material break in the tape. In the case of chained narratives, which are stories that follow one another, the absence of a story opener can be explained with the fact that the narrative space is not interrupted DQGWHOOHUVLPSO\WDNHVRYHUWKHWHOOLQJIURPWHOOHU7KLVLVRIWHQWKHFDVHLQUHFUXLW Skonev’s conversation. 2.3. Story closing signals Narrative is normally closed by tellers themselves, who normally give explicit evaluations on the narrated events so as to orient the reception of the tale by the other participants (e.g. 472 107 7KLVLVLQOLQHZLWK-HQQ\&KHVKLUH¶V¿QGLQJV &KHVKLUH  108 Labov and Waletsky (1967) recognise six essential components in the internal structure of a narrative: Abstract, Orientation, Complicating action, Evaluation, Resolution and Coda. LAS TIC: PRESENTE Y FUTURO EN EL ANÁLISIS DE CORPUS I couldn’t stop laughing; That was wicked). However, tellers may also leave evaluation to the other participants. Another aspect worth mentioning is that the end of the narrative often coincides with a climactic segment that is typically followed by laughter, which is itself one of the most recurrent signals of story closing. Often the climactic segment consists of a gesture or sound performed by the teller, which seals the narrative and opens space for new stories (e.g. there’s me wisht gone!). Other recurrent closing strategies include: DWHPSRUDOVKLIWV HJ« but ever since I’ve never been able to handle it); b. recapitulation (e.g. That was, that was what erm Dempsey done to Jane and Mussy); c. framing (that is, the use of a structure parallel to that of the opener); d. use of discourse markers (e.g you know?, you know what I mean?); e. phrase-closing tags (e.g. she wasn’t interested in and stuff). 2.4. Quotation strategies 7KH SDUW SOD\HG E\ UHSRUWHG VSHHFK LQ WKH QDUUDWLYHV RI /RQGRQ WHHQDJHUV LV ZRUWK noting109. In particular, narratives of saying 7RRODQ WKDWLVVWRULHVWKDWIRFXV on what was said, are preponderant and even in narratives of action the quotation of the other people’s words is essential and almost never missing. indirect speech 7% direct speech 93% Figure 1. Quotation strategies As clearly indicated by the graph, the strategy of quotation that is predominant in the VDPSOHLVGLUHFWVSHHFKZLWKLQGLUHFWVSHHFKFRQ¿QHGWRDPHUH+\EULGIRUPVRI reported speech are also documented. 109 7KLVDVSHFWLVGLVFXVVHGLQGHWDLOLQ6WHQVWU|P$QGHUVHQDQG+DVXQG FK  473 ACTAS DEL III CONGRESO INTERNACIONAL DE LINGÜÍSTICA DE CORPUS Figure 2. Quotatives $V ¿JXUH  VKRZV WKH TXRWDWLYH WKDW LV PRVW ODUJHO\ HPSOR\HG LQ LQWURGXFLQJ GLUHFW discourse in London teenage talk is the verb go. In particular, go seems to be the preferred quotative in combination with mimicking, sound effects and interjections, whereas VD\ seems to be restricted to bracketing purely verbal utterances (see Stenström, Andersen and Hasund, 2002: 123-4 and Levey, 2003: 27). Indeed, the quotative system of London teenagers is extremely varied and includes an array of forms, the most notable among them being give it, WKLVLVWKHUH¶VVXEMHFW and OLNH.1107KH occurrences of quotative give itLQ&2/7DUHUHVWULFWHGWRWKHFRQYHUVDWLRQV recorded by two recruits, Josie and Jock: e.g. - Jane gives it I’ll shoot you with my machete. - my sister gives it <mimicking> Sam! Let go of my hair! - And she gives it <nv> mimicking licking sound </nv> - and when you <unclear> she just gives it, no, leave them alone!... - She gives it, well one of them’s called Kevin. - and now he gives it { nv } whining { /nv} { mimicking girlie voice } Oh yes Paul { /} According to Harris (2006: 114), give it may be an instance of an Indian language retention. 