1.

Introduction

Language is an important part of everyday life every human being. It is used by people
to communicate, share ideas, opinions, feelings, hopes, and fears. Each country, community,
and culture have their own language or language variety. Nowadays, when the paths of those
versatile communities and groups are tangled, there are many individuals who master several
languages. Such people are called bilinguals or multilinguals, depending on the number of
languages they speak. Furthermore, those individuals can use them simultaneously, by
switching from one language to another or from one code to another. This language alteration
phenomenon is called “codeswitching”.

For the current term paper, it was decided to conduct an analysis of English – Spanish
codeswitching (CS) cases in the American series “Modern Family”, first released in 2009.
The topic of CS analysis in films has already been addressed by many researchers and several
works were used as guidebooks for the research conducted within the framework of this
study. In 2012 a discourse analysis of the codeswitching use in the film “Yellow Card” was
done by a linguist from Zimbabwe Clemenciana Mukenge (2012). A similar study was
conducted later on the discourse of the “Lost in Love” movie by Susilowati (2014).

The main aim of the current term paper is to analyse the usage of codeswitching
phenomenon in the utterances of characters of the “Modern Family” series. More specifically,
this study aims at the closer examination of types of the revealed CS cases, their functions in
the discourse of characters, and usage strategies. The paper expects to explain how speakers
organize and enrich their speech through codeswitching, and how they use it as a strategy to fulfil
communicative objectives. The analysis in the term paper is conducted from a Critical Discourse
Analysis perspective and is based on Fairclough´s three-dimensional framework offered in 1989.
The paper consists of six chapters which cover various aspects of the study. The
introductory chapter presents the aim, the scope, and the structure overview of the present
work. The second chapter is concerned with the definition of codeswitching as well as bi- and
multilingualism, discourse as a social practice, CS functions, and gives an overview of main
codeswitching strategies. Further, in the third chapter, there is an outline of the
methodological procedures of the data collection and analysis. Chapter four presents and
discusses the results of analysis conducted on three dimensional levels: namely, description,
interpretation, and explanation of some of the most vivid CS cases. The final summary of the
findings and the conclusion of the term paper are represented in the fifth chapter. In the

1
appendices section can be found a short series outline, for those who are not acquainted with
show, and the transcript of all codeswitching occurrences found in the series.

2. Theoretical Review
2.1 Definition of bilingualism, multilingualism, and codeswitching

For the better understanding of the codeswitching phenomenon, it is important to

briefly dwell upon the notions of bilingualism and multilingualism. According to Wardhaugh
(2006), these two phenomena can be explained as the ability of a person to communicate
using more than one language or code. This is often the case of individuals living in a bi- or
multilingual community where these languages (or codes) coexist simultaneously. Bilingual
or multilingual speakers often use several languages, language varieties, dialects in one
conversation. It is important to distinguish between bilinguals and multilinguals. Gardner-
Chloros (2009) provides a rather simple definition of the former: a bilingual is the person who
has some practical capability in the second language apart from his or her mother tongue. A
multilingual individual is competent in more than two languages. Depending on the linguistic
competences of the interlocutor, a bi- or multilingual can choose between the languages he or
she knows to achieve the desired communicative goal. The use of several languages in the
same conversation is called codeswitching (2009: 20-40).

The word “codeswitching” consists of the two following: “code” and “switching” or
“switch”. The meaning of both is clear and obvious to everyone. The word “code”, however,
is worth a bit more attention here. Going back to Wardhaugh (2006), a “code” is a language, a
variety of a language, or a dialect that is used by an individual in a particular communicative
situation in order to better fit in the conversation. Basing on that, the definition of
“codeswitching” can be logically deducted from the words meanings. In other words, the
phenomenon of switching between codes means switching between different languages or
speech varieties of the same language. This is not the only explanation of the analysed
phenomenon. There are many other definitions of CS given by different linguist.

Gumperz (1982) defines CS as the process of language changing that occurs in one
conversation. Depending on the conversational context in which CS is used, the linguist
divides it on metaphorical and situational. According to Van Dulm (2007:5), from
sociolinguistic perspective, metaphorical CS “refers to the process in which a bilingual
speaker changes codes because of the change in what is talked about”, while situational CS
“refers to the process in which a bilingual person often switches from one code to another
2
depending on whom that person is talking to”. Myers-Scotton (1993) defines CS as the
process in which there are alterations of linguistic varieties within the same speech act.
According to Hoffman (1991) CS is the situation in which two languages are used in the same
utterance. According to Romaine there are three types of codeswitching: intrasentential CS or
code switches within one sentence or a clause; intersentential CS or code switches outside the
sentence or clause level, at the boundaries of sentences or clauses; and extrasentential CS or
code switches on a situational level where a tag from one language is attached to an utterance
in another language. This CS type involves insertion of tags from one language to the
sentences that are represented in entirely other language e.g., English tags “I mean”, “you
know”, “isn´t it, etc. (Susanto 2008:47-50).

2.2. Discourse as a social practice

It is rather uncommon for textbooks to contain information about the relationship

between discourse and society. Fairclough (1989) in his book “Language and Power” states
that discourse is completely a “social practice”. He claims that language and society have an
internal and dialectical relationship: namely, “linguistic phenomena are social phenomena,
and social phenomena are (in part) linguistic phenomena” (Fairclough 1989: 23). People´s
actions and words are both influenced by society around them and vice versa have social
effect. Even those who think they do not allow society to determine their individuality, still
use the language which is socially conventional and subconsciously conform to social norms.

Before taking a look at the Fairclough’s three-dimensional Critical Discourse Analysis

(CDA) model, it will be reasonable to briefly explain what CDA is. Basing on the information
given in the previous paragraph, the definition can be logically deducted. A concise version
could sound as the analysis of language and its context components. There is, however, a
more precise definition given by Van Dijk. According to the linguist, Critical Discourse
Analysis is “a type of discourse analytical research that primarily studies the way social
power abuse, dominance, and inequality are enacted, reproduced, and resisted by text and talk
in the social and political context” (Van Dijk 2003: 352).

