Beruflich Dokumente
Kultur Dokumente
ABSTRACT: In this work, we seek to explore the reasons that underlie the choice of
Received Pronunciation, at the expense of other accents, in the American TV show
Games of Thrones, as well as what motivated the casting of a white actor to portray a
character whom is described as having dark skin in the books that originated the
series, namely, A Storm of Swords, by George R. R. Martin. In order to do so, we
resort on the field of Critical Applied Linguistics, as well as Foucaults concepts about
discourse and power.
KEYWORDS: Game of Thrones; Received Pronunciation; Critical Applied Linguistics;
Power; Discourse.
1. INTRODUCTION
The Jazz Singer is the first motion picture with synchronized dialogue
sequences and the movie which started the Golden Age of Hollywood. Ever since, it
is common to hear standard American accents in several productions, despite of the
places and peoples that may be represented in such productions. Since the release
of The Lord of the Rings: The Fellowship of the Ring (New Line Cinema, 2001) in
2001, epic fantasy movies and series have been reaching great success, conquering
millions of viewers around the world. One interesting fact about this phenomenon is
that although many of the productions are filmed in the United States, with actors
from many different English-speaking countries, the characters tend to speak in an
accent much similar to the Received Pronunciation of British English. Why does that
happen? What are the reasons that underlie this choice? Until not so long ago,
questions such as the significance of a choice of a certain variety of a language were
not even discussed.
Created by David Benioff and D. B. Weiss, Game of Thrones is a television
adaptation of "A Song of Ice and Fire, a story b the American author George R. R.
Martin. The series is broadcast in the United States by subscription channel Home
Box Office, best known as HBO. Game of Thrones is very well received by critics and
has already received several nominations and awards. The series is set in the Seven
Kingdoms of Westeros, a fictional scenario reminiscent of Medieval Europe where
the seasons last for years and even decades. The plot revolves around a war and
shows violent struggles between families - or noble houses - for control of the Iron
Throne.
A fact that stands out in the series is that, despite being set in a fictional setting
and having many American actors in the cast, the characters use a variety of English
very close to the Received Pronunciation (RP) of British English to communicate.
In this article, we discuss these questions in the light of Critical Applied
Linguistics. Critical Applied Linguistics, as Pennycook (2001) argues,
is more than just a critical dimension added on to applied linguistics: It
involves a constant skepticism, a constant questioning of the normative
assumptions of applied linguistics, and presents a way of doing applied
linguistics that seeks to connect it to questions of gender, class, sexuality,
race, ethnicity, culture, identity, politics, ideology
and discourse
2. DISCUSSION
2.1 - THE ENGLISH LANGUAGE
In the 5th century BC, Angles, Saxons and Jutes migrated from Europe to the
British Isles, and the language spoken by them was to become English. In two
centuries, variations of English were being spoken by almost the entire territory.
French and Latin were influential in shaping the vocabulary of the language, due to
the Norman conquest of England in 1066.
According to the Enciclopaedia Britannica, British English is a collective term for
all forms of English spoken in the British Isles. But there is a lot of variation within the
British English. The variety considered the standard variety of British English is called
Received Pronunciation. As British English refers to forms of English spoken in the
British Isles, the American English term comprises the range of dialects spoken in the
United States. Although there is less dialectal variation within the U.S. territory, the
presence of distinctive accents on the East Coast of the country, for example, can be
detected.
Similar to "Received Pronunciation", there is a standard pronunciation of
American English, which is called "General American" (GA) or "Standard American
English" (SAE). Used in films, series, advertisement and official announcements on
radio newscasts, Standard American English has immense scope, related to cultural
To Zaidan, one of the many factors that contribute to this devaluation of nonstandard varieties of English is the limited comprehension of the linguistic
phenomenon, which leads people to see variation as a form of diversion/distortion,
granting the production of non-standard speakers the status of interlanguage, that is,
an incomplete, not proficient language and placing the native speakers, generally
American or British, in the highest place of an imaginary continuum, an idealized
scenario (ZAIDAN, 2013, p. 55).