474 110 For OLNH in British youth talk see Andersen 2001 (ch. 5) and Stenström, Andersen and Hasund (2002: 108-9). See also Macaulay (2001) for quotative OLNHLQ*ODVJRZDGROHVFHQWODQJXDJH7DJOLDPRQWH '¶$UF\  DQG7DJOLDPRQWH  Hudson (1999) for Canadian English, and Winter (2002) for Australian English. Buchstaller (2001) discusses OLNH as a “mimesis marker” in American English. LAS TIC: PRESENTE Y FUTURO EN EL ANÁLISIS DE CORPUS 7KHSUHVHQWDWLYHVWUXFWXUHVthere’s / this is + subject is one of the most innovative traits RI/RQGRQWHHQV¶WDON VHH)R[ &KHVKLUH ,QWKH&2/7WKHVHVWUXFWXUHVDUHXVHG to introduce both a verbal quotation and a gesture/facial expression, as illustrated by the following examples: There’s me + quote There’s me don’t you dare th= she stopped. There’s me, have you <unclear> he said <mimicking There’s me + gesture There’s me!... Cos every time I hear a spider I There’s me!... Got up. Didn’t even go, bother go This is + subject he goes, this is for you this is me, thanks. <laughing> This is my brother and sister, ah! <laughing> this is Jane WRPHWKHRWKHUGD\WKURZ\RXUNLWWHQRIIP\ÀRRU This is me + gesture and he grabbed hold of me bum! This is me... As the above examples highlight, the performative quality of teenagers’ narrative is SDUWLFXODUO\HYLGHQWLQWKH&2/7FRUSXV111 London teenage speakers commonly resort to quotation in their narratives; they also seem to privilege multimodal enactments involving verbal as well as non verbal resources, including sound effects and gestures (see Levey 2003: 27). More often than not reported utterances are expressed with strong emotion and mimicry, as indicated by the number of occurrences of the label “mimicking” in the transcripts of the conversations. 3. THE COLAM DATA 3.1. Narrative density As opposed to the wide literature available for English, it should be noted that there are not so many studies addressing the analysis of conversational narrative in Spanish (Silva111 6HH6WHQVWU|P$QGHUVHQDQG+DVXQG  2QQDUUDWLYHDVSHUIRUPDQFHVHH*RIIPDQ  DQG7RRlan (1988: 165-9). 475 ACTAS DEL III CONGRESO INTERNACIONAL DE LINGÜÍSTICA DE CORPUS &RUYDOiQ  %DL[DXOL 6KLUR   DQG PRUH VSHFL¿FDOO\ LQ 6SDQLVK \RXWK WDON7KLVLVVXHDSSHDUVWRKDYHEHHQWDFNOHGLQDUDWKHUXQV\VWHPDWLFZD\LQFRQWULEXWLRQV which deal with general features of youth language and colloquial Spanish as well as in VWXGLHVGHYRWHGWRRWKHUVSHFL¿FDVSHFWVRIWKHODQJXDJHRIWKH\RXQJPDLQO\GLVFRXUVH markers (see Briz, 1998, 2003; Rodríguez González 2002; Stenström, 2009). 7DEOH  SUHVHQWV WKH EDVLF LQIRUPDWLRQ RQ WKH 6SDQLVK VDPSOH IURP &2/$P ZKLFK LQFOXGHVUHFRUGLQJVE\0DGULGWHHQDJHUHFUXLWV PRVWO\JLUOV 7KHOHQJWKRIWKH conversations112 considered for the analysis varies, ranging from approximately 1.000 words to almost 7.000, while the number of narrative units per conversation oscillates EHWZHHQRQHDQG¿YH$VIDUDVQDUUDWLYHGHQVLW\LVFRQFHUQHGWKHPRVWQDUUDWLYHRULHQWHG conversation is the medium length one (MALCE2_12a around 3.000). As to the use of narrative function in the conversations, two speakers, MAORE2J01113 and MAORE2J02, appear to be especially active as narrators in their interactions114. Table 2. Narrative density Words per conversation Narrative units per conversation MABPE2a 2709 3 MABPE2b 1161 2 MAESB2_01c 1724 1 MAESB2_06a 2953 3 MALCC2_08 6047 4 MALCE2_04a 3434 2 MALCE2_04b 2481 1 MALCE2_12 3486 3 MAORE2_07b 5712 3 MAORE2_08 6917 4 MAORE2_10 3575 2 MAORE2_12a 3160 5 MAORE2_12b 2472 4 MAORE2_12c 2195 4 MALCE2_01 1116 1 49.142 42 Conversation TOT. 476 112 ,QWKHWDEOHZHNHHSWKHODEHOVXVHGWRLGHQWLI\WKHFRQYHUVDWLRQ¿OHVLQWKH&2/$PFRUSXV 