Zeitschriftenartikel zum Thema „Chinese language – sound recordings for english speakers“

This paper presents key findings from an acoustic study on Chinese Mandarin Speakers’ realization of the stop consonants in lettered-words and the stop consonants in Chinese phrases. The research was conducted through voice recording and analysis of data collected from Chinese Mandarin speakers. Recordings of 2000 overall tokens were collected and analyzed using Praat phonetic software. The mean VOT values obtained from both lettered-words and Chinese phrases were compared and statistically tested using the Independent Samples t-test. The research findings show that first, the stop consonants in lettered-words produced by Chinese Mandarin speakers are all voiceless stop consonants, distinguished as being [+aspirated] and [-aspirated]. Second, the VOT values of [p] [t] [k] in lettered-words are significantly lower than their counterparts in Chinese phrases. Third, the stop consonants in lettered-words have the same stop pattern as those in Chinese phrases. The research presents proof that where there is phonemic similarity (but phonetic dissimilarity) across Chinese Mandarin and English, L1 phonetic properties are strong for Chinese Mandarin speakers to produce lettered-words in L1 environment, which further confirms former scholars’ conviction of mother tongue interference in L2 learning. Similar phonemes in L1 and L2 are realized identically to L1 sounds, and there is significant interference from the speaker’s native language on phonetic properties produced in L2. In addition, the research presents implication for future research that might explore other acoustic features of lettered-words in Chinese Mandarin.

There have been many studies concerning Chinese dialects influence on the learning of English sounds. However, it is widely believed that Chinese dialect speakers always face greater difficulties when learning English than Mandarin speakers, which is rebutted through this research, to some degree. The study tests the English repeating ability of speakers native to Wenzhou Wu, a dialect with a significant difference, and native to Tianjin Mandarin, which is very similar to Putonghua. The study compares the phonology of these two dialects and English and assumes that both of these dialects influence the acquisition of certain sounds of English. L1 speakers of these two dialects, who have not been exposed to English before, are asked to repeat the recording of English words, and through phonetic analysis of the material, we can find the difference in these candidates ability to acquire these sounds. The results show that the two branches of the Chinese language are found to both facilitate and obstacle native speakers SLA in different aspects.

Long-term experience with a tonal language shapes pitch perception in specific ways, and consequently Chinese speakers may not process pitch in English words – e.g., “Rose?” spoken as a question versus “Rose” spoken as a statement – in the same way as native speakers of non-tonal languages do. If so, what are those pitch processing differences and how do they affect Chinese recognition of English words? We investigated these questions by administering a primed lexical-decision task in English to proficient Chinese–English bilinguals and two control groups, namely, Spanish–English and native English speakers. Prime-target pairs differed in one sound and/or in pitch. Results showed specific cross-language differences in pitch processing between the Chinese speakers and the control groups, confirming that experience with a tonal language shaped the perception of English words' intonation. Moreover, such experience helps to incorporate pitch into models of word-recognition for bilinguals of tonal and non-tonal languages.

Chinese learners of English have long been known to have significant difficulties with the voiceless fricative // sound in English. This study focuses on the challenges and errors faced by Chinese learners of English while producing the voiceless interdental fricative sound //, and aims to find out the speakers error rate and possible reasons when pronouncing it. In this study, six Chinese adult learners of English were selected as a sample for pronunciation recordings, and the average pronunciation accuracy of // and the accuracy of each individual were calculated. Next, a short interview is conducted with each of them, containing possible reasons for the mispronunciation. The results of the study showed that the overall average correct pronunciation rate of the six Chinese English learners was only 37%. There was a positive correlation between the learners' long-term exposure to a pure, full English environment and the accuracy of their pronunciation. And the correct position of the tongue during pronunciation determines correct pronunciation.

Abstract The present study examines accentedness, comprehensibility, and intelligibility of American English, Moroccan English, Turkmen English, and Chinese English, from the perspectives of three groups of listeners: native speakers of English and Chinese speakers of English with or without international experiences. Of the 145 listeners, 38 had face-to-face interviews. These listener groups were asked to listen to the recordings of the four English varieties and fill in a cloze test. Results indicated that the three listener groups differed significantly in rating comprehensibility of American English, Moroccan English and Chinese English but they did not give Turkmen English statistically different ratings; there were no significant differences in accentedness ratings except for Chinese English; and there were significant differences in the intelligibility scores of the four English varieties. In addition, with respect to seven linguistic variables—speed, clarity, intonation, smoothness and fluency, vocal intensity, pause, vocabulary and grammar, there were significant differences in three listener groups’ rating of six variables in American English except the one of “speed”. By contrast, Chinese English received significantly different ratings only in “proper speed”. No differences were found in the ratings for Moroccan English and Turkmen English. Finally, unlike Chinese listeners without international experiences, native listeners and Chinese listeners with international experiences shared some similarities in correlations between the ratings of accentedness and comprehensibility and those of linguistic variables on Moroccan English, Turkmen English, and Chinese English. However, the results for American English from Chinese listeners without international experiences and native listeners seemed to be more alike. Linguistic variables correlating with accentedness and comprehensibility of American English showed a mixed profile. Qualitative data provided more variant elaborations on the pronunciations and language uses of the speakers.

There were quite a few studies investigating English pronunciation errors of Chinese learners of English. However, studies focusing on one typical sound and its detailed features are still inadequate. Besides, limited studies used speech corpora to investigate this topic due to a lack of available speech corpora. To fill such a research gap, this study uses the corpus L2-ARCTIC to investigate the speech errors of voiceless dental fricative // among four Chinese learners of English, and analyzes the possible reasons for the speech errors. Data are collected by analyzing the speech recordings from the corpus L2-ARCTIC, and the pronunciation errors of speakers are classified into different types. Results show that, in this corpus, the types of speech errors of the fricative // are the substitution and deletion. The sounds that have very close manners and places of articulation are easier to become the error sounds to replace the // sound.

This paper investigates international responses to Singapore English (SgE), in terms of both intelligibility and attitudes toward the speaker, and compares it to responses to American English (AmE). It surveys 200 respondents from over 20 countries as they listen to a set of 15 sound recordings, including read SgE, spontaneous SgE, and read AmE. The results suggest that the intelligibility of SgE and AmE does differ between informants from different regions. However, the intelligibility of the test stimuli does not correlate simply to positive and negative attitudes. While SgE elicits generally positive attitudes, what is interesting is that the judgments of respondents from South-East Asia and East Asia are often more negative than those of English speakers of Inner Circle varieties. This seems to suggest not only an impenetrable mindset of these traditionally “non-native” English speakers, who seem to be still clamoring to speak an idealized “standard”, but also an inferiority complex over their own varieties of English.