As it has already been mentioned, for the analysis of the codeswitching cases in the
series discourse was used the three-dimensional model offered by Fairclough in 1989.
Graphically the model is depicted on the figure number one. It is important to differentiate
between discourse and text, for they cannot be used here interchangeably. Discourse will be
used to refer to the whole process of interaction via advertisements, whereas text is just a part
of the process or, more specifically, a product and a resource necessary for the completeness
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of communication. Text is in the centre of the process of social interaction because it is at the
same time the product of the production process, and the resource for the further interpretation
process of the previously produced text.

Figure 1. Fairclough´s three-dimensional analysis model (1989: 25)

So far, only the two central dimensions have been discussed and nothing was said
about the social conditions of this discursive model. Fairclough explains that both processes
of production and interpretation involve the “interplay of textual properties and the properties
of member´s resources.” Under member´s resources he means linguistic and non-linguistic
knowledge of an addresser or an addressee, depending on the process type, that helps to
produce or interpret the text. Social these conditions are in the sense that initially they are
generated by society, afterwards are socially transmitted, and distributed in the same society.
Therefore, according to these three discourse dimensions Fairclough distinguishes three stages
of CDA which will be followed during the analysis in the current term paper: namely,
description, interpretation, and explanation (Fairclough 1989: 24-25).

2.3. Codeswitching functions and strategies

This subsection offers an overview of the main CS function and communicative
strategies for the better analysis of CS cases in the series and the understanding of the results
in the practical part of this term paper.
Gumperz (1982) identified six main discourse functions that codeswitching plays in
conversations: quotation (is mainly employed to accurately transmit a saying or someone´s
utterance in original language, which can slightly loose its meaning during translation);
addressee specification; interjection (is employed by speakers to draw the attention of their
interlocutors); reiteration (puts an extra emphasis on the utterance); message qualification
(additional elaboration on the transmitted message in other code); and personification versus
objectivization (defines the degree of involvement of the speaker in the conversation). Later

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the linguist extende the list and, in addition to the previously mentioned CS functions,
suggested also the following ones: topic shift (used to change the topic of the conversation);
emphasis (used to put an extra emphasis on what is being said); clarification (helps to clarify
and explain what has been said); aggravating message (gives more importance to the message
that is being transmitted); personalisation (helps to become closer to the interlocutor);
designation (designates the person who is being addressed); substitution (provides an
equivalent identification of the a certain subject); objectification (is used to distance the
speaker from the person addressed); untranslatability (identifies a subject or a phenomenon
that cannot be translated into the language of the conversation); mitigating message (makes
the utterance of the speaker less demanding); and parenthesis (used to provide some extra
information which is important for the topic understanding) (Gumperz 1982:75-80).

Codeswitching can be also considered as a sociolinguistic phenomenon. Gardener-

Chloros (2009: 65) defines it as “a linguistic product of language contact, determined in
various ways by the social circumstances in which it occurs”. It is, however, challenging to
determine what are the factors and to what extent they influence the form in which CS occurs.
There are three rather significant CS determinants: conversational or pragmatic motivations,
social psychological influences, and gender. Speaking of the first determinant, it must be
mentioned that Myers-Scotton (1993:49) distinguished between allocational and interactional
motivations paradigms. According to the allocational paradigm, the speaker has no or little
influence on the language choice, because it is mainly determined by the “social structure”.
Interactional paradigm, on the other hand, allows speakers to make own choices according to
the goal they want to achieve.

It may happen that CS occurs as the result of difficulties in the target language. Foerch
& Kasper (1983) suggest that speaking several languages may lead to some problems in
communication. This can lead to application of avoidance (reduction), or achievement
strategies. Codeswitching according to avoidance strategies means deliberate switching to
reduced phonological, morphological, syntactical, or lexical systems of a language in order to
avoid mistakes, non-accurate or non-fluent utterance in the target language. The authors also
distinguish functional reduction strategies like “modal reduction, reduction of propositional
content through topic avoidance, message abandonment or meaning replacement”.
Achievement strategies help speakers to expand his communicative resources which include
“code-switching, interlingual transfer, interlanguage-based strategies, co-operative strategies,
and non-linguistic strategies” (Foerch & Kasper 1983: 37-52).

5
 In the article “Codeswitching as a communicative strategy in conversation” Das (2012:
6-16) outlines ten most common codeswitching strategies used by bi- or multilingual
speakers. First of all, the author suggests that codeswitching is used to either minimize or, on
the contrary, to emphasize the social differences of the interlocutors. In some cases, people
codeswitch from the “lower” language variant to the “higher” in order to hide their real social
position or rank. Das says that during codeswitching people deliberately adjust their speech,
vocal patterns, gestures to accommodate to their interlocutors. This strategy is also called
“convergence”. On the other hand, there is the strategy of “divergence”. By using it people try
to accentuate the linguistic and therefore the social gap between those they communicate
with.
The second CS strategy outlined by Das is the one used to show the linguistic or
language preference of speakers. Often happens that an individual experiences some
difficulties expressing him or herself fluently in the target language. That is when
codeswitching takes place in order substitute the missing words in one language with the
equivalents from the other, thus keeping the speech flow uninterrupted. Romaine (1995: 143)
argues, however, pointing out that “Although it is popularly believed by bilingual speakers
themselves that they mix or borrow because they do not know the term in one language or
another, it is often the case that switching occurs most often for items which people know and
use in both languages. The bilingual just has a wider choice, at least when he or she is
speaking with bilingual speakers. In effect, the entire second language system is at the
disposal of the code-switcher”. If the previous CS strategy can be both consciously and
subconsciously used by speakers to solve the difficulties, the following is meant to obviate
them. People very often deliberately codeswitch to avoid situations where they feel
“linguistically uncertain”.
Framing the discourse is also a CS strategy, which is used to attract the attention of
listeners and emphasize the message. “According to Koike (1987), this type of code-switching
normally occurs at boundaries as an intensifying strategy to emphasize the utterance, hold the
listeners’ attention, and move the action forward” (Ariffin 2009). For the framing purpose are
often used such conjunctions as “so”, “well”, “ok”, “then”, and “alright”.
Ariffin (2009) also points out that people may codeswitch to distinguish between their
personal feelings and the description of some objectives and facts i.e., contrast personalization
and objectification. In other words, in a more formal situation speakers use the more
standardized variant of the language, whereas while expressing their own thoughts and
suggestions on some matters individuals can switch to their first language.