113 7KHVSHDNHUVLQ&2/$PDUHLQGLFDWHGWKURXJKWKHFRQYHUVDWLRQODEHOV 114 7KHLQWHUQDOVWUXFWXUHRIWKH&2/$PQDUUDWLYHV VLQJOHWHOOHUFKDLQHGSRO\SKRQLFHWF DQGJHQGHUGLIIHUHQFHVLQ storytelling styles have not been considered here but will be the object of another paper.. LAS TIC: PRESENTE Y FUTURO EN EL ANÁLISIS DE CORPUS 3.2. Story openers 7KH VWRU\ RSHQLQJ GHYLFHV XVHG E\ 0DGULG WHHQDJHUV WR PDUN WKH VZLWFK IURP QRQ QDUUDWLYHWRQDUUDWLYHVKDUHWKHIXQFWLRQRIDLPLQJDWJUDEELQJWKHOLVWHQHUV¶DWWHQWLRQ7KH IROORZLQJPDLQW\SHVRIVWRU\RSHQHUVKDYHEHHQLGHQWL¿HG RSHQLQJIRUPXODHLHFODXVHVIRFXVLQJRQQHZRUVKDUHGNQRZOHGJH7KHVHRSHQLQJ devices typically take the form of interrogative structures (e.g. ¿sabes lo que me ha dicho?; pero ¿qué te iba a decir?; ¿te acuerdas la vez que...?; fue a ti a la que te llamé el otro día la casa de piluca) or negative structures (e.g. no viste la pelea que tuvimos). Quite interestingly, young speakers often signal the transition into storytelling with the QHJDWLYHLQGH¿QLWHSURQRXQnada ‘nothing’ (e.g. bueno y entonces nada…, y nada…) FI6WHQVWU|P $QRWKHULQWHUHVWLQJSRLQWLVWKDWWKH¿UVWSHUVRQVXEMHFWSURQRXQ and the possessive mi are often used as story openers, especially when several tellers VWUXJJOHWRWDNHWKHÀRRU HJyo tenía un pollito«yo mira a ver he tenido un conejo; en mi casa también llega un animal y se muere). 2. discourse markers: these linguistic units, which do not have a syntactic function but UDWKHUDSUDJPDWLFRQHDOVRW\SLFDOO\RFFXULQVWRU\RSHQLQJ7KH\FDQEHRIWZRNLQGV a) phatic signals, which include forms such as oye, mira, tía, ah, aimed at establishing communication with the audience (Jorgensen, 2008b; Jorgensen & Martínez 2010) (e.g. tía os he contado lo de mi abuela), or exclamative signals like ¡ay! (e.g. ¡ay!, el otro día leí lo del Doñana); b) connectors, marking continuity (pues, bueno, claro) (e.g. claro es que sí últimamente estoy comiendo tostadas), the copulative conjunction y, the conjunction que (e.g. que el zenith se tiró a la hermana pequeña del chollín) and other devices signalling discontinuity (pero). 3) presentative structures, i.e. focalizing constructions used to introduce the relevant QDUUDWLYHVHTXHQFH7KHW\SLFDOGHYLFHKHUHLVes que, often preceded by a discourse marker (e.g. ah bueno es que yo el otro día vi a uno; es que no he desayunado). 4) thematic opening: this opening strategy consists in the left dislocation of some thematic element of the story, which helps to introduce the main subject of the conversation. It can be represented by a) a temporal expression (ayer, el otro día); b) a locative expression (e.g. en el bus estabamos todos los tíos); c) an expression pointing at a VSHFL¿FUHIHUHQW HJHOPHQVDMH que tengo escrito para mandárselo, Marcos). 5) zero opener, usually with the direct enunciation of the so called “abstract” (see note 3) of the story, without any introductory element. In our sample this strategy is mainly based on declarative structures (e.g. casi nos pegamos; mi madre me hizo engordar; bueno llegó la facture; me escribió un mensaje). 6) an additional category is that of re-opening the story after an interruption, which is marked by discourse markers such as bueno and pues, or by explicit attempts on the part of the speaker to continue his/her telling (e.g. ah pues ayer…; y nada...; bueno entonces nada...; bueno pues eso tía; bueno te sigo contando). 477 ACTAS DEL III CONGRESO INTERNACIONAL DE LINGÜÍSTICA DE CORPUS 3.3. Story closing signals 7KHQDUUDWLYHVHTXHQFHXVXDOO\HQGVLPPHGLDWHO\DIWHUUHDFKLQJDFOLPDFWLFSRLQWLQWKH narrative, typically dramatized and “performed” to hold the listeners’ attention. Frequently the closing of a narrative sequence combines the telling of events with an evaluative FRPSRQHQWZLWKWKHDLPRILQÀXHQFLQJWKHDXGLHQFH¶VLQWHUSUHWDWLRQRIWKHVWRU\ HJ\ ella por favor dímelo y yo mírala tío). 