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I've found that good dialogue tells you not only what people are saying or how they're communicating but it tells you a great deal - by dialect and tone, content and circumstance - about the quality of the character.
E. O. Wilson
Viewed freely, the English language is the accretion and growth of every dialect, race, and range of time, and is both the free and compacted composition of all.
Black English is something which - it's a natural system in itself. And even though it is a dialect of English, it can be very difficult for people who don't speak it, or who haven't been raised in it, to understand when it's running by quickly, spoken in particular by young men colloquially to each other. So that really is an issue.
I sat staring, staring, staring - half lost, learning a new language or rather the same language in a different dialect. So still were the big woods where I sat, sound might not yet have been born.
An academic dialect is perfected when its terms are hard to understand and refer only to one another.
A Pike, in the California dialect, is a native of Missouri, Arkansas, Northern Texas, or Southern Illinois. The first emigrants that came over the plains were from Pike County, Missouri; but as the phrase, 'a Pike County man,' was altogether too long for this short life of ours, it was soon abbreviated into 'a Pike.'
Space or science fiction has become a dialect for our time.
I'm from Connecticut, and we don't have any dialects. Well, I don't think we have any dialects, and yeah, it's very complex. That Rhode Island/Massachusetts New England region is arguably the hardest dialect to nail.
This African American Vernacular English shares most of its grammar and vocabulary with other dialects of English. But it is distinct in many ways, and it is more different from standard English than any other dialect spoken in continental North America.
I think Shakespeare is like a dialect. If I heard a broad Scots accent, I'd probably struggle at first but then I'd start to look for words I recognise and I'd get the gist. I think Shakespeare is like that.
My parents genuinely loved Vienna, and in later years I learned from them why the city exerted a powerful hold on them and other Jews. My parents loved the dialect of Vienna, its cultural sophistication, and artistic values.
It would be good if teachers could genuinely understand that black English is not mistakes, it's just different English, and that what you want to do is add an additional dialect to black students' repertoire rather than teaching them out of what's thought of as a bad habit, like sloppy posture or chewing with your mouth open.
I have a dialect myself; it's more pronounced, because I have studied theatre and been in England. It's half-British, half-Indian.
I was excited to play Lil' Kim and I wanted to do the role justice. I worked really hard on that role, whether it was performing the rhymes, studying the dialect, her swagger and her stage performances. I wanted people to see my range and stretch my wings as an actress.
I speak a little bit of Italian, yeah. I understand more than I speak. I speak more of a dialect; my mum's from Naples and my dad's from Sicily, so it comes out little a bit of a cocktail of the Italian language.
The authentic Gullah dialect is actually very clipped, and so it would sound almost Jamaican and be very odd to an American audience's ears. It's not the typical Southern dialect that we're used to.
Dialect words are those terrible marks of the beast to the truly genteel.
Behavior is mutable. It changes from place to place. It's like accents, dialect - it varies from one area to another. But there are universal truths about what it means to be a human being. All the other stuff is like applique. Learning that was interesting to me and probably useful for becoming an actor.
No one writes dialect better than Flannery O'Connor. No one should even try.
Now there are certain things you have to prepare - like dialect and special skills. But in the moment, interaction between two characters on the page doesn't need - for me, I don't need to prepare that.
I had a dialect coach to get an American accent, and then another dialect coach to come off it a bit. There is something deep and mysterious in the voice when it isn't too high-pitched American.
As someone who's been doing a lot of classical theater recently, I loved the idea of getting to run around in Steven Alan, and not be in a corset and a wig, and not have a dialect, and get to be in a 90-minute play with no intermission, and get to do real comedy.
I find standard American the hardest. It really fits in a different place in your mouth. Southern, I find the easiest. If you talk to a dialect coach and you get sort of technical, where an English person keeps their voice in their throat, a Southern person does the same, and it's got the same sort of music to talking.
What is jazz? It, It's almost like asking, What is French? Jazz is a musical language. It's a musical dialect that actually embodies the spirit of America.
My first day on the set of 'John Adams', I was just supposed to fly to Virginia for a costume fitting. But the director figured, why not shoot it, too? So they threw me into a dress that didn't fit, gave me lines I hadn't seen, in a dialect I didn't know, and two screaming, arching infants.
From Dickens's cockneys to Salinger's phonies, from Kerouac's beatniks to Cheech and Chong's freaks, and on to hip hop's homies, dialect has always been used as a way for generations to distinguish themselves.
Martin Luther King, Jr.
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You can't sweep other people off their feet, if you can't be swept off your own.
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