The use of English as a global language has led to a growing number of non-native English speakers, including Chinese learners, who speak English with an accent influenced by their first language. This phenomenon can be explained by the mutual exclusivity assumption, which means that our first language will interfere with the second language acquisition. This study examines the role of the English phoneme/r/in the accented English of Chinese learners. The research investigates how Chinese learners perceive, produce, and acquire /r/in English and the challenges they face in mastering this sound. The study draws on existing research on the mutual exclusivity effect, second language acquisition, and phonology employing a qualitative method to analyze data collected from Chinese learners of English with the help of Praat. The findings reveal that Chinese learners encounter difficulties with /r/ due to the absence or different phonetic realization of this sound in their native language. These learners often struggle with both the perception and production of /r/, leading to various types of mispronunciation. The study also identifies factors that contribute to the challenges faced by Chinese learners in acquiring /r/, including the influence of their first language, the age of acquisition, and the exposure to English input. Furthermore, the study highlights the importance of teaching strategies that target the specific needs of Chinese learners in mastering/r/and improving their overall English pronunciation.

Given that there are neural markers for the acquisition of a non-verbal skill, we review evidence of neural markers for the acquisition of vocabulary. Acquiring vocabulary is critical to learning one's native language and to learning other languages. Acquisition requires the ability to link an object concept (meaning) to sound. Is there a region sensitive to vocabulary knowledge? For monolingual English speakers, increased vocabulary knowledge correlates with increased grey matter density in a region of the parietal cortex that is well-located to mediate an association between meaning and sound (the posterior supramarginal gyrus). Further this region also shows sensitivity to acquiring a second language. Relative to monolingual English speakers, Italian–English bilinguals show increased grey matter density in the same region. Differences as well as commonalities might exist in the neural markers for vocabulary where lexical distinctions are also signalled by tone. Relative to monolingual English, Chinese multilingual speakers, like European multilinguals, show increased grey matter density in the parietal region observed previously. However, irrespective of ethnicity, Chinese speakers (both Asian and European) also show highly significant increased grey matter density in two right hemisphere regions (the superior temporal gyrus and the inferior frontal gyrus). They also show increased grey matter density in two left hemisphere regions (middle temporal and superior temporal gyrus). Such increases may reflect additional resources required to process tonal distinctions for lexical purposes or to store tonal differences in order to distinguish lexical items. We conclude with a discussion of future lines of enquiry.

This study describes the development of a minimal-pairs word list targeting phoneme contrasts that pose difficulty for Mandarin Chinese-speaking learners of English as a second language. The target phoneme inventory was compiled from analysis of phonetic transcriptions of about 800 mono- and polysyllabic English words with examples of all the vowels, diphthongs, and syllable onsets and codas of the language. The Mandarin-specific minimal-pairs list derived from the phonetic transcription analyses contains 190 items. Tape recordings were made of 8 Mandarin speakers reading a randomized version of target items from the minimal-pairs list and a set of 20 sentences. Listeners who were native American English speakers judged the words in a forced-choice task and wrote down what they understood of the sentences. Correlations between listener responses on the forced-choice task and the sentence intelligibility scores showed differences in the strength of the relationship with sentence intelligibility across categories of minimal-pairs contrasts. Multiple regression analysis found listener responses on the minimal-pairs task to account for approximately 76% of the variance in speakers' sentence intelligibility scores, showing that performance on the minimal pairs of the probe list does predict connected speech intelligibility. Analyses of individual contrasts indicate target phonemes most often misperceived by native listeners.

This paper aims to examine the articulation of English consonants, vowels and diphthongs by Pashto Speakers in Khyber Pakhtunkhwa, Pakistan, and explores the problems they face in their English articulation due to the influence of mother tongue. A detailed experiment has been carried out to analyze the articulatory properties of /θ/ /ð/ /ɪ: /, /ɪ/ and /еɪ: / sounds spoken by Pashto speakers in Pakistan. The research reveals that Pashtun speakers of English language have a distinct pronunciation pattern of /θ/ and /ð/ sounds. This research provides a scientific justification to establish Pashto English as an independent deviant variety of RP Standard English Language. Based on the findings of the data collected from the recordings of 50 participants, it was concluded that thickness is low and frequencies of formants are considerably low as compared to RP sounds. In this regard, consonant phonemes of /θ/ and /ð/ sounds articulated by Pashto speakers are dissimilar to their Standard English (RP). They are produced as “Dental Plosives” instead of “Dental Fricatives”. The participants face great difficulty in pronouncing these English dental fricatives /ð/, /ɵ/ sounds, and they also face insurmountable problems in the regular plural forms. In relation to vowels and diphthongs in English language, major problems largely appeared in misunderstanding between /ɪ:/, /ɪ/ and /еɪ:/ sound production. The results of this study shall provide assistance to English language teachers and learners in teaching and learning English Language, especially in teaching and learning English pronunciation. It has been ascertained that special consideration should be given to these problematic consonants, vowels and diphthongs in order to avoid misunderstandings/confusion on the part of the listener.

Pronunciation is one of language micro-skill that should be mastered in order to create a clear and effective communication. This article aims to provide a brief review of some common mistakes in pronunciation at various L2 speakers by focusing into researches on related topic. By noticing the problem that occurred, English teachers may develop a better plan for future to avoid the same mistakes. The similarity between non-native learners, such as Chinese, Indonesian, Palestinian, Turkish and Vietnamese, is they tend to make mistakes in sound that do not exist in their first language.

According to previous research, several factors influence speech intelligibility in noise, including talker accent, listener experience, and language proficiency. The current study looked at how L2 experience, accent familiarity, and English IETLS score affect speech intelligibility. To determine whether and how these factors affect L2 learners’ speech intelligibility when understanding speech in noise, the researcher recruited 30 Mandarin speakers with controlled English proficiency (the researcher set a threshold and only recruited participants who were above it). Half of them graduated from Chinese universities and have never travelled outside of China, while others have spent at least one year studying in English-speaking countries. They were asked to listen to 360 sentences recorded by two Mandarin speakers and two native English speakers, and they chose one nonsense sentence among three sentences in each trial. In the testing, all the recordings were added signal-to-noise (SNR) ratios of 0 dB to simulate the noisy environment. The results show a significant speaker effect and IELTS score effect but cannot find a significant listener effect. The researcher came up with four potential reasons for the results and some future directions for the L2 research study.

Purpose Because the Ling six-sound test is based on American English phonemes, it can yield unreliable results when administered to non-English speakers. In this study, we aimed to improve specifically the diagnostic palette for Mandarin Chinese users by developing an adapted version of the Ling six-sound test. Method To determine the set of testing sounds, we performed an exhaustive acoustic and statistical analysis in which we considered not only the general acoustic properties but also the order of acquisition and the inter- and intraspeaker variability. Results Six phonemes (/u, ə, a, i, tɕ h , s/) were selected as the testing items for the Mandarin Chinese sound test because these sounds exhibit a highly compartmentalized frequency specificity, spanning the entire Chinese speech spectrum, as well as a relatively low articulatory variability and can be acquired fairly early. Conclusion Through adopting language-dependent modifications, caregivers and professionals should have a more adequate tool to monitor children's auditory access to the full range of Mandarin speech sounds.

