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Seminar paper from the year 2008 in the subject English Language and Literature Studies - Linguistics, grade: 2,3, University of Freiburg (Englisches Seminar), course: English in the Caribbean , language: English, abstract: This paper is going to deal with usage of Creole by Rastafarian especially their own new-created Creole and how it is expressed in songs of Bob Marley. But to understand this usage of Creole we need to have some background information. This is why I have to explain the history, Rastafarian symbolism and sum it up to Dread Talk. But before we come to this short overview about religious backgrounds I try my best to give an outline of Patois and what we call Standard English well knowing, that I cannot give a clear definition. Later on I am going to examine two songs of Bob Marley. But it is important to know about his background and the basics of Rastafarianism what we discussed earlier already. A language is always influenced by someone's background, as where he comes from, his education (or even the education of his parents), where he grew up and what he experienced. This is why we cannot go on without a short overview1 about his life if we want to examine his language in the next subsection. The sections about Rastafarianism and the life and career of Bob Marley are compiled by several authors with many different opinions or information. The first chapter is a mixture of a collation of the existing readings and my own thoughts. Bob Marley's language is mostly examined by myself and the closer examination of his songs is all based on information from class or earlier work in this paper. I want to make sure that I do not want to offend anyone by using terms like black, Rastas or Rastafari. I will talk about people who believe in the Rastafarian believe, not all Jamaicans. This will be mentioned if my work deals about the whole population in Jamaica.
Seminar paper from the year 2008 in the subject English Language and Literature Studies - Linguistics, grade: 2,3, University of Freiburg (Englisches Seminar), course: English in the Caribbean, language: English, abstract: This paper is going to deal with usage of Creole by Rastafarian especially their own new-created Creole and how it is expressed in songs of Bob Marley. But to understand this usage of Creole we need to have some background information. This is why I have to explain the history, Rastafarian symbolism and sum it up to Dread Talk. But before we come to this short overview about religious backgrounds I try my best to give an outline of Patois and what we call Standard English well knowing, that I cannot give a clear definition. Later on I am going to examine two songs of Bob Marley. But it is important to know about his background and the basics of Rastafarianism what we discussed earlier already. A language is always influenced by someone's background, as where he comes from, his education (or even the education of his parents), where he grew up and what he experienced. This is why we cannot go on without a short overview1 about his life if we want to examine his language in the next subsection. The sections about Rastafarianism and the life and career of Bob Marley are compiled by several authors with many different opinions or information. The first chapter is a mixture of a collation of the existing readings and my own thoughts. Bob Marley's language is mostly examined by myself and the closer examination of his songs is all based on information from class or earlier work in this paper. I want to make sure that I do not want to offend anyone by using terms like black, Rastas or Rastafari. I will talk about people who believe in the Rastafarian believe, not all Jamaicans. This will be mentioned if my work deals about the whole population in Jamaica.
Dread Talk examines the effects of Rastafarian language on Creole in other parts of the Carribean, its influence in Jamaican poetry, and its effects on standard Jamaican English. This revised edition includes a new introduction that outlines the changes that have occurred since the book first appeared and a new chapter, "Dread Talk in the Diaspora," that discusses Rastafarian as used in the urban centers of North America and Europe. Pollard provides a wealth of examples of Rastafarian language-use and definitions, explaining how the evolution of these forms derives from the philosophical position of the Rasta speakers: "The socio-political image which the Rastaman has had of himself in a society where lightness of skin, economic status, and social privileges have traditionally gone together must be included in any consideration of Rastafarian words " for the man making the words is a man looking up from under, a man pressed down economically and socially by the establishment."
A welcome re-issue of this popular introduction to Jamaican patois and grammar, this essential guide provides a fascinating overview of the English language as spoken in Jamaica and also includes a childhood tale written in dialect.
London Jamaican provides the reader with a new perspective on African descent in London. Based on research carried out in the early 1980s, the author examines the linguistic background of the community, with special emphasis on young people of the first and second British-born generations.
After it was known that Jamaican natives failed interviews that were conducted in patois, the writer decided that it was time to awaken Patois. This book was written to inform readers that Patois is a written language which can be learned and spoken like any other language. The words and phrases in this book, originated from English, African, and Creole, and can be heard wherever Jamaican natives reside.
Rastafari has grown into an international socio-religious movement, with adherents of Rastafari found in most of the major population centres and outposts of the world. This Very Short Introduction provides a brief account of this widespread but often poorly understood movement, looking at its history, central principles, and practices.