Accents of English is about the way English is pronounced by different people in different places. Volume 1 provides a synthesizing introduction, which shows how accents vary not only geographically, but also with social class, formality, sex and age; and in volumes 2 and 3 the author examines in greater depth the various accents used by people who speak English as their mother tongue: the accents of the regions of England, Wales, Scotland and Ireland (volume 2), and of the USA, Canada, the West Indies, Australia, New Zealand, South Africa, India, Black Africa and the Far East (volume 3). Each volume can be read independently, and together they form a major scholarly survey, of considerable originality, which not only includes descriptions of hitherto neglected accents, but also examines the implications for phonological theory. Readers will find the answers to many questions: Who makes 'good' rhyme with 'mood'? Which accents have no voiced sibilants? How is a Canadian accent different from an American one, a New Zealand one from an Australian one, a Jamaican one from a Barbadian one? What are the historical reasons for British-American pronunciation differences? What sound changes are currently in progress in New York, in London, in Edinburgh? Dr Wells his written principally for students of linguistics, phonetics and English language, but the motivated general reader will also find the study both fascinating and rewarding.

The first comprehensive study of how English is pronounced by different people in different places. It provides an integrated and unified framework for existing scholarly treatments of regional forms of speech and makes many original contributions to the field.

Accents of English is about the way English is pronounced by different people in different places. Volume 1 provides a synthesizing introduction, which shows how accents vary not only geographically, but also with social class, formality, sex and age; and in volumes 2 and 3 the author examines in greater depth the various accents used by people who speak English as their mother tongue: the accents of the regions of England, Wales, Scotland and Ireland (volume 2), and of the USA, Canada, the West Indies, Australia, New Zealand, South Africa, India, Black Africa and the Far East ( volume 3). Each volume can be read independently, and together they form a major scholarly survey, of considerable originality, which not only includes descriptions of hitherto neglected accents, but also examines the implications for phonological theory. Readers will find the answers to many questions: Who makes 'good' rhyme with 'mood'? Which accents have no voiced sibilants? How is a Canadian accent different from an American one, a New Zealand one from an Australian one, a Jamaican one from a Barbadian one? What are the historical reasons for British-American pronunciation differences? What sound changes are currently in progress in New York, in London, in Edinburgh? Dr Wells his written principally for students of linguistics, phonetics and English language, but the motivated general reader will also find the study both fascinating and rewarding.

Since its initial publication, English with an Accent has provoked debate and controversy within classrooms through its in-depth scrutiny of American attitudes towards language. Rosina Lippi-Green discusses the ways in which discrimination based on accent functions to support and perpetuate social structures and unequal power relations. This second edition has been reorganized and revised to include: new dedicated chapters on Latino English and Asian American English discussion questions, further reading, and suggested classroom exercises, updated examples from the classroom, the judicial system, the media, and corporate culture a discussion of the long-term implications of the Ebonics debate a brand-new companion website with a glossary of key terms and links to audio, video, and images relevant to the each chapter's content. English with an Accent is essential reading for students with interests in attitudes and discrimination towards language.

Some people say scohn, while others say schown. He says bath, while she says bahth. You say potayto. I say potahto And- -wait a second, no one says potahto. No one's ever said potahto. Have they? From reconstructing Shakespeare's accent to the rise and fall of Received Pronunciation, actor Ben Crystal and his linguist father David travel the world in search of the stories of spoken English. Everyone has an accent, though many of us think we don't. We all have our likes and dislikes about the way other people speak, and everyone has something to say about 'correct' pronunciation. But how did all these accents come about, and why do people feel so strongly about them? Are regional accents dying out as English becomes a global language? And most importantly of all: what went wrong in Birmingham? Witty, authoritative and jam-packed full of fascinating facts, You Say Potato is a celebration of the myriad ways in which the English language is spoken - and how our accents, in so many ways, speak louder than words.

What impact do accents have on our lives as we interact with one another? Are accents more than simple sets of phonetic features that allow us to differentiate from one dialect, variety or style, to the other? What power relationships are at work when we speak with what those around us perceive as an 'accent'? In the 12 chapters of this volume, an international group of sociolinguists, applied linguists, anthropologists, and scholars in media studies, develop an innovative approach that we describe as the ‘pragmatics of accents’. In this volume, we present a variety of languages and go beyond the traditional structural description of accents. From ideologies in national contexts, to L2 education, to accent discrimination in the media and the workplace, this volume embraces a new perspective that focuses on the use of accents as symbolic resources, and emphasizes the importance of context in the human experience of accents.

A history of the reception of Shakespeare on the English stage focusing on the vocal dimensions of theatrical performance.