Phonetically raised and fronted realizations of pre-nasal TRAP are increasingly common in Australian English with previous research suggesting that greater raising may be associated with speakers from monolingual English-speaking backgrounds. Here, we present the results of an acoustic examination of pre-nasal TRAP raising (which we refer to as HAND) in a corpus of speech recordings from 183 adolescent speakers (aged 15–18) from five areas of Sydney that differ according to levels of linguistic diversity and the major heritage languages spoken (English-only, Arabic, Chinese, Indian, and Vietnamese). We extracted 1971 items containing the HAND vowel, along with 1807 items of pre-obstruent TRAP and 540 items of pre-obstruent DRESS. We calculated the degree of raising in HAND relative to pre-obstruent TRAP and DRESS through Euclidean Distance. The results show increased HAND raising in female speakers, although less raising is seen in the area with the highest proportion of Vietnamese language background speakers. Among male speakers the greatest incidence of raising is seen in the area with the lowest level of linguistic diversity (i.e., highest level of English-speaking background). These results suggest that HAND raising is associated with English-speaking backgrounds, but also that this is a change led by females.

Abstract Many studies about eTandem and language learning stem from learners in Western institutions of higher education. Unfortunately, there is a lack of research investigating the telecollaboration regarding language development between learners in the East and the West. Against this backdrop, a small-scale, six-week Chinese-English eTandem project focusing on learners’ language learning processes and experiences was undertaken between nine Chinese university students learning English in China and nine British university students learning Chinese in the UK. Multiple datasets were collected from learners’ diaries, synchronous Skype communication recordings, email exchanges, interviews and a post-project survey. This paper reports the main language error types made by Chinese L2 learners of English and error correction strategies provided by eTandem partners of competent L1 English speakers, along with how Chinese participants responded to the corrections. A thorough analysis of the research data indicated three types of linguistic errors in written tasks made by Chinese L2 learners of English: grammatical, lexical and idiomatic expressions. Another finding was that, although explicit written correction was the most commonly used strategy in email exchanges, learners preferred explanations with examples. In addition to previously established gains of eTandem learning, such as authentic communication, forging friendship and promoting intercultural awareness, positive responses to competent L1 partners’ error corrections was another major benefit indicated in our data. Our study pinpoints the importance of both pre-project training of participants on error-correction strategies with examples and how to respond to partner feedback in future eTandem projects.

Abstract Zabrocki understood structural phonetics as a branch of phonetics concerned with analyzing acodal (substantial) systems (cf. Bańczerowski 1980: 13). In this theory, each sound has a specific acoustic and articulatory substance. Zabrocki constructed linear substantial sound structures based on measuring the amount of substance implied in the articulation. Diachronic structural phonetics, in turn, is the application of synchronically defined phonetic and acoustic relations to the study of language change. This paper investigates a synchronic scenario for velar POA assimilation in Latinate prefixation in English and tests the findings against the tenets of Zabrocki’s theory. The results show that Zabrocki’s structural phonetics perfectly accounts for the empirical findings. The corpus of investigation is comprised of realizations of all RP English Latinate prefixes ending with /n/, collected from various pronunciation dictionaries (online and paper). As a collateral corpus, recordings of two native speakers of English were made in which they produced some of the corpus material, as well as nonce words and unusual lexemes not listed in pronunciation dictionaries

According to previous studies, Japanese learners of English (JLEs) have a negative perception of their own variety of English along with a strong desire to sound native-like. Language attitudes toward L2 (second language) English accents may affect their active participation in English communication situations. The present study is cross-national and investigates whether other L2 English learners from different L1 (first language) backgrounds negatively perceive their own variety of English and English pronunciation as JLEs do. A total of 290 college students in Austria, Germany, Denmark, Malaysia, China, Japan, and Kazakhstan evaluated their own accent by responding to 10 statements on a 6-point scale. By comparing the responses as percentages and the binomial test, the analysis revealed that the Japanese perceived their accent most negatively, followed by the Chinese, whereas the Europeans, Malaysians, and Kazakhs perceived their accents positively to varying degrees. Among the seven countries, the L1 Danish group perceived their own variety as native-like most and non-native accent least, where the JLEs showed the opposite results. On the other hand, the endorsement for native accent was recognized across the countries. Based on the results, I claim that individual socio-contextual settings could have a critical impact on developing distinct attitudes toward one’s own accent among EFL speakers. 

The concept of world Englishes refers to English as a global language that means communication in numerous dialects and the movement towards an international standard for English. Varieties of English are used in various sociolinguistic contexts in different parts of the world, also in Indonesia. Since English plays as a foreign language, sometimes Indonesians still use their dialect. This study was mainly purposed to describe Madurese dialect in the English conversation made by Bata-Bata English Centre (BBEC). Mainly, this research is aimed to (1) Describe the patterns of Madurese dialect in English conversation by the members of the Bata-Bata English Centre (BBEC). (2) Know the factors that affect the pattern of Madurese dialect in the English conversation by the Bata-Bata English Centre (BBEC). This research belongs to qualitative research which investigates the group of BBEC about Madurese dialect in their English conversation. The researcher observed the students' learning process, interviewed them and took notes, recordings, and pictures. The study results were that the researcher found the patterns of Madurese dialect occur in the English conversation in three features: pronunciation which caused sound changing, a grammatical pattern that caused incorrect grammar; and inappropriate vocabulary. Second, the researcher found that three factors affected how their dialect in the English conversation. The first is lack of speech, Madurese language influences second, and the last factor is never listening to native English speakers. Madurese language that plays as their mother tongue influences their dialect in the English conversation

Purpose The purpose of this study was to evaluate performance of the Language Environment Analysis (LENA) automated language-analysis system for the Chinese Shanghai dialect and Mandarin (SDM) languages. Method Volunteer parents of 22 children aged 3–23 months were recruited in Shanghai. Families provided daylong in-home audio recordings using LENA. A native speaker listened to 15 min of randomly selected audio samples per family to label speaker regions and provide Chinese character and SDM word counts for adult speakers. LENA segment labeling and counts were compared with rater-based values. Results LENA demonstrated good sensitivity in identifying adult and child; this sensitivity was comparable to that of American English validation samples. Precision was strong for adults but less so for children. LENA adult word count correlated strongly with both Chinese characters and SDM word counts. LENA conversational turn counts correlated similarly with rater-based counts after the exclusion of three unusual samples. Performance related to some degree to child age. Conclusions LENA adult word count and conversational turn provided reasonably accurate estimates for SDM over the age range tested. Theoretical and practical considerations regarding LENA performance in non-English languages are discussed. Despite the pilot nature and other limitations of the study, results are promising for broader cross-linguistic applications.

