Comparative speech-act studies have found that British English directives tend to include the pragmatic marker please at about twice the rate of American English directives. Nevertheless, lexical please is often as frequent in American English corpora as in British ones – indicating that sincere directives are only part of this pragmatic marker’s story. This article reports on British and American please usage in the Corpus of Global Web-based English (GloWbE; Davies 2013). GloWbE shows similar numbers of non-verbal please on American and British websites, but also differences in what please is used for. This contributes to a larger picture of pragmatic variation in which British English uses a more bleached and routine please, whereas American please might be more at home effecting im/politeness in contexts of greater face-threat.

The Catherine Tate Show (2004–7) is a rich source of instances of stereotyped language varieties as linked to various TV tropes, reflecting how speakers coming from specific regional areas in the British Isles are generally and stereotypically perceived within British society, thus contributing to their linguistic enregisterment. Building on previous works on dialects in the media and their stereotypical representations, this study gives an account of the various implications and functions of the linguistic phenomena that are specific to the Southeast of England and that are exploited for the creation of some of the fictional identities presented in the show. Specific phonological features that implicitly collocate Tate’s recurring characters both regionally and socially are identified and their functions discussed.

Multicultural Toronto English (MTE) is a register found in Toronto, Canada, associated with racialized youth. The ongoing enregisterment of MTE takes place, in part, through metadiscourse on social media, which disseminates the register to a wider audience. This article examines online metadiscursive engagement with representations of MTE. We consider how audiences take up, receive and recontextualize MTE through metadiscourse across grassroots and institutional media platforms. We argue that audience engagement with pop-cultural representations of language is a critical driving force of enregisterment and register change.

This article explores intraspeaker malleability in the realisation of the first-person possessive in the North-East of England ([maɪ], versus [mi] and [ma]). The analysis relies on a combination of a trend sample and a novel dynamic panel corpus that covers the entire adult lifespan. While [mi] has been around at least since the 1970s on Tyneside, [ma] appears to have made its way into the system during the 1980s and 1990s. The panel data add intraspeaker information to this ongoing change, revealing a turnover in the proportional usage of possessive variants between two recordings that are on average ten years apart. Regression modelling provides differentiated information about intraspeaker changes across the lifespan, suggesting that, with only a few exceptions, intraspeaker grammars are stable across the lifespan. The analysis supports recent panel research that has argued for the importance of considering the socio-demographic trajectory of the individual: while speakers who are part of the ‘marché scolaire’ (Bourdieu & Boltanski 1975: 7) orient towards the standard, speakers working as professional carers (e.g. nurses) tend to retain high rates of the reduced variants across their lifespans to do local identity work and establish better interpersonal relations with their clients.

Many of the most popular comedy performances are rich in non-standard linguistic features of English. This article addresses how dialect contributes to the humor in comedy performances, and how humorous dialect performance leads to the enregisterment of a dialect. It applies enregisterment theory to online clips of three live comedy performances by Stephen Buchanan (‘How to survive Glasgow’), Ali G (‘Harvard Commencement Speech 2004’) and Riaad Moosa (‘I have a weird accent’), and one clip from the British sitcom PhoneShop (2009–13). All four dialectal performances showcase the metalinguistic activity central to enregisterment processes. However, in each performance, the dialect also fulfils a dedicated function in the construction of humor, ranging from building audience rapport to the subversion of a (linguistic) status quo. It is argued that just as dialect can help performers to be funnier, humor can help a dialect to become more enregistered.

Both -ity and -ness are frequent and productive suffixes in English that fulfill the same core function: turning adjectives into nouns that denote the state or quality of whatever the adjective denotes. This well-known affix rivalry raises two core questions: 1. What determines the choice between -ity and -ness for a given base word? 2. Are the two affixes synonymous? For the first question, previous work has focused on morphological and phonological properties of the bases, but not their semantics. For question 2, the literature fails to give a convincing answer, with some studies, faced with doublets like ethnicity/ethnicness, arguing for a semantic difference, but most assuming synonymy. Using pretrained distributional vectors, I show empirically first that the semantics of the bases plays a major role in affix selection and second that the two affixes induce similar meaning shifts.

This study examines the representation of Jamaican Creole and cultural stereotypes about Jamaicans in the BBC Three sketch Jamaican Countdown, produced for the British show Famalam. The parody, which sharply contrasts with the original intellectual and orderly game show Countdown, employs features of Jamaican Creole for comedic effect. However, it has faced criticism for reinforcing cultural stereotypes about Jamaicans. This article focuses on the linguistic features – phonetic, morphosyntactic and lexical – used in the sketch. Through qualitative methods, it examines these features and investigates how linguistic and visual elements contribute to the portrayal of cultural stereotypes. The results show that Jamaican Countdown introduces complex indexical relationships by enriching the portrayal of Jamaicans in popular culture but also perpetuating stereotypes. The sketch contrasts the original British game show’s formality with a sexualized, unruly Jamaican parody, which exhibits various semiotic resources to both parody and reinforce cultural stereotypes.