6
 Another important CS strategy mentioned by Das (2012) is used to convey the
“cultural-expressive message”. Our world society consists of smaller communities which have
their own language and culture. It sometimes occurs that some customs and expressions
cannot be translated into the target language. That is why speaker switch to the language of
origin to transmit their message without losing the intended meaning. The next strategy to be
mentioned is the “dramatization of keywords”. This strategy is less usual and is mainly used
to bring a dramatic effect to the utterance. Finally, people codeswitch to reiterate the message
that is being transmitted i.e., repeat it in another language to emphasize its importance or
make it understandable for listeners.

2.4. Previous studies

This subsection presents some of the studies that have been conducted on the
discussed topic earlier. The points of the departure for the current term paper are the previous
codeswitching analyses conducted by Mukenge in 2012, and by Susilowati in 2014.
The study of Mukenge focused on the discourse analysis of the codeswitching use and
its communicative strategy in the film “Yellow Card”. The film deals with HIV and AIDS
issues as well as sexual concerns, which are taboo in the public domain represented in the
movie. The study reveals that codeswitching is used to address the unspeakable topics,
avoiding its direct linguistic reference. Moreover, the study shows that CS may be used by
particular social groups for the purpose of aligning or alienating interlocutors depending on
the situations. Language alteration also is employed in the movie to express concepts that can
only be identified through a specific language, and to create humour in particular situations.
Fairclough´s Critical Discourse Analysis model (1995) was applied in the study as the
methodological and theoretical guideline.
Susilowati in 2014 analysed the codeswitching types and functions in the discourse of
the “Lost in Love” movie characters. The analysis is based on the theory of codeswitching
proposed by Romain and Gumperz in Susanto (2008). The study employs descriptive and
qualitative methods of analysis of the dialogs in the film. The results show that all three types
of codeswitching were mostly used in the “Lost in Love”: namely, intersentential,
intrasentential, and tag switching.

3. Methodology
The research conducted in this term paper focused on the analysis of codeswitching
use in the dialogs of the characters of the “Modern Family” series. The methodology of the

7
current analysis was based on the combination of the past studies´ methodologies, since they
were used as guidelines for the research conducted in the current term paper. As it has been
mentioned in the introductory chapter, Clemenciana Mukenge (2012) from the University of
Zimbabwe analysed the codeswitching from Shona to English in the movie “Yellow Card”. A
similar study was conducted by Susilowati, a linguist from Malang, in 2014, on the English-
Indonesian and English-French codeswitching analysis in the movie “Lost in Love”.
For this study was adopted a qualitative analysis design as the most appropriate for the
descriptive Critical Discourse Analysis. The three-dimensional CDA framework offered by
Fairclough in 1989 was chosen as theoretical support for the analysis. According to the
model, a complete CDA presupposes examination of discourse on three levels. Therefore,
firstly, was conducted textual analysis of all phrases and sentences in chosen codeswitching
cases. Secondly, the analysis focused on the examination of relations between CS choices and
processes of their production, and consumption. Finally, the level of social practice analysis,
was dedicated to sociolinguistic explanation of previously mentioned CS processes in the
series. The collection of data was realized through the reading of the series transcript to each
episode. The revealed codeswitching cases were marked, and later numerously rewatched for
the better understanding of the context, which is crucial in the CDA.

4. Analysis and Discussion

This chapter gives an overview of the results received during the CDA of
codeswitching cases in the “Modern Family” series, analysed corresponding to the three
analysis levels suggested by Fairclough (1989).
The dialog presented below occurs between Gloria and her husband Jay. On the first
day of a new school year, when her son Manny goes into the 5th grade, she recalls how the
time flies, and how small he used to be. Exactly in such emotional moments Gloria tends to
codeswitch between English and her mother tongue Spanish. This is also similar to what
Ariffin (2009) said about the contrast of personalization and objectification. Speaking about
general facts, Gloria uses English, whereas, expressing the strong feeling of love to her son,
the woman switches to Spanish. Her phrase beneath is an example of intersentential
codeswitching, when some sentences are represented in one language, and the other in a
completely different language.

Gloria: I can't believe my little boy is going into the fifth grade. He used to hold my
finger with his little hand and look at me with those big eyes. Mi niño pequeño (my
baby).
Jay: Yep, they grow up. Come on, Manny, let's get going!
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 Furter there is a vivid example of codeswitching use in the communication between
several people from different cultures. Javier, Gloria´s ex-husband and Manny´s father, is a
type of men who enjoy their life, and do not like responsibilities. Jay, Gloria´s new husband,
does not like Javier and he knows it. As it is shown in the following example, Javier
deliberately switches to Spanish with, most probably, two purposes. Firstly, he wants to
exclude Jay, who does not speak Spanish, from his conversation with Gloria. Secondly, he
tries to minimize the cultural distance with his ex-wife to show Jay that there is a special bond
between them, and to emphasize this cultural gap between Jay and Gloria.
Gloria: Uh...Manny, why don't you show your father to the kitchen?
Javier: Por favor, dios mío (Oh my God, please). Someone put on some music.
Tonight, we dance.
Jay: Oh, we're gonna dance.
Javier: Oy, mi amor, está bien que me quedo aquí esta noche? (Hey, love, is it
okay if I stay here tonight?)
Gloria: Ay, Javier, yo no sé. Espérate para ver qué puedo hacer. (Oh,
Javier, I don't know. Wait to see what I can do).
Jay: What did he say? Does he need money for the lobsters?
Gloria: Jay, be nice.