ABSTRACT: The Upper Nicola dialect of Nsyilxcn (aka Okaangan Salish) currently has fewer than twelve first-language speakers ( twi -Sharon Lindley, p.c.). This paper describes the Upper Nicola Nsyilxcn Talking Dictionary Project, a community-driven, collaborative project that utilizes heritage language recordings and their associated transcriptions with the goal of developing an online dictionary resource for use by the Upper Nicola Syilx community. The content of the dictionary stems from recently digitized recordings (originally made by Dr. Yvonne Hébert between 1978 and 1980) of elder twi -Joseph Albert Michel reciting Nsyilxcn words and sentences along with their English translations. The collection now consists of 6,831 individual sound files, which our team is currently transcribing with the aid of published language materials. A significant number of lexical items are either unique to this dialect, or otherwise previously undocumented. Our team currently consists of a linguist and two Syilx Indigenous language learners from the Upper Nicola who are enrolled in University of British Columbia, Okanagan's Bachelor of Nsyilxcn Language Fluency Program. This project is important since there has never before been any published dictionary of the Upper Nicola dialect. This project also builds capacity within the community for language maintenance and provides a model for future collaborations between Indigenous communities and academic institutions.

Tonal variation is a critical component of spoken Mandarin Chinese, but is relatively rare in Western languages such as English. Native speakers of Western languages who seek to learn Mandarin Chinese often find it particularly difficult to hear and reproduce the tonal variations that are required for fluency in the language. Auditory exercises focusing on detecting tonal variation in sound files can help such learners improve their ability to accurately perceive these variations over time. Recent developments in consumer technology, such as inexpensive smartphones and tablets, have provided tools that ease the process of creating and distributing such exercises. This article will describe the essence of the content to be employed in such learning activities and provide details of the process used to record and distribute them via smartphone.

Since Labov’s early work (e.g., 1963, 1966), sociolinguists have frequently examined change in progress on the segmental level, but much less is known about tone change in progress. The present study finds evidence of a tone split in progress in Lalo, a Tibeto-Burman language of China. While many of the world’s tone languages show historical evidence of tone splits, to our knowledge this is the first time that a tone split has been observed while it is occurring, making it possible to closely examine phonological, social, and perceptual factors. In this sociotonetic study of Lalo, 2,938 tone tokens were extracted from recordings of 38 speakers and analyzed in terms of age, sex, and educational level. Multifactorial analyses show that the temporal extent of voiced stops’ depression of Tone 1 F0 is increasing in apparent time, especially among women, while VOT of voiced stops is decreasing as educational levels improve, giving speakers more contact with Mandarin Chinese. The same 38 speakers were also given a perceptual identification task in which F0 was systematically adjusted. Mixed-effects modeling showed that listeners used multiple acoustic cues (consonant voicing, F0 onset, and F0 shape) to identify the voiced initial. These findings suggest that Lalo is undergoing a tone split that follows Beddor’s (2009) coarticulatory path to sound change.

AbstractLabov's classic study,The Social Stratification of English in New York City(1966), paved the way for generations of researchers to examine sociolinguistic patterns in many different communities (Bell, Sharma, & Britain, 2016). This research paradigm has traditionally tended to focus on Western industrialized communities and large world languages and dialects, leaving many unanswered questions about lesser-studied indigenous minority communities. In this study, we examine whether Labovian models for age, sex, and social stratification (Labov, 1966, 2001; Trudgill, 1972, 1974) may be effectively applied to a small, endangered Tibeto-Burman language in southwestern China: Ganluo Ersu. Using new field recordings with 97 speakers, we find evidence of phonological change in progress as Ganluo Ersu consonants are converging toward Chinese phonology. The results suggest that when an endangered language undergoes convergence toward a majority language due to intense contact, this convergence is manifested in a socially stratified way that is consistent with many of the predictions of the classic Labovian sociolinguistic principles.

Kaurna, the language indigenous to the Adelaide Plains in South Australia, is being reclaimed from nineteenth-century written historical sources. There are no sound recordings of the language as it was spoken in the nineteenth century, and little has been handed down orally to the present generation. Fortunately, the nineteenth-century records of the language are reasonably good for the time, having been recorded by Christian Teichelmann and Clamor Schürmann, German missionaries who were trained in philology and a range of languages including Hebrew, Greek, Latin and Chinese. The language was also recorded, in part, by a number of other English, German and French observers. The Kaurna language is now being revived: rebuilt, re-learnt and reintroduced on the basis of this nineteenth-century documentation. In this process, numerous problems of interpretation are being encountered. However, the tools that linguistics provides are being used to interpret the historical corpus. A range of concrete examples are analysed and discussed to illustrate the kinds of problems faced and the solutions adopted.

This paper is a study on the effectiveness of hybrid learning; a blend of traditional and technology-based training, vis-à-vis the second language (L2) learner of English pronunciation. Specifically, our motivation is centred on the functionality of combining the habitual classroom teaching style with the Telegram app (a mobile-based technological tool) for studies relating to speech production and perception. The methodical procedure and design for this study is both quantitative and descriptive; employing the use of a multiple-choice questionnaire in data collection from 401 Nigerian undergraduate and postgraduate students in the University of Benin, Nigeria, to ascertain the effectiveness of digital designs and stratagems. Pie charts are employed to display multiple divisions of the study's data comparison. This study emphasizes the Online-Driver Blended Learning Model; such a pedagogical approach exposes the L2 learner to a more involved and effective way of understanding how to avoid imposing an unfamiliar accent upon the target language. Consequently, we see a merger of online practical exercises and exposure to uploaded multimodal texts and native speakers' spoken data (audio-visual recordings/voice notes) with scheduled direct classroom interludes. Findings confirm that exploiting such a hybrid model enhances students' cognitive abilities and retentive capacity regarding English pronunciation. Such digital audio-visual tools are paramount phonetic strategies for learning how to avoid unacceptable phonetic alterations. Thus, we see the effectiveness of integrating the Telegram app into the traditional brick-and-mortar educational method in handling problems associated with speech sound production and second-language phonological interference.

Abstract Dialogues are fundamentally driven by xu (C. Wang, 2016, 2017), a Chinese word meaning continuation that captures the process in which interlocutors participate in interaction through the actions of (utterance) completion, (content) extension, and (topic) creation (CEC). This article reports a conversation analytic case study designed to investigate how the continuation strategies of CEC are used in real-time communication to achieve mutual understanding, and thus to construct intersubjectivity (Verhagen, 2005) and promote the development of second language (L2) interactional competence. Our data consisted of audio and video recordings of a 25-minute conversation between two L2 English speakers, one expert and one novice, and a stimulated recall interview with them. Results revealed that the expert employed CEC at the early stage of interaction to maintain successful communication, and the novice gradually aligned with the expert and used CEC to achieve mutual understanding, construct intersubjectivity, and create opportunities for interaction and learning at the late stage, displaying her development of L2 interactional competence. Our findings have useful implications for theoretical and methodological development of the xu-argument studies as well as for xu-based L2 pedagogy.