7KH PDLQ SKHQRPHQD UHODWLQJ WR QDUUDWLYH FORVLQJ FDQ EH JURXSHG LQWR WKH IROORZLQJ categories: 1. pure narrative sequence, often in direct speech (e.g. y se lo dieron gratis, salimos y la pillamos juntos); 2. evaluation, either by the tellers themselves (e.g. que rayada chaval, es que lo borré sin querer) or by the listeners, who sometimes produce metanarrative comments (e.g. como si fuese [...] pero es como una película); 3. temporal shifts, marking the switch from the past experience to the present (e.g. y desde entonces no he vuelto a comer); 4. shifts of point of view (e.g. y bueno yo flipando); 5. gestures, sound effects and laughter (e.g. y yo a los tres cuartos de hora estoy así <cara ridícula>); 6. FRQVWUXFWLRQV LQFOXGLQJ WKH LQGH¿QLWH SURQRXQ nada (y nada, pues nada, etc.) (e.g. y nada en plan así y la pobre Raquel se pasó toda la puta fiesta sin un niño sabes; y nada y eso...pero bueno). 3.4. Quotation strategies 7KHFRQVWUXFWLRQRIQDUUDWLYHE\0DGULGWHHQDJHUVLVDFKLHYHGWKURXJKDPDVVLYHXVHRI quotations, thus making the narration resound with their own or other people’s voices. As the diagram below shows, the analysis of the sample highlighted the heavy preponderance of direct speech, with 311 occurrences vs 47 instances of indirect speech. indirect speech 13% direct speech 87% Figure 3. Quotation strategies 478 LAS TIC: PRESENTE Y FUTURO EN EL ANÁLISIS DE CORPUS 7KHIROORZLQJFKDUWVXPPDUL]HVWKHPRVWIUHTXHQWO\HQFRXQWHUHGTXRWDWLYHVLQ0DGULG FRQYHUVDWLRQV7KHPRVWFRPPRQO\HPSOR\HGTXRWDWLYHLVWKHYHUEdecir ‘to say’, used mainly in its conjugated form (e.g. y le digo creo que el chico se ha lanzado pero no sé; y dije y dije...no te da miedo; me dice es que no tengo no tengo presupuesto), but GRFXPHQWHGDOVRLQLWVQRQ¿QLWHJHUXQGLYHSURJUHVVLYHIRUP y mi madre diciendo yo que voy a hacer por Serrano con los huevos). Often the verb decir appears in particular expressive constructions after the verb coger ‘to get’ and salir ‘to go out’ (e.g. y entonces coge piluca y dice mamá es para mí). Another widespread quotative use involves personal subject pronouns (especially yo) and a few nominal expressions which, with the appropriate intonation, introduce direct discourse (él/ella, el tío/la tía, el otro/la otra, el padre/la madre): e.g. y yo vale vale; y la otra ay muchísimas gracias. On the other hand, the verb poner ‘to put’ seems to be a well established means to quote text messages (see Reyes, 1994; Maldonado González, 1999; Benavent, 2000). Also represented in the sample is the zero quotative, where direct speech appears without any signalling device. Figure 4. Quotatives 7KH VWRULHV WROG E\ WKH 6SDQLVK DGROHVFHQWV LQ WKH VDPSOH VHHP WR SULPDULO\ DLP DW recreating a vivid, enthralling representation of past events and situations as well DV YHUEDO H[FKDQJHV 7KLV DVSHFW PDQLIHVWV LWVHOI LQ WKH IUHTXHQW XVH RI VRXQG HIIHFWV gestures and a particular way of speaking, often in combination with direct speech (e.g. para que al salir <yuuuun> se cayese para abajo; me dice <imitando> mejórate no se qué; me dice <uaaaa> apaga el teléfono apaga el ordenador; bajando a la piscina así). 7KHPXOWLPRGDOLW\RIWKHVHQDUUDWLYHVLVVLJQDOOHGLQWKHFRUSXVWUDQVFULSWLRQVE\VHYHUDO descriptive labels such as <risa> ja ja ja”, <imitando>, <ironía>, <cara ridícula> (e.g. y yo a los tres cuartos de hora estoy así <cara ridícula>. Non verbal sounds such as mobile ring tones are also often reproduced in the narratives (y suena pí, primero pirili y luego pirili pirili, ya está pí). 