The dialog below is the continuation of the episode from the previous scene. After
spending a night out with Jay and Javier, Manny is falling asleep at the table in the morning
before going to school. Gloria is furious. As the result, in her speech occur numerous switches
from English to Spanish.
Gloria: Ay! Dios mío! (Alas! My God!). Did you take him with you?
Jay: You couldn't wait to get to school to do that?
Gloria: Manny, vámonos para el colegio (let´s go to school). Let's go. We're
gonna be so late. Vámonos! Vamos a llegar tardísimo (Come on! We are going to
be late!). Manny. qué te pasa? (What´s wrong with you?) Get in the car.

In the dialog between Cameron and the gardener, also can be seen the usage of the
“cultural distance minimization” strategy. Cameron, a very sensitive end emphatic person,
tries to comfort their gardener, who speaks no word in English. To become closer and to be
understood he switches to Spanish and offers (as he believes) the man to take a seat and
have a glass of water. Unfortunately, the gardener understands it wrongly and decides to
take a nap in their bed.
Mitch: What do we do now? He cries…
Cam: Okay, I speak a little Spanish. Señor, te gustaría hacer el agua y
tenemos nuestra cama? (Mister, would you like to make the water and we
have our bed?)
Gardener: Gracias. (Thank you).
9
 During a family evening, Manny decided to invite Jay´s elder children and to perform
a play. In a dialog red by Claire and Gloria, there is an example of the intersentential CS and
the strategy of “message reiteration”. In the last line Gloria´s character Chloe says that she
loves her friend at first in English, and then repeats the same in French. As mentioned before,
this strategy is mainly used to put an extra emphasis on the message transmitted.
Claire: "No matter what I do, "you refuse to accept "that I accepted you."
Gloria: "Mais non! (Of course not!) I'm sorry. I'm just so emotional today."
Claire: "But of course you are, Chloe. And I'm sorry if I made you feel like an
outsider."
Gloria: "I love you, you know? Je t'aime (I love you!)"
The next conversation also occurs between Gloria and Jay and already contains an
example of intrasentential codeswitching i.e., language change within one sentence. The
linguistic choice here can be explained by two strategies. The word “chunchullo” means the
name of a traditional Columbian dish, thus conveys the “cultural-expressive message” of a
concept that cannot be translated into English. The use of word “abuela” instead of “grandma”
here can mean the expression of Gloria´s love and respect to her grandmother.
Jay: What? Are you still mad at me?
Gloria: Yes. You have to apologize for making fun of my culture, my beliefs, my
chunchullo (dish name), my abuela (grandmother).
Jay: I'm sorry. If you think your grandmother's here with us, I respect that.

As usual the most part of codeswitching occurs in dialogs with Gloria´s participation.
In the following conversation Gloria and Jay discuss their visit to a 15th birthday party of one
of Jay´s employee´s daughter. At first, Gloria uses the word “quinceañera” to give her
utterance a cultural expression. Later, however, she uses the word for the “message
qualification” purpose, thus giving more explanation to her husband. In the final part of the
dialog Jay names his Spanish employees “mi familia”. Most probably, he tries to become
closer to his family by speaking their language. However, taking into account Gloria´s answer
“I know what “mi familia” means, Jay”, he tried to give her an additional explanation, thus
using the clarification strategy. All the CS examples are intrasential.
Jay: I'm gonna play some golf.
Gloria: No. What about Mirabel's daughter's quinceañera (15th birthday)?
Jay: I… honestly didn't get any of that.
Gloria: Mirabel. She works for you. Her daughter, Rosalba, is celebrating her 15th
birthday, quinceañera, She invited us. You just going to ignore it.
***
Jay: I'm not leaving before the father/daughter dance. And "these people", as you
call them, are not just employees. They're mi familia, or "my family."
Gloria: I know what "mi familia" is, Jay.
10
 Apart from English to Spanish codeswitching, there was a case of English-Russian
switch. In the dialog conducted between Phil, Jay´s son-in-law, and a plumber from Russia
named Yuri occurred the Russian word “нет” which means “no”. Phil was convinced that he
was able to fix their washing machine on his own and did not want to pay someone for such a
nuisance. For the purpose of “message reiteration” or extra accentuation, Phil decides to
codeswitch.
Phil: I'm not paying $350 for a moisture sensor that costs $28. I'll fix it myself.
Yuri: I've been doing this a long time is my point.
Phil: Well, Yuri, Phil Dunphy is no pushover. I'm afraid it's a hard “nyet” (no).

The integration of a Spanish expression “loco en la cabeza” is also an example of the

cultural-expressive message transmission strategy. The speaker strives to retain the original
meaning of the saying and inserts it in the utterance without translating.
S. Kaplan: I don't know what's going on with you, Tucker, but in my culture, we like
to call it loco en la cabeza (crazy in the head).
Cam: Okay, you know what? Knock it off. You're Canadian.

Finally, below there are provided several examples of that how Gloria addresses her
sons continuously through the series. In a good mood, expressing her love and warmth to her
children, she calls them mainly “papi”. When being angry or serious, however, she calls them
formally “señor”. The function of such codeswitching is to designate or to indicate the person
the speaker is talking to.

Joe: I want to live outside.