The paper focuses on the lexicographical treatment of cultural objects. It argues that second-language learning requires second-culture learning and that digital technologies call for new solutions to both old and new challenges. As an example, it takes traditional Chinese musical instruments and starts with a critical analysis of their treatment in five Chinese–English dictionaries for both foreign learners and native speakers. It continues with some reflections on media convergence and its consequences for lexicography and reaches the conclusion that the one-size-fits-all dictionary must be replaced with a variety of lexicographical products on different platforms. Lexicographers' focus must therefore move from the dictionary to the database that supports these products. This leads to a discussion of equivalent and explanation types and the need to prepare four different database fields for equivalents and two for explanations. To exemplify this, the paper presents a lexicographical database with equivalents, explanations, and other types of culturally relevant items. It then uses a few examples to show how these lexicographical items stored in the database can be selectively employed on different platforms and adapted to specific user needs. The paper links directly to sound files and video clips with some of the discussed instruments. Finally, the paper provides some conclusions and perspectives for further improving the cultural dimension of learners' lexicography.

The most important function of the classroom is to transmit educational information from teachers to students more accurately and clearly. The acoustical environment of the classroom thus has an important effect on the improvement of students’ learning ability. To provide an appropriate acoustical environment for learning to students, it is necessary to create an acoustical performance standard for classrooms and a guideline for designing classrooms. However, in Korea, there is not an acoustical standard for classrooms; thus, it is difficult to control and manage appropriate acoustical performance when designing and building classrooms. The present study aims to suggest acoustic performance standards for classrooms that are suitable for the Korean language. In order to perform this study, standard classrooms were created by standardizing architectural dimensions of 17 middle and high school classrooms in Cheong-ju. Speech intelligibility tests were conducted using three different languages including Korean, English, and Chinese. Twenty native speakers for each language were used as subjects for the speech intelligibility tests. Finally, auralized sound sources were created with five different conditions of reverberation time (0.47~1.22 s) by changing indoor sound absorption of a real classroom. Listening tests were undertaken by 52 Korean adults with normal hearing, using the auralized sound source. The results proved that the most appropriate reverberation time for learning was above 0.76 s. Based on the research findings, the ideal acoustical performance standard for classrooms in Korea is as follows: background noise is below 35 dBA, and reverberation time is below 0.80 s. It is also necessary that indoor sound absorption should be above 20% without sound absorption on side walls in order to satisfy with the acoustical performance standard.

In this autoethnographic critical self-inquiry study, I draw upon my unique identity as once a Chinese international student and now an English professor at a private research university in the United States to investigate how I sought for my multilingual identity and empowered my international students while coping with linguicism and monolingual ideologies. Despite the increasing cultural and linguistic diversity in student population, the faculty body in degree-granting postsecondary institutions remains dominated by White, native speakers of English (National Center for Education Statistics, 2019). Such a lack of diversity in the faculty body is present especially in the field of English, where monolingualism and nativeness is often the unspoken norm (Nigar & Kostogriz, 2019). This has exerted far-reaching impacts on all facets of English language teaching, posing substantial challenges to the professional development, instructional practices, and identity negotiation among nonnative English-speaking faculty of color. In this autoethnographic critical self-inquiry study, I reflected on my identity as once a Chinese international student and now an English professor to explore: How did my non-whiteness and non-native-English-speakerness affect my identity and self-positioning as a Chinese international student and an English professor? How did I cope with linguicism and monolingual language ideologies in American higher education and beyond? Autoethnography is a helpful approach to systematically explore one’s personal experiences from unique cultural perspectives (Ellis & Bochner, 2006). Critical self-inquiry is an essential research methodology to investigate tensions between belief systems and about identities (Larrivee, 2000; Marshall, 2001). Integrating the two methods together, autoethnographic critical self-inquiry allows exploration of lived experiences from an emic stance while acknowledging the dynamics of identity shifts and interaction. This autoethnographic critical self-inventory study focused on my journeys as once a Chinese international student (2012-2019) and later an English professor (2019-current) in American higher education. Following the critical self-inventory model (Allard & Gallant, 2012; Attard, 2014), data were collected to reflect both my on-going self-reflections (my teaching journals and diaries) and my conversing with others, including recordings and documentations of my interactions with colleagues and students. Data were analyzed following the coding procedures of applied thematic analysis (Guest et al., 2011) to explore important storylines in order to bring "readers into the scene" through showing and telling (Ellis, 1993, p. 711). Preliminary findings show that while my non-whiteness and nonnativeness have posed challenges to my initial self-positioning as a legitimate member in American higher education, I gradually transitioned my self-perceived “otherness” into my unique advantage as a multilingual expert with lived experiences as a means to fight against linguicism. Consequently, I was able to draw upon my lived identities to serve as a role model to empower my students which in turn empowered myself.

Abstract This study examined beginner-level Chinese as a Foreign Language (CFL) learners’ production of newly learned words in an image naming and pinyin-reading task. Fifteen L1-English CFL learners learned 10 tonal monosyllabic minimal pairs (e.g., shu1 and shu3) in a three-day sound-image word learning experiment. Ten of the 20 words were homophonous with previously learned words (e.g., participants already knew that shu1 means ‘book’), while the other 10 were not (e.g., no shu3 words had been learned). Ten of the 20 words had frequent phonology participants were familiar with (e.g., shi is a high token frequency syllable), while the other 10 had infrequent phonology (e.g., ku is a low token frequency syllable). On the last day of learning, participants performed an image naming task followed by a pinyin-reading task. The recoded word tokens from both tasks were then played to 10 native Chinese speakers who were asked to transcribe the words in pinyin. The results showed that overall word production in the pinyin-reading task was more accurate than image naming. The pinyin-reading advantage was robust, but homophone status and syllable token frequency also interacted with task type: learners produced syllables with high token frequency but without homophones equally well in the pinyin-reading and naming tasks. These results suggest phonological encoding in long-term memory based on pinyin orthography can be affected by learners’ prior phonological and lexical knowledge. Pedagogical applications and limitations of the study are discussed, as well.

Traditionally, emotion recognition research has primarily used pictures and videos, while audio test materials are not always readily available or are not of good quality, which may be particularly important for studies with hearing-impaired listeners. Here we present a vocal emotion recognition test with pseudospeech productions from multiple speakers expressing three core emotions (happy, angry, and sad): the EmoHI test. The high sound quality recordings make the test suitable for use with populations of children and adults with normal or impaired hearing. Here we present normative data for vocal emotion recognition development in normal-hearing (NH) school-age children using the EmoHI test. Furthermore, we investigated cross-language effects by testing NH Dutch and English children, and the suitability of the EmoHI test for hearing-impaired populations, specifically for prelingually deaf Dutch children with cochlear implants (CIs). Our results show that NH children’s performance improved significantly with age from the youngest age group onwards (4–6 years: 48.9%, on average). However, NH children’s performance did not reach adult-like values (adults: 94.1%) even for the oldest age group tested (10–12 years: 81.1%). Additionally, the effect of age on NH children’s development did not differ across languages. All except one CI child performed at or above chance-level showing the suitability of the EmoHI test. In addition, seven out of 14 CI children performed within the NH age-appropriate range, and nine out of 14 CI children did so when performance was adjusted for hearing age, measured from their age at CI implantation. However, CI children showed great variability in their performance, ranging from ceiling (97.2%) to below chance-level performance (27.8%), which could not be explained by chronological age alone. The strong and consistent development in performance with age, the lack of significant differences across the tested languages for NH children, and the above-chance performance of most CI children affirm the usability and versatility of the EmoHI test.