2.3. LANGUAGE AND POWER
The role, function and power of English worldwide is not a new theme to Critical
Applied Linguistics. In 1992, Robert Phillipson published the book Linguistic
Imperialism, in which he discusses the role of English and its importance for the
preservation of power structures in the postcolonial world. After Phillipson,
Canagarajah, Pennycook and Rajagopalan are some of the most influential scholars
of Applied Linguistics who dealt with this subject. Mahboob and Paltridge discuss
Phillipson, Canagarajah and Pennycooks works in an article called Critical
Discourse Analysis and Critical Applied Linguistics, published in 2012. According to
them,
While both Canagarajah and Pennycook note the power of English, they also
highlight the importance of studying how English is appropriated and resisted
Foucault (1991) also states that each society has its own regime of truth, i.e.,
each society will operate in different ways as far as truth is concerned. Each society
will accept different types of discourse as true or false, and distinct societies will have
distinct instances to distinguish true and false statements. The status of who says the
truth also varies. Discourse, and the notion of what is truth as well, is socially
constructed, as we can conclude. Language is a component of discourse. It is clear
that ones manner of speaking, together with other aspects, such as nationality, race,
sex, social status, will constitute someones discourse. And this discourse will be
valued and perpetuated or not by those who hold the power. Truth, morality and
meaning are created through discourse, and will correspond to what those who are in
the center, who are empowered, want it to be.
2. 4 THE CASTING OF PRINCE OBERYN IN HBOS GAME OF TRHONES
By this extract of the text, we can conclude that the Prince Oberyn of the book, a
salty Dornishmen for certain (MARTIN, 2000, p. 521), has dark skin like the rest of
his people. The decision to cast a white actor to portray him in the series shows
again a desire to be associated with what is regarded as true by a parcel of the
society that holds the power.
3. FINAL CONSIDERATIONS
In the light of the studies cited and the discussion developed above, it is possible
to conclude that the choice of using RP in Game of Thrones at the expense of other
accents is not an innocent choice, and neither is the decision of casting a white actor
to portray a character that has dark skin in the book. There is a very conscious
agreement that, by using a variety of English which corresponds to the assumed
center of power and choosing an actor who also belongs to this assumed center of
power, the discourse reproduced by the series will be more easily taken as the truth,
and will, therefore, have more symbolic value.
REFERENCES
BRITISH Library: Received Proncunciation. Available at
<http://www.bl.uk/learning/langlit/sounds/find-out-more/received-pronunciation/>.
Acess on 25/11/2014
ENCYCLOPAEDIA Britannica. United Sates of America: Encyclopaedia Britannica,
Inc., 2011. App for Android Smartphone. Acess at 20/11/2014
GAME of Thrones Available at <http://www.imdb.com/title/tt0944947> Acess at
26/11/2014.
MAHBOOB, A; PALTRIDGE, B. Critical Discourse Anakysis and Critical Applied
Linguistics. 2012, p.2. Available at:
<https://www.academia.edu/2356788/Critical_Discourse_Analysis_and_Critical_Appli
ed_Linguistics> Acess on 24/11/2014.
MARTIN, George R. R. A Storm of Swords. New York: Bantam, 2010
MOLLICA, Maria Cecilia. Fundamentao terica: conceituao e delimitao. In:
______. Introduo Sociolingustica: O Tratamento da Variao. So Paulo: Editora
Contexto, 2007. p. 9.
WEEDON, C. Feminist practice and poststructuralist theory, 2nd
ed. Oxford: Blackwell, 1997.
WHEELER, Brian: Why are fantasy world accents British? Available at: <
http://www.bbc.co.uk/news/magazine-17554816>. Acess on 24/11/2014.
Y LACOSTE: A geopoltica do ingls. In: Por uma abordagem geopoltica da difuso
do ingls. Availble at: <http://parabolaeditorial.com.br/Geopolitica.pdf> Acess on
26/11/2014.
ZAIDAN, Junia Claudia Santana de Mattos. Por um ingls menor: a
desterritorializao da grande Lngua. 2013. 241 f. Tese (Doutorado em Lingustica) -