479 ACTAS DEL III CONGRESO INTERNACIONAL DE LINGÜÍSTICA DE CORPUS 4. CONTRASTIVE ANALYSIS A preliminary comparison of the English and Spanish data suggests that some fundamental properties of youth talk can be considered universal. It seems clear that storytelling represents an important social activity for young speakers. As our data suggest narrative has a central role in teenagers’ conversation and contributes to building in-group solidarity DQGVHQVHRIVKDUHGYDOXHV7KHDFWLYLW\RIVWRU\WHOOLQJVHHPVWREHDPHDQVIRUWKH\RXQJ to reinforce their image as group members and to have their points of view, values and PRGHOVRIEHKDYLRXUFRQ¿UPHG 7KHSURPLQHQFHRIGLUHFWVSHHFKDSSHDUVWREHDJHQHUDOWUDLWRIWKLVFRQYHUVDWLRQDOVW\OH and can be related to a number of factors such as: GLI¿FXOW\LQKDQGOLQJFRPSOH[V\QWD[ VHH/HYH\  - young speakers’ preference for vivid reconstructions of events, whereby narrative inevitably turns into performance; - the use of quotation as a powerful and subtle evaluative device. Indeed, research in the ¿HOGRIDGROHVFHQWWDONKDVSRLQWHGRXWLWVHVVHQWLDOO\³HPRWLRQDODQGLPSOLFLWQDWXUH´ (Levey, 2003: 28). It can thus be argued that teenagers resort to quotation as a means of implicitly expressing evaluation. It appears the worlds constructed through narrative by the London and the Madrid teenagers are essentially verbal in nature, with narratives of saying having equal if not greater representation in the corpora compared to narratives of action. It was also evident that the quotative system of teenage speakers is not only varied but sometimes also quite LQQRYDWLYH,WKDVEHHQVXJJHVWHGWKDW³QHZTXRWDWLYHH[SUHVVLRQV¿OODQLFKHFDXVHGE\ a change in narrative style across the generations” (Fox & Cheshire, 2007) and that some structures are “elected when the narrative is ‘performed’ and the speaker adopts the stance of one of the participants in the event being constructed” (Fox & Cheshire, 2008). Another point of contact between the two young linguistic communities can be found in the exploitation and the manipulation of suprasegmental traits, such as pitch, tempo and voice quality, for communicative effect and as a means of expressing evaluation. CONCLUSIONS In this paper we have offered a corpus-based contrastive investigation of the conversational QDUUDWLYH RI /RQGRQ DQG 0DGULG WHHQDJHUV 7KH DQDO\VLV KDV VKRZQ VRPH LQWHUHVWLQJ similarities between teenagers’ storytelling in the two languages. We believe that corpusOLQJXLVWLFVKDVWKHSRWHQWLDOWRRSHQXSQHZIURQWLHUVLQWKLV¿HOGRIVWXG\,QSDUWLFXODU we argue for the construction of multilingual corpora of youth language so as to stimulate IXUWKHU FRQWUDVWLYH UHVHDUFK 7KLV ZRXOG OHDG WR DQ DZDUHQHVV RI VSHFL¿FLWLHV DQG similarities among youth varieties across languages in an increasingly global scenario. 480 Although most of the work is still to be done in terms of both methodological approach and data collection/analysis, it is quite clear that the study of conversational narrative may contribute to a better understanding of the complex phenomenon that is youth language. LAS TIC: PRESENTE Y FUTURO EN EL ANÁLISIS DE CORPUS BIBLIOGRAPHY ANDROUTSOPOULOS, J. & GEORGAKOPOULOU, A. (Eds). (2003). Discourse Constructions of Youth Identities. Amsterdam: John Benjamins. ANDERSEN, G. (2001). Pragmatic Markers and Sociolinguistic Variation: A RelevanceTheoretic Approach to the Language of Adolescents. Amsterdam: John Benjamins. BAIXAULI, I. 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