This chapter is devoted to a linguistic analysis of the variable nature of English in public spaces in Belize, focusing on school, mass media, and research interviews. Adopting a decolonial perspective, it refrains from categorising English in Belize as a distinct and national variety. The analysis reveals significant linguistic variability in morphosyntax, phonetics, and prosody. Public English in Belize incorporates a range of forms influenced by Kriol, Spanish, and international English standards, challenging conventional notions of ’standard’ language. Morphosyntactic features reveal both local and non-local influences, while phonetic analyses reveal individual variations in vowel production linked to social, educational, and ideological factors. Prosodic variation, particularly pitch and intonation, emerges as a key marker of linguistic boundaries. English in Belize resists fixed categorisation and embodies a ’liquid’ linguistic character. This variability results from the absence of a hegemonic cultural and linguistic centre.

This chapter provides an up-to-date review of the literature on the phonetic and phonological patterns of Welsh and their development. While typically developing children’s acquisition constitutes a major component, it also discusses socio-phonetic variation and adult second language acquisition, thereby approaching Welsh speech development from a lifespan perspective. The chapter is structured in four major sections. The first section introduces the reader to the segmental and suprasegmental properties of the two main varieties of Welsh: Northern and Southern Welsh. Subsequently, the second section considers methodological aspects of studies on Welsh phonology, while the third section focuses on children’s development of Welsh speech patterns, starting with evidence from studies on early word productions before moving on to a discussion of consonant and consonant cluster acquisition in preschool and school-aged children. The section concludes with an account of developmental error patterns. The final major section then reviews the literature on the speech patterns of different groups of Welsh speakers and the role that extra-linguistic variables, such as sex/gender and language dominance, play in shaping these. Finally, studies on the Welsh accents of second language learners will be discussed. The chapter concludes with suggestions for future research.

Chapter 5 presents the facts concerning phonological convergence among the Balkan languages, focusing on shared processes affecting consonants and vowels, on prosodic units (including clitic behavior), on morphophonemic alternations, and on expressive uses of sounds. The vast majority of phonological Balkanisms are highly localized in nature, leading to the conclusion that we see here not Balkan phonology but rather Balkan phonologies. Despite the general inattentiveness on the part of scholars to phonology in the Balkan sprachbund, it is demonstrated here that there is robust convergence in this domain of grammar, albeit at local levels.

It is perhaps one of the most prominent assumptions of rhetorical guidebooks and trainers that abdominal breathing leads to better, e.g., more charismatic and persuasive speech performances. However, recent phonetic evidence was not consistent with this assumption: trained speakers (males more than females) primarily intensified chest breathing when they switched from a matter-of-fact to a charismatic presentation style – and this disproportionate intensification of chest breathing also came with a more charismatic voice acoustics. The present perception experiment builds on these recorded speeches and their acoustic results. We test whether significant correlations would emerge between the acoustic and respiratory measures on the one hand and listener ratings on the other. Twenty-one listeners rated all recorded speeches in individually randomized orders along two 6-point Likert scales: resonance of the voice and charisma of the speaker. Results show significant positive correlations of perceived speaker charisma with f0 variability, f0 range, f0 maximum, and spectral emphasis. Moreover, resonant-voice ratings were positively correlated with both abdominal and chest breathing amplitudes. By contrast, perceived speaker charisma only correlated positively with chest but not with abdominal breathing amplitudes. We discuss the implications of our results for public-speaking training and outline perspectives for future research.

This chapter reviews the brain processes underlying human speech production, centered on the idea that a talker wants to communicate through to the execution of a motor plan. Cortical regions associated with motor control –including premotor cortex, supplemental motor area, and pre-supplemental motor area – are routinely implicated in speech planning and execution, complemented by the cerebellum. In addition to generating speech sound waves, speech production relies on somatosensory and auditory feedback, associated with additional regions of the superior temporal gyri and somatosensory cortex. A special point of emphasis is the contribution of the left inferior frontal gyrus (including the area traditionally defined as “Broca’s area”) to fluent speech production. Additional points include speech prosody and sensory-motor feedback. Finally, the chapter concludes by reviewing several common challenges to speech production, including dysarthria, apraxia of speech, and stuttering.