Gloria: No, señor (mister), we're not having that argument anymore.
Joe: Mowgli lives outside.
***
Gloria: Your bedtime was an hour ago, señor (mister).
Joe: I want to finish this.
Gloria: You don't even know how to read. Stop worrying. There's no monsters
upstairs.
***
Manny: You got me a dog because of my perfect report card?
Gloria: Sorry, papi (sweetie) no. The dog lives somewhere else, which is
where I´m going right now.

These were only a few of the codeswitching examples, selected to give a brief
overview of the functions and strategies use of the phenomenon in the analysed series. The
rest of the transcript can be found in the Appendices section.

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 5. Conclusion
The main aim of the current term paper was to analyse the usage of codeswitching in
the series “Modern Family”, to make a closer examination of types of the revealed
codeswitching cases, identify their functions in the discourse of show´s characters, and
specify the usage strategies. The term paper attempted to explain how speakers enrich their
utterance through codeswitching, and how they use it as a strategy to fulfil certain
communicative objectives.
During the analysis process a lot of codeswitching was found in the speech of one of
the series main characters Gloria Pritchett. The woman has Colombian origin and is a
bilingual: she speaks both Spanish and English. One of the main codeswitching strategies
used by her was the strategy of personalization and objectivization contrast. The bulk of
Gloria´s speech constituted English. In formal situations or talking to the people who were not
close to her, she did not use her mother tongue. However, when Gloria was rather emotional
or when she expressed her feelings, Spanish came out. Not a rare phenomenon was the
switch from English to Spanish, when there was a need of a message conveyance without
destruction of its original meaning or, in other words, transmission of a culturally correct
expression. Moreover, codeswitching was used in the series to provide some additional
information to what has been said earlier. Looking through the transcript of the CS cases, it
can be seen, that the most frequent use of Spanish occurred when Gloria greeted someone
with an “Hola”, encouraged to an action – “Vamos!”, and when she addressed her son or
husband with a “Papi”. Spanish was also inevitable when Mrs. Pritchett communicated with
her family and Columbian friends.
Apart from Gloria, there were many other characters who used codeswitching to
achieve their intended communicative goals. Similarly, like in the findings of the of the
“Yellow Card” film analysis, one of the Spanish speaking characters in the show applied CS
to exclude the undesired person from the communicative process. There were, however, no
cases of addressing taboo or unspeakable in the public issues found.
Having analysed the types of codeswitching, that occurred the most frequently in the
series dialogs, it can be said that intersentential CS tape is the most common one. Characters
tended to finish their sentences completely in one language before continuing their idea in
another linguistic code. The second most common codeswitching type was the language
alteration within one sentence – intrasentential CS. Compared to the findings of Susilowati
(2014: 54) in the movie “Lost in Love”, where tag switching was found twice, this type of
codes switch was also frequent in conversations of the analysed series.

12
 Summing up the sociolinguistic factors that influenced the codeswitching
phenomenon, it is obvious that the most significant one is the origin of speakers and the
dominance of the first language or their mother tongue (here Spanish) over the commonly
used language of communication, in this case English.
This term paper can be used as the point of departure for the more extended research
on the same or similar topic for a Master´s thesis. A further study could be conducted on other
bilingual series, analysing the diachronic development of codeswitching in the utterance of an
individual from the first season to the final one.

6. References

Ariffin, K., & Rafik-Galea, S. 2009. Code-switching as a communication device in

conversation. Language & Society Newsletter, 5: 1-19.

Das, B. 2012. Code-switching as a communicative strategy in conversation. Global Media

Journal–Indian Edition, 3: 1-20.

Fairclough, N. 1989. Language and Power. United Kingdom: Longman.

Færch, C. & Kasper, G. 1983. “Plans and strategies in foreign language communication.” In:
Færch, C. & G. Kasper (eds.). Strategies in interlanguage communication. London: Longman,
pp. 20-60.

Gardner-Chloros, P. 2009. Code-switching. Cambridge university press.

Gumperz, J. 1982. Discourse Strategies. Cambridge: CUP.

Koike, D. 1987. “Code switching in the bilingual Chicano narrative .” Hispania, 70: 148-154.

Mukenge, C. 2012. “A discourse analysis of the use of code switching in the film Yellow
Card.” International Journal of Linguistics, 4: 581-589.

Myers-Scotton, C. 1983. “The negotiation of identities in conversation: A theory of

markedness and code choice.” International Journal of the Sociology of Language, 44: 115-
136.

Romaine, S. 1995. Bilingualism. Oxford: Blackwell Publishers.

Susanto, D. 2008. Codeswitching in Indonesian Islamic Discourse: A Sociolinguistic

Perspective. Malang: UIN Malang Press.
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Susilowati, S. 2014. Code switching used by the characters of the “Lost in Love” movie.
Doctoral dissertation, Universitas Islam Negeri Maulana Malik Ibrahim.

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Hamilton (eds.). The Handbook of Discourse Analysis. Wiley-Blackwell, pp. 352-371.

Van Dulm, O. 2007. The Grammar of English-Afrikaans Code Switching. A Feature

Checking Account. Doctoral Dissertation. Radboud University, Nijmegen.

Wardhaugh, B. 2006. An Introduction to Sociolinguistics. 5th ed. Oxford: Blackwell

Publishing.

Links:

Series outline: https://modernfamily.fandom.com/wiki/Modern_Family

Transcript source: https://transcripts.foreverdreaming.org/viewforum.php?f=422&start=225

7. Appendix
Short series outline
“Modern Family”, or as originally titled “My American Family” is an American TV
situational comedy released which was first released on the 23rd of September in 2009. In total
there are eleven seasons of the show. The program is the story of Jay Pritchett, his second
wife Gloria Pritchett, his stepson Manny, and their infant son Joe. Jay has two adult children
from the previous marriage Claire and Mitchell, who live with their families in the suburbs of
Los Angeles. The show reveals the everyday lives of these three families. As it has already
been mentioned, Jay is remarried to a much younger woman, Gloria, a passionate Colombian.
Jay's daughter Claire is a homemaker married to Phil Dunphy, a real-estate agent. Jay's lawyer
son Mitchell lives with his partner Cameron and have an adopted Vietnamese daughter, Lily
and a son named Cal.