Italian is sexy, German is rough—but how about Páez or Tamil? Are there universal phonesthetic judgments based purely on the sound of a language, or are preferences attributable to language-external factors such as familiarity and cultural stereotypes? We collected 2,125 recordings of 228 languages from 43 language families, including 5 to 11 speakers of each language to control for personal vocal attractiveness, and asked 820 native speakers of English, Chinese, or Semitic languages to indicate how much they liked these languages. We found a strong preference for languages perceived as familiar, even when they were misidentified, a variety of cultural-geographical biases, and a preference for breathy female voices. The scores by English, Chinese, and Semitic speakers were weakly correlated, indicating some cross-cultural concordance in phonesthetic judgments, but overall there was little consensus between raters about which languages sounded more beautiful, and average scores per language remained within ±2% after accounting for confounds related to familiarity and voice quality of individual speakers. None of the tested phonetic features—the presence of specific phonemic classes, the overall size of phonetic repertoire, its typicality and similarity to the listener’s first language—were robust predictors of pleasantness ratings, apart from a possible slight preference for nontonal languages. While population-level phonesthetic preferences may exist, their contribution to perceptual judgments of short speech recordings appears to be minor compared to purely personal preferences, the speaker’s voice quality, and perceived resemblance to other languages culturally branded as beautiful or ugly.

Abstract Native language background exerts constraints on the individual's brain automatic response while learning a second language. It remains unclear, however, whether second language immersion experience could help the brain overcome such constraints and meet the requirements of a second language. This study compared native Chinese speakers with English-as-a-second-language immersion experience (immersive English learners), native Chinese speakers without English-as-a-second-language immersion experience (nonimmersive English learners), and native English speakers with an ERP cross-modal MMN paradigm. The results found that English-as-a-second-language immersion could benefit speech perception for native Chinese speakers. In addition, both immersive English learners and native English speakers showed enhanced cross-modal MMN, indicating that second language immersion could help native Chinese speakers successfully integrate English letter–sound like native English speakers. The present study further revealed that English listening and speaking exposure in an immersive environment is important in English letter–sound integration for immersive English learners.

Abstract Existing literature argues for the urgent need to improve workplace and professional communication in the engineering field across the world. This paper reports on a study examining Chinese/English bilingual engineers’ translanguaging practices in their communications in English-speaking high-tech corporations in the United States. Evidence showed that bilingual engineers translanguaged extensively to construct meaning to meet the diverse communication needs at their workplace, which enables them to demonstrate their professional talents and skills. However, when English was the sole language for the interaction, they struggled to sound like English native speakers to convey their ideas and present their work, which disadvantaged them professionally, socially and emotional as professionals. Therefore, this study calls for a creation of a translanguaging space in the workplace to empower bilingual engineers and also a need to modify engineering education programs that recognize multilingual competence of bilinguals and enhance the development of their English professional communication ability (speaking and writing) in higher education.

Purpose: This study examined the speech acoustic characteristics of Jamaican Creole (JC) and English in bilingual preschoolers and adults using acoustic duration measures. The aims were to determine if, for JC and English, (a) child and adult acoustic duration characteristics differ, (b) differences occur in preschoolers' duration patterns based on the language spoken, and (c) relationships exist between the preschoolers' personal contextual factors (i.e., age, sex, and percentage of language [%language] exposure and use) and acoustic duration. Method: Data for this cross-sectional study were collected in Kingston, Jamaica, and New York City, New York, United States, during 2013–2019. Participants included typically developing simultaneous bilingual preschoolers ( n = 120, ages 3;4–5;11 [years;months]) and adults ( n = 15, ages 19;0–54;4) from the same linguistic community. Audio recordings of single-word productions of JC and English were collected through elicited picture-based tasks and used for acoustic analysis. Durational features (voice onset time [VOT], vowel duration, whole-word duration, and the proportion of vowel to whole-word duration) were measured using Praat, a speech analysis software program. Results: JC-English–speaking children demonstrated developing speech motor control through differences in durational patterns compared with adults, including VOT for voiced plosives. Children's VOT, vowel duration, and whole-word duration were produced similarly across JC and English. The contextual factor %language use was predictive of vowel and whole-word duration in English. Conclusions: The findings from this study contribute to a foundation of understanding typical bilingual speech characteristics and motor development as well as schema in JC–English speakers. In particular, minimal acoustic duration differences were observed across the post-Creole continuum, a feature that may be attributed to the JC–English bilingual environment. Supplemental Material: https://doi.org/10.23641/asha.21760469

Previous studies into jury comprehension have focused on Anglo-American courts and highlighted concerns about lay English-speaking jurors’ ability to understand jury instructions. Such studies have pointed to the use of legalese as the major cause of the problem and overlooked the impact of the manner of delivery on jury comprehension. This study sets out to examine Chinese jurors’ ability to understand trials conducted in English, which they speak as a second or even a foreign language (L2), and to explore what L2 speakers of English find problematic for their comprehension of courtroom discourse. A random sample of local Chinese eligible for jury service (n=53) are recruited from the community to take part in a comprehension test of courtroom discourse using authentic audio recordings of two jury trials from the High Court of Hong Kong. Taking the Voice Projection Framework (Heffer 2018) as a point of reference, this study demonstrates that, while discursive voicing is to blame for the participants’ comprehension problem, as manifested by studies with native English-speaking jurors, in the case of L2-speaking jurors, the speakers’ physical voicing of courtroom discourse is found to be a significant factor in impeding jurors’ comprehension of the discourse. This article argues that making courtroom discourse accessible to L2 speaking jurors requires more than improving discursive voicing. Physical voicing matters as much, if not more.

The notion of marginal contrasts and other gradient relations challenges the classification of phones as either contrastive phonemes or allophones of the same phoneme. The existence of “fuzzy” or “intermediate” contrasts has implications for language acquisition and sound change. In this research, we examine production and perception of two marginal contrasts [ɑ-ɔ] (“cot-caught”), where two original phonemes are undergoing a merger, and [ʌi-aɪ] (“writer-rider”), where a single original phoneme has arguably split into two contrastive sounds, albeit in a limited manner. Participants born and raised in Illinois were asked to provide recordings of cot-caught and writer-rider pairs embedded in sentences, followed by the target word in isolation. They then completed ABX and two-alternative forced choice two-alternative forced choice (2FC) perception tasks with stimuli produced by two native speakers from the Chicagoland area. Results showed that the [ʌi-aɪ] contrast, which has been defined as marginal in other work, is actually currently more phonetically and phonologically stable than [ɑ-ɔ] for the group of speakers that we have tested, with a more robust link between production and perception. The cot-caught merger appears to have progressed further, compared to what had previously been documented in the region. Our results and analysis suggest different sound change trajectories for phonological mergers, regarding the coupling of production and perception, as compared with phonemic splits.

