Cockney Past And Present

Although Cockney can be considered to be one of the most important non-standard forms of English, there had been little to no scholarly attention on the dialect prior to William Matthews’s 1938 volume Cockney Past and Present. Matthews traced the course of the speech of London from the sixteenth century to the beginning of the twentieth century by gathering information from many sources including plays, novels, music-hall songs, the comments of critics and the speech and recollections of living Cockneys. This book will be of interest to students of language and linguistics.

Seminar paper from the year 2006 in the subject Didactics - English - Pedagogy, Literature Studies, grade: 1,0, Johannes Gutenberg University Mainz (Department of English and Linguistics), course: Introduction to English Linguistics, language: English, abstract: The Cockney dialect was long frowned upon by anyone who felt superior to this allegedly substandard, uneducated and vulgar manner of speaking. The Cockneys were considered stupid, poor and uneducated themselves. That was the prevailing attitude towards Cockney until very recently when the acceptance of the dialect and its speakers noticeably changed. What is a Cockney, though? A true Cockney has to have been born within the sound of the Bow Bells of St Mary-le-Bow Church in London's East End. The Cockney distinguishes himself by staying true to his origins deeply linked to the dialect. Cockney is one of the most remarkable dialects all over the Englishspeaking world. Back in 1938, though, William Matthews, author of "Cockney - Past and Present",feared the decline of the dialect altogether because of the virtually non-existing acceptance in English society. Cockney was mainly a working-class accent, but was also aquired by criminals who enjoyed the population's incapability to understand the accent and dialect. The dialect was eventually made a scapegoat for the corruption of Standard English. A lot has changed since. When having a look at popular culture today, one might have the impression that the perception of the dialect has revolutionised. Cockney even seems to be on the rise again, being promoted by films like "Lock, Stock" and "Two Smoking Barrels", "Snatch",and music by "The Streets" for instance. In this paper, I want to examine in how far the recent obervations can be seen as a development of taking Cockney characteristics over into present-day English. By present-day English neither Received Pronunciation (RP) nor any other kind of Standard English (StE) is exclusively meant, but rather a broad definition of the English that can really be heard in England. Nonetheless, comparisons to RP and StE will be found because points of reference will be needed in the course of this paper. In the first part, Cockney will be contrasted to RP, for example, to illustrate its variation from the standard. The Cockney that forms the basis for the paper is the modern dialect. Like any other language it has undergone a great change since it was first recorded and to examine or only include several stages of its development would go beyond the scope of this paper.

An extraordinary city, London grew from a backwater in the Classical Age into an important medieval city and significant Renaissance urban center to a modern colossus--full of a free people ever evolving. Roy Porter touches the pulse of his hometown and makes it our own, capturing London's fortunes, people, and imperial glory with vigor and wit. 58 photos.

The phrase "popular music revolution" may instantly bring to mind such twentieth-century musical movements as jazz and rock 'n' roll. In Sounds of the Metropolis, however, Derek Scott argues that the first popular music revolution actually occurred in the nineteenth century, illustrating how a distinct group of popular styles first began to assert their independence and values. He explains the popular music revolution as driven by social changes and the incorporation of music into a system of capitalist enterprise, which ultimately resulted in a polarization between musical entertainment (or "commercial" music) and "serious" art. He focuses on the key genres and styles that precipitated musical change at that time, and that continued to have an impact upon popular music in the next century. By the end of the nineteenth century, popular music could no longer be viewed as watered down or more easily assimilated art music; it had its own characteristic techniques, forms, and devices. As Scott shows, "popular" refers here, for the first time, not only to the music's reception, but also to the presence of these specific features of style. The shift in meaning of "popular" provided critics with tools to condemn music that bore the signs of the popular-which they regarded as fashionable and facile, rather than progressive and serious. A fresh and persuasive consideration of the genesis of popular music on its own terms, Sounds of the Metropolis breaks new ground in the study of music, cultural sociology, and history.

"At last, a scrupulous and sustained--'earsighted'--study of that shadowy yet vital intersection of sound and sense without which literary reading remains a disembodied exercise. . . . Stewart immerses us brilliantly in the poststructural method of a 'phonemic' analysis."--Geoffrey H. Hartman, author of Saving the Text "Stunningly articulate. . . . Alongside brilliant exegeses of passsages from the major English poets, Stewart offers new and dazzling interpretations of the 'poetics of prose' in such novelists as Dickens, Lawrence, Joyce, and Woolf. The book is a tour de force, no doubt about it. In my opinion, Reading Voices will have not only a wide but a lasting reception."--Hayden White, author of Metahistory "This is exciting, virtuoso work in a playfully imaginative hermeneutic mode. Stewart's ear hears fascinating and compelling things, things which have a delightfully rich and thematically complex bearing on much larger textual issues."--Paul Fry, author of The Reach of Criticism "A truly original book. . . . The first work in years to bring together linguistically informed criticism with more philosophically oriented literary theory. The resulting vision of literature is odd, personal, passionate, even outlandish. Not only is Stewart himself and extraordinary stylist, but his work suggests a breakthrough in stylistic criticism so radical as to revitalize the entire field."--Jay Clayton, author of Romantic Vision and the Novel