Transcript of codeswitching occurrences in the “Modern Family” series

Season 1 Episode 3
Phil: Okay. How's this?
Jay: Not far enough. Go on.
Phil: Okay, further down.

14
Jay: Está bien. Más lejos. (That´s okay. Further) You can't go too far.
Phil: Right, okay. I get it. I get it! How's this?
Jay: Good! Now stand still! Don't move! Ay! Let's do it!
****
Gloria: Hola. (Hi) We're back.
Alex: Hello. Hey, how did it go?
Gloria: It was great. Did you have fun with Luke?
Season 1 Episode 6
Gloria: I can't believe my little boy is going into the fifth grade. He used to hold my finger
with his little hand and look at me with those big eyes. Oh, mi niño pequeño (my baby).
Jay: Yep, they grow up. Come on, Manny, let's get going!
****
Jay: What are you wearing there? That looks like an old Christmas tree skirt.
Manny: It's a traditional Colombian poncho. I want my new classmates to know I'm proud of
my heritage.
Gloria: Sí. (Yes). I think you look very handsome, lindo (beautiful).
Jay: Oh, really? Am I driving him to school, or is he gonna ride his burro?

Season 1 Episode 7
Gloria: I love it when you're so proud of Manny.
Jay: You know, I'm not gonna lie. Seeing him out there slicing those kids to pieces, you
know, it -- it gets to you.
Gloria: Oye, gracias, mi amor. (Oh, thank you, my love).
Manny: I'm sorry to interrupt.
Gloria: It's okay, papi (baby).
Manny: I got a little something for you.
Season 1 Episode 9
Manny: It turns out I'm not the sweet guy or the funny guy.
Gloria: No, manny, don't go in, por favor (please)!
Manny: I must! I'm coming! Manny Delgado is a man of action.
Gloria: Wait!
Season 1 Episode 11
Gloria: Uh...Manny, why don't you show your father to the kitchen?
Javier: Por favor, dios mío (Oh my God, please). Someone put on some music. Tonight, we
dance.

15
Jay: Oh, we're gonna dance.
Javier: Oye, mi amor, ÿestá bien que me quedo aquí esta noche? (Hey, love, is it okay if I
stay here tonight?)
Gloria: Ay, Javier, yo no sé. Espérate para ver qué puedo hacer. (Oh, Javier, I don't know.
Wait to see what I can do).
Jay: What did he say? Does he need money for the lobsters?
Gloria: Jay, be nice.
****
Jay: We just went out, we hit a few balls, and you'll never guess where -- I guess Javier knew
a guy…
Gloria: And you know what? Now he knows you, the next time he needs something. You are
the guy.
Gloria: Ay! Dios mío! (Alas! My God!). Did you take him with you?
Jay: You couldn't wait to get to school to do that?
Gloria: Manny, vámonos para el colegio (let´s go to school). Let's go. We're gonna be so
late. Vámonos! Vamos a llegar tardísimo (Come on! We are going to be late!). Manny. qué
te pasa? (What´s wrong with you?) Get in the car.
Jay: I thought you said you wanted me to bond with Javier.
Gloria: I said be nice, Jay.
Javier: Aha! Qué pasa? (Hey! What´s up?)
Manny: Dad!
Gloria: Por Dios, no. (For God's sake, no).
Season 1 Episode 12
Mitch: Hello.
Cam: I don't think he speaks English.
Mitch: Okay, this might be a good time to mention to you that the Marionettes are not kind to
latecomers. They bend over and show their bloomers.
Cam: Okay, I speak a little Spanish. Señor, te gustaría hacer el agua y tenemos nuestra
cama? (Mister, would you like to make the water and we have our bed?)
Gardener: Gracias. (Thank you).
Mitch: What was that?
Cam: I just asked him if he wanted to have a glass of water and sit down for a minute, like
any kind person would.
Cam: Amigo? (Buddy?) We can't help you if you won't come out.
Gardener: Gracias por invitarme a su casa. Me averguenzo de mis lágrimas. (Thank you
for inviting me to your home. I am ashamed of my tears).

16
Mitch: What did he say?
Cam: Something...house...something.
Mitch: Oh, come on!

Season 1 Episode 18
Cam: Make sure your seat is exactly the way you want it, and feel free to play with any of
these controls up here. I have no idea what they do. But I want mi car (my car) to be su car
(your car).
Gloria: Cameron, are you okay? You seem nervous.
***
Waiter: Hola. Cómo está? Gloria! Cómo estás? (Hi. How are you? Gloria! How are you?)
Gloria: Cómo estás? (How are you?)
Waiter: Ya tienes mucho que no vienes, eh? (You haven´t been for a while here, huh?)
Gloria: Mi amigo Cameron. (My friend Cameron).
Waiter: Ah, welcome. So, carnitas diablos? (Name of a dish)
Gloria: Ah, you remember.
Waiter: Claro. (Sure).
Cameron: Um, I'll just have the same thing.
Waiter: You should have the chicken enchiladas.
Cameron: Mm-hmm. No, I'll have the carnitas diablos.
Waiter: These are not for you.
Cam: Excuse me?
Waiter: They're too spicy. Miss Gloria's used to it.
Gloria: Yeah, he's right.
Cam: I can spice you under the table any day there, sweet thing. Dos carnitas diablos, por
favor. (Two carnitas diablos, please).
Waiter: Okay. Okay.