Southwestern Mandarin is one of the most important modern Chinese dialects, with over 270 million speakers. One of its most noticeable phonological features is an inconsistent distinction between the pronunciation of (n) and (l), a feature shared with Cantonese. However, while /n/-/l/ in Cantonese has been studied extensively, especially in its effect upon English pronunciation, the /l/-/n/ distinction has not been widely studied for Southwestern Mandarin speakers. Many speakers of Southwestern Mandarin learn Standard Mandarin as a second language when they begin formal schooling, and English as a third language later. Their lack of /l/-/n/ distinction is largely a marker of regional accent. In English, however, the lack of a distinction risks loss of intelligibility because of the high functional load of /l/-/n/. This study is a phonetic investigation of initial and medial (n) and (l) production in English and Standard Mandarin by speakers of Southwestern Mandarin. Our goal is to identify how Southwestern Mandarin speakers produce (n) and (l) in their additional languages, thus providing evidence for variations within Southwestern Mandarin and identifying likely difficulties for L2 learning. Twenty-five Southwestern Mandarin speakers recorded English words with word initial (n) and (l), medial <ll> or <nn> spellings (e.g., swallow, winner), and word-medial (nl) combinations (e.g., only) and (ln) combinations (e.g., walnut). They also read Standard Mandarin monosyllabic words with initial (l) and (n), and Standard Mandarin disyllabic words with (l) or (n). Of the 25 subjects, 18 showed difficulties producing (n) and (l) consistently where required, while seven (all part of the same regional variety) showed no such difficulty. The results indicate that SWM speakers had more difficulty with initial nasal sounds in Standard Mandarin, which was similar to their performance in producing Standard Mandarin monosyllabic words. For English, production of (l) was significantly less accurate than (n), and (l) production in English was significantly worse than in Standard Mandarin. When both sounds occurred next to each other, there was a tendency toward producing only one sound, suggesting that the speakers assimilated production toward one phonological target. The results suggest that L1 influence may differ for the L2 and L3.

Abstract In adults, music and speech share many neurocognitive functions, but how do they interact in a developing brain? We compared the effects of music and foreign language training on auditory neurocognition in Chinese children aged 8–11 years. We delivered group-based training programs in music and foreign language using a randomized controlled trial. A passive control group was also included. Before and after these year-long extracurricular programs, auditory event-related potentials were recorded (n = 123 and 85 before and after the program, respectively). Through these recordings, we probed early auditory predictive brain processes. To our surprise, the language program facilitated the children’s early auditory predictive brain processes significantly more than did the music program. This facilitation was most evident in pitch encoding when the experimental paradigm was musically relevant. When these processes were probed by a paradigm more focused on basic sound features, we found early predictive pitch encoding to be facilitated by music training. Thus, a foreign language program is able to foster auditory and music neurocognition, at least in tonal language speakers, in a manner comparable to that by a music program. Our results support the tight coupling of musical and linguistic brain functions also in the developing brain.

Abstract Address forms have been studied in various contexts, and it has been assumed that the determining dimensions are solidarity, including closeness and equality, and power, including distance and hierarchy. Solidarity is indexed with singular forms while power is represented with plural forms. Using ethnography of communication framework, this study enriches this discussion by examining the use of address forms by Bima people in a multilingual community in Bima, Indonesia, where Bima, Indonesian and other languages in contact have been used for centuries. Address forms including speaker reference forms were identified and classified in 1,250 h of data collected through observation, interviews, elicitation, and recordings of conversation. The study shows that address forms from languages in contact with Bima have been borrowed to represent dimensions within the solidarity-power continuum including intimacy, closeness, equality, hierarchy and respect. The Bima forms are used to exercise traditional solidarity-power relations, but the borrowed forms of Arab, Bugis, Chinese, English, and Makassarese origins are used to negotiate more intimate, close, equal and respectful relations within the social hierarchy. Using the native and the borrowed forms according to referent’s age, gender, status, and contexts, speakers construct different social spaces of intimacy, closeness, equality, hierarchy, respect, and power.