This chapter explores the interaction between discourse structure, grammar, and prosody, on the example of insubordination, that is, the main clause use of formally subordinate clauses. After an overview of the forms and meanings of insubordinate constructions cross-linguistically, it focuses on a particular illustration of this phenomenon: contrastive insubordinate conditionals (CICC) in Spanish. First, it argues for the constructional status of the pattern and then it explores its discursive and prosodic features. The results of a corpus study show that CICC can occur in five different contexts, with a high preference for dispreferred responses. This is taken as evidence for proposing a network representation, with a schema representing the common form and meaning features of the construction and several instantiations in prototypical and peripheral contexts. Prosodically, the construction is combined with restricted prosodic patterns expressing similar pragmatic functions (focus and contrast). We can thus model prosodic patterns as pairings of a prosodic form and a pragmatic meaning and are inherited by sentence-level constructions expressing compatible pragmatic meanings.

After a long tradition of studying languages as isolated systems, researchers are increasingly aware of the fact that speakers of most of the world’s languages are multilingual. The coexistence of multiple languages within the brain can be a significant force shaping each. The recognition of constructions and their arrays of constructional properties provides a useful tool for understanding contact phenomena: much of what is transferred in contact situations are constructions or constructional features. Conversely, examination of what is replicated can enhance our understanding of the nature of linguistic knowledge. Here replicated constructions of varying sizes and degrees of schematicity are first described, from words through discourse structures, then the transfer of individual constructional features, including prosody, special connotations, various pragmatic effects, linguistic and extralinguistic contexts of use, and frequency are discussed, as well as the social situations under which they occur. The kinds of constructions and constructional properties replicated provide additional evidence that constructions are more than simple combinations of basic form and meaning.

Gerard Manley Hopkins, like many of his contemporaries, was drawn as a young man to the lively visual arts scene in London in the 1860s and 1870s. From a family of professional and amateur sketchers and illustrators, he initially considered a career as an artist. What, then, did Hopkins see? What pictures did he look at, and what did he sketch? How did the careful cultivation of his eye, under the formative influence of John Ruskin, shape his later life as a Jesuit poet? How do we get from a visual culture that Hopkins shared with many others of his time and place to the powerful originality of his mature poems? Analyzing evidence from Hopkins’s surviving sketches, letters, and journals, this chapter explores the effects of Hopkins’s visual education on the language, the prosody, and the shaping force of grace in the poems.

Hopkins’s journals are usually read as source-books for his poems. Their fragmentariness smacks of the archive, seeming to position this material as purely of scholarly interest. These odds and ends are meant, it would seem, to be searched for aperçus, inscapes, what Whitman would call ‘go-befores and embryons’, later immortalized in verse. But it’s also possible to read the journals as literature in their own right: as a great poet’s utmost experiment with the possibilities of prose. Hopkins’s nature descriptions experiment relentlessly with the poetics of prose his letters assert piecemeal. He inherited an aesthetic of notation that, arising from the diaries of Romantic poets like Samuel Taylor Coleridge, was made irreversibly self-conscious within the published prose of his Victorian precursor, John Ruskin. Revealing an apparently spontaneous, self-shaping spirit alive in plants, stones, clouds, and water, Hopkins’s self-conscious sentences illuminate – as well as transcend – Victorian habits of intellectual enquiry.

This chapter argues that we must understand Hopkins’s engagement with rhythm amid the cultural contexts of poetic experimentation and metrical and linguistic inquiry during the nineteenth century, a prosodic discourse in which Hopkins was a participant. Amid linguistic and religious definitions of tradition and rupture, Hopkins thought through several changing definitions of rhythm in language, in poetry and in the world. Our focus on sprung rhythm, though his most well-known innovation, clouds other theories of rhythms and important cultural histories of accent, speech, national identity, and religious identification that show the ways that accent and stress are part of a broader pattern – a broader rhythm he wants to detect – of likeness and difference in all things.