Season 1 Episode 22
Cam: Oh, I'm sorry, I was just thinking how tragic it would be if I fell into that volcano.
Gloria: Ay, papi (sweetie), don't say that.
Season 1 Episode 24
Jay: Gloria, you're gonna have to take Manny to the game.
Gloria: Yay. Manny, vamos! (Let´s go!)
Season 2 Episode 1
17
Jay: I'm just saying, the kid's gotta learn to let things go.
Cam: Well, this is a touchy subject for Mitchell. He wants to feel like a regular Joe, like you
and I. Oh, pardonnez-moi (forgive me). I prefer the champagne Dijon to the standard yellow.
You know, there are a few areas that define us as men, like sports and construction.
***
Gloria: Hi, papi (sweetie). You're here so soon.
Manny: Yeah. I decided to skip the movie.
Gloria: Are you okay?
Season 2 Episode 2
Jay: What? Are you still mad at me?
Gloria: Yes. You have to apologize for making fun of my culture, my beliefs, my chunchullo
(dish name), my abuela (grandmother).
Jay: I'm sorry. If you think your grandmother's here with us, I respect that.
Season 2 Episode 3
Jay: I'm done with church.
Gloria: Don't say that!
Jay: Look... I'm not going to church anymore. It's not the end of the world. Let's not make a
big deal out... [rumbling and clattering] Hell... Aah. Aah. Earthquake!
Gloria: Terremoto! Vamos, vamos, Manny! Vamos, Jay! (Earthquake! Come on, come on,
Manny!) Come on, Jay!
****
Phil: Hey, Gloria.
Gloria: Ay, Dios mío, Phil, you're alive! (Oh, my God, … )
Phil: Yeah, of course I'm alive.
Season 2 Episode 4
Jay: I'm gonna play some golf.
Gloria: No. What about Mirabel's daughter's quinceañera (15th birthday)?
Jay: I… honestly didn't get any of that.
Gloria: Mirabel. She works for you. Her daughter, Rosalba, is celebrating her quinceañera,
her 15th birthday. She invited us. You just going to ignore it.
Jay: Of course not. I get this all the time. I throw it on my secretary's desk, and she sends
them an Omaha steak.
Manny: Ay, Jay.
Gloria: Manny's right. The quinceañera is very important in the latin culture. The moment
the father dances with his little princess.
***
Gloria: We need to talk.
18
Jay: Uno momento (One moment). I can't believe you never met them.
Gloria: You've never met any of these people. You don't know anyone in this room. Vamos,
Jay (Let´s go, Jay).
Jay: I'm not leaving before the father/daughter dance. And "these people", as you call them,
are not just employees. They're mi familia, or "my family."
Gloria: I know what "mi familia" is, Jay.
Season 2 Episode 5
Jay: Babe, I'm not sure about the game.
Gloria: The whole family's coming over for the barbecue.
Jay: That's today?
Gloria: Sí. It's the Ohio State game. Everybody can watch.
Jay: I don't like watching the game... with people who don't know the game.
***
Manny: Mom. The dog again.
Gloria: I know, papi (sweetie).
Manny: I want to strangle that crazy old thing.
Gloria: Just ignore it.
***
Gloria: Buenos días (Good afternoon). We haven't formally met. I'm Gloria Pritchett from
next door.
Neighbour: Larry Paulson.
Gloria: Yeah, I've seen you.
Season 2 Episode 6
Jay: Listen, did you ever do anything about costumes for Claire's thing tonight? I'm going to
pick them up this afternoon.
Gloria: You're going to be a "gargle," and I'm gonna be an evil village bruja (witch).
Jay: I know less now than I did before I asked. Hmm.
Gloria: A bruja is a witch, and a gargle is a gargle.
Manny: She means "gargoyle."
Season 2 Episode 8
Manny: Now, if I could have a little privacy...
Gloria: Privacy?! Esto es lo que me faltaba a mí (That´s what I lacked!) Privacy?! En esta
casa? (In this house?) Now come here, or sink! And I'm taking this with me in the car.
Vámonos (Come on!).

Season 2 Episode 9

19
Gloria: Jay, you want to go to the mall with me?
Jay: No, actually, my stomach's a little funny today.
Gloria: Oh, I am so sorry, papi (sweetie). Maybe we'll stop first at the crib store, and you lay
down, and I buy you a little dress, huh?
Season 2 Episode 10
Jay: This school would literally fall apart without you.
Manny: Well, I don't know about "literally", but...
Gloria: Hola, hola! (Hi, hi!) I'm here!
Manny: Oh, you came anyway. That's great.

Season 2 Episode 11
Manny: Hey, mom. You want a drink of water?
Gloria: No, papi (sweetie). Not right now.
Manny: You sure? You look thirsty.

Season 2 Episode 15
Dede: Hi, everyone. Jay, Gloria.
Gloria: Oh, buenos dias (good afternoon), Dede... B-buenos... ...Mi amor bella. ¿Cómo
está? (My love, beauty. How are you doing?)
Dede: Uh, yeah. Uh, Gloria... Come on.

Season 2 Episode 18
Jay: Are you sure you're all right, Gloria?
Gloria: I feel great, mi amor (my love). I am so happy that he's doing this with you, because I
never get him to do anything different, like the Vivaldi, hmm?

Season 2 Episode 22
Manny: You got me a dog because of my perfect report card?
Gloria: Sorry, papi (sweetie) no. The dog lives somewhere else, which is where I´m going
right now.

Season 2 Episode 23
Gloria: No offense, Jay.
Jay: None taken.
Gloria: You look like an iceberg.
Jay: Okay.
20
Butler: Señor (Sir), this is it... right hear, yeah.
Jay: Okay. Let's go.
Gloria: ¡Muchas gracias, muchachos! (Thank you very much, guys!)
Season 4 Episode 13
Gloria: ¿ Te acuerdas, Sonia? Te ves-Te ves divina en esta foto. (Do you remember, Sonia?
You look divine on this photo). I really never saw these wedding pictures, Mamá. How
handsome and young Papá looks.
Mama: Ay, it makes me sad.
Gloria: Ay, I know that you miss him.
Mama: No. Look at my ass. There are two things in that picture I don't have anymore.
Gloria: Ay, Mamá, qué loca. (Ah, mom, how crazy).
***
Mama: Oh, look at my two handsome men. Miniño (kitten), my little Fulgencio Umberto.
Jay: You know, about the name, we're not entirely sure…
Mama: Sonia, vámonos (let´s go). Good-bye, Fulgencio. Say good-bye to Fulgencio.

Season 4 Episode 15
Jay: Gloria?
Gloria: ¿ Sí, mi amor? (Yes, my love?)
Jay: Wow. Happy Valentine's- Wait, wait, wait. Time out. That was Phil. They can't watch
Joe today.

Season 4 Episode 18
Gloria: (talking to the baby) ¿ Qué tiene, mi muñequito? Que la Virgen me lo acompañe y
que los angelitos me lo cuiden. (What is it, my doll? May Our Lady be with him, and may
little angels take care of him.)
Jay: Careful. Keep that up, he'll have to hit numero dos (number two) when he calls the
D.M.V.
Gloria: By the time he's old enough to call, it will be numero uno (number one).

Season 4 Episode 19
Gloria: ¿ Quién esel otro hombre más hermoso de esta casa? (Who is the other most
beautiful man in this house?) Manny?! I am telling you how handsome you are.
Manny: Oh. Well, next time, tell me in English so I don't miss it.
Gloria: You're forgetting all your Spanish. You never practice.
Manny: Perdóneme, mami. Soy embarazada. (Forgive me, Mommy. I am pregnant.)

21
Gloria: You just told me that you're pregnant.
Season 6 Episode 6

Gloria: So, because of this marriage, you're basically third cousins with Shakira. I mean, we
don't get the free tickets, but it's fun.
(Jay comes out!)
Gloria: Ay, dios mio. (Oh, my God!) What is this?
Jay: What's up, princess? I'm Prince Charming.
Gloria: I can see that.
Season 6 Episode 7
Jay: What's up, guys!-
Diego: Ah, señor (mister) Pritchett. Please, join us.
Jay: Nice as it is for you to invite me to swim in my own pool, I thought I was paying you to
teach Manny Spanish.
Season 6 Episode 8
Gloria: ¡Hola, familia! (Hello, family!) Happy Thanksgiving! Happy birthday tomorrow,
Luke!
Jay: Yeah, Luke, we didn't forget about you.

Season 6 Episode 14
Jay: Well, that's the goal, anyway.
Gloria: Ay, okay, papi, whatever you decide.
Jay: Don't let him leave this room!

Season 6 Episode 23
Manny: No, Kylie said she'd meet me at the dentist, and she never came.
Gloria: Ay, I know, papi, I'm so sorry, but I'm gonna get you a very nice pillow from your
bedroom.

Season 8 Episode 2
Joe: I want to live outside.
Gloria: No, Señor (mister), we're not having that argument anymore.
Joe: Mowgli lives outside.

Season 8 Episode 12
22
Sal: Werner's precious Tony Award. He keeps in at sea as the ultimate aphrodisiac.
Cam: For women?
Sal: Auf Wiedersehen (Goodbye), award for Best Orchestration.
Cam and Mitchell: Oh, my God. No. Sal, Sal. No.

Season 8 Episode 13
Phil: I'm not paying $350 for a moisture sensor that costs $28. I'll fix it myself.
Yuri: I've been doing this a long time is my point.
Phil: Well, Yuri, Phil Dunphy is no pushover. I'm afraid it's a hard “nyet” (no).
****
Chef: Oh, my, do you mind if I use this as an example?
Claire: Oh! Avec pleasure (With pleasure).
Chef: See how she's chopped it... stems and all? That's wrong.
****
Gloria: Jay? Jay!
Jay: I'm up here.
Gloria: Ay, Dios mío! (Oh, my God!) Your time was too short!
Jay: I'm on the roof.
Gloria: Ah. Oh, okay. So... come down because the TV's working already.

Season 8 Episode 15
Cam: Fine. It's not Martin. But it certainly could be Señor Kaplan.
Señor Kaplan: Uno, dos, tres, cuatro, cinco, seis.
Cam: Hola, Señor Kaplan.
Señor Kaplan: If you're here to talk trash, I'm not interested.
***
Cam: I just saw... I just saw Fi... Fizbo in... in... in the mirror.
Señor Kaplan: I don't know what's going on with you, Tucker, but in my culture, we like to
call it... loco en la cabeza (crazy in the head).
Cam: Okay, you know what? Knock it off. You're Canadian.
***
Claire: "No matter what I do, "you refuse to accept "that I accepted you."
Gloria: "Mais non (Of course not!) "I'm sorry. "I'm just so emotional today."
Claire: "But of course you are, Chloe. "And I'm sorry if I made you feel like an outsider."
Gloria: "I love you, you know? Je t'aime (I love you!)"
23
Claire: "I love you, too."
Season 8 Episode 19
Gloria: Your bedtime was an hour ago, señor (mister).
Joe: I want to finish this.
Gloria: You don't even know how to read. Stop worrying. There's no monsters upstairs. That
paint works.
Joe: Mommy, can you check it?
Gloria: Okay.
Season 8 Episode 20
Gloria: Okay, vamanos (let´s go)! Kid loves that cape.
Claire: So, I see your stance on sons wearing accessories has evolved.
Gloria: The cape gives him superpowers.

Season 8 Episode 22
Gloria: Do I hear my Manny?!
Jay: When you're hungover, it's like a car alarm.
Gloria: Ay. iHola, papi (Hi, sweetie)! Happy graduation day!

24