Introduction Lillian Ng was born in Singapore and lived in Hong Kong and the United Kingdom before migrating to Australia with her daughter and Ah Mah Yin Jie (“Ah Mahs are a special group of people who took a vow to remain unmarried … [so they] could stick together as a group and make a living together” (Yu 118)). Ng studied classical Chinese at home, then went to an English school and later on studied Medicine. Her first book, Silver Sister (1994), was short-listed for the inaugural Angus & Robertson/Bookworld Prize in 1993 and won the Human Rights Award in 1995. Ng defines herself as a “Chinese living in Australia” (Yu 115). Food, flesh and meat are recurrent topics in Lillian Ng´s second novel Swallowing Clouds, published in 1997. These topics are related to desire and can be used as a synecdoche (a metaphor that describes part/whole relations) of the human body: food is needed to survive and pleasure can be obtained from other people´s bodies. This paper focuses on one type of meat and animal, pork and the pig, and on the relation between the two main characters, Syn and Zhu Zhiyee. Syn, the main character in the novel, is a Shanghainese student studying English in Sydney who becomes stranded after the Tiananmen Square massacre of June 1989. As she stops receiving money from her mother and fears repression if she goes back to China, she begins to work in a Chinese butcher shop, owned by Zhu Zhiyee, which brings her English lessons to a standstill. Syn and Zhu Zhiyee soon begin a two-year love affair, despite the fact that Zhu Zhiyee is married to KarLeng and has three daughters. The novel is structured as a prologue and four days, each of which has a different setting and temporal location. The prologue introduces the story of an adulterous woman who was punished to be drowned in a pig´s basket in the HuanPu River in the summer of 1918. As learnt later on, Syn is the reincarnation of this woman, whose purpose in life is to take revenge on men by taking their money. The four days, from the 4th to the 7th of June 1994, mark the duration of a trip to Beijing and Shanghai that Syn takes as member of an Australian expedition in order to visit her mother with the security of an Australian passport. During these four days, the reader learns about different Chinese landmarks, such as the Forbidden City, the Great Wall, the Ming Tomb and the Summer Palace, as well as some cultural events, such as a Chinese opera and eating typical foods like Peking duck. However, the bulk of the plot of the book deals with the sexual relationship, erotic games and fantasies of Syn and Zhu Zhiyee in the period between 1989 and 1992, as well as Syn´s final revenge in January 1993. Pigs The fact that Zhu Zhiyee is a butcher allows Lillian Ng to include references to pigs and pork throughout the novel. Some of them refer to the everyday work of a butcher shop, as the following examples illustrate: “Come in and help me with the carcass,” he [Zhu Zhiyee] pointed to a small suckling pig hung on a peg. Syn hesitated, not knowing how to handle the situation. “Take the whole pig with the peg,” he commanded (11).Under dazzling fluorescent tubes and bright spotlights, trays of red meat, pork chops and lamb cutlets sparkled like jewels … The trays edged with red cellophane frills and green underlay breathed vitality and colour into the slabs of pork ribs and fillets (15).Buckets of pig´s blood with a skim of froth took their place on the floor; gelled ones, like sliced cubes of large agate, sat in tin trays labelled in Chinese. More discreetly hidden were the gonads and penises of goats, bulls and pigs. (16)These examples are representative of Syn and Zhu Zhiyee´s relationship. The first quotation deals with their interaction: most of the time Zhu Zhiyee orders Syn how to act, either in the shop or in bed. The second extract describes the meat’s “vitality” and this is the quality of Syn's skin that mesmerised Zhu when he met her: “he was excited, electrified by the sight of her unblemished, translucent skin, unlined, smooth as silk. The glow of the warmth of human skin” (13). Moreover, the lights seem to completely illuminate the pieces of meat and this is the way Zhu Zhiyee leers at Syn´s body, as it can be read in the following extract: “he turned again to fix his gaze on Syn, which pierced and penetrated her head, her brain, eyes, permeated her whole body, seeped into her secret places and crevices” (14). The third excerpt introduces the sexual organs of some of the animals, which are sold to some customers for a high price. Meat is also sexualised by Zhu Zhiyee´s actions, such as his pinching the bottoms of chickens and comparing them with “sacrificial virgins”: “chickens, shamelessly stripped and trussed, hung by their necks, naked in their pimply white skin, seemed like sacrificial virgins. Syn often caught Zhu pinching their fleshy bottoms, while wrapping and serving them to the housewives” (15-16). Zhu also makes comments relating food with sex while he is having lunch next to Syn, which could be considered sexual harassment. All these extracts exemplify the relationship between Syn and Zhu Zhiyee: the orders, the looks and the implicit sexuality in the quotidian activities in the butcher´s shop. There are also a range of other expressions that include similes with the word `pig´ in Ng´s novel. One of the most recurrent is comparing the left arm and hand of Zhu Zhiyee´s mother with a “pig´s trotter”. Zhu Zhiyee´s mother is known as ZhuMa and Syn is very fond of her, as ZhuMa accepts her and likes her more than her own daughter-in-law. The comparison of ZhuMa´s arm and hand with a trotter may be explained by the fact that ZhuMa´s arm is swollen but also by the loving representation of pigs in Chinese culture. As Seung-Og Kim explains in his article “Burials, Pigs, and Political Prestige in Neolithic China”: In both Melanesia and Asia, pigs are viewed as a symbolic representation of human beings (Allen 1976: 42; Healey 1985; Rappaport 1967: 58; Roscoe 1989: 223-26). Piglets are treated as pets and receive a great deal of loving attention, and they in turn express affection for their human “parents.” They also share some physiological features with human beings, being omnivorous and highly reproductive (though humans do not usually have multiple litters) and similar internal anatomy (Roscoe 1989: 225). In short, pigs not only have a symbiotic relationship with humans biologically but also are of great importance symbolically (121). Consequently, pigs are held in high esteem, taken care of and loved. Therefore, comparing a part of a human´s body, such as an arm or a hand, for example, to a part of a pig´s body such as a pig´s trotter is not negative, but has positive connotations. Some descriptions of ZhuMa´s arm and hand can be read in the following excerpts: “As ZhuMa handed her the plate of cookies Syn saw her left arm, swollen like a pig´s trotter” (97); “Syn was horrified, and yet somewhat intrigued by this woman without a breast, with a pig´s trotter arm and a tummy like a chessboard” (99), “mimicking the act of writing with her pig-trotter hand” (99), and ZhuMa was praising the excellence of the opera, the singing, acting, the costumes, and the elaborate props, waving excitedly with her pig trotter arm and pointing with her stubby fingers while she talked. (170) Moreover, the expression “pig´s trotters” is also used as an example of the erotic fetishism with bound feet, as it can be seen in the following passage, which will be discussed below: I [Zhu Zhiyee] adore feet which are slender… they seem so soft, like pig´s trotters, so cute and loving, they play tricks on your mind. Imagine feeling them in bed under your blankets—soft cottonwool lumps, plump and cuddly, makes you want to stroke them like your lover´s hands … this was how the bound feet appealed to men, the erotic sensation when balanced on shoulders, clutched in palms, strung to the seat of a garden swing … no matter how ugly a woman is, her tiny elegant feet would win her many admirers (224).Besides writing about pigs and pork as part of the daily work of the butcher shop and using the expression “pig´s trotter”, “pig” is also linked to money in two sentences in the book. On the one hand, it is used to calculate a price and draw attention to the large amount it represents: “The blouse was very expensive—three hundred dollars, the total takings from selling a pig. Two pigs if he purchased two blouses” (197). On the other, it works as an adjective in the expression “piggy-bank”, the money box in the form of a pig, an animal that represents abundance and happiness in the Chinese culture: “She borrowed money from her neighbours, who emptied pieces of silver from their piggy-banks, their life savings”(54). Finally, the most frequent porcine expression in Ng´s Swallowing Clouds makes reference to being drowned in a pig´s basket, which represents 19 of the 33 references to pigs or pork that appear in the novel. The first three references appear in the prologue (ix, x, xii), where the reader learns the story of the last woman who was killed by drowning in a pig´s basket as a punishment for her adultery. After this, two references recount a soothsayer´s explanation to Syn about her nightmares and the fact that she is the reincarnation of that lady (67, 155); three references are made by Syn when she explains this story to Zhu Zhiyee and to her companion on the trip to Beijing and Shanghai (28, 154, 248); one refers to a feeling Syn has during sexual intercourse with Zhu Zhiyee (94); and one when the pig basket is compared to a cricket box, a wicker or wooden box used to carry or keep crickets in a house and listen to them singing (73). Furthermore, Syn reflects on the fact of drowning (65, 114, 115, 171, 172, 173, 197, 296) and compares her previous death with that of Concubine Pearl, the favourite of Emperor Guanxu, who was killed by order of his aunt, the Empress Dowager Cixi (76-77). The punishment of drowning in a pig´s basket can thus be understood as retribution for a transgression: a woman having an extra-marital relationship, going against the establishment and the boundaries of the authorised. Both the woman who is drowned in a pig´s basket in 1918 and Syn have extra-marital affairs and break society’s rules. However, the consequences are different: the concubine dies and Syn, her reincarnation, takes revenge. Desire, Transgression and Eroticism Xavier Pons writes about desire, repression, freedom and transgression in his book Messengers of Eros: Representations of Sex in Australian Writing (2009). In this text, he explains that desire can be understood as a positive or as a negative feeling. On the one hand, by experiencing desire, a person feels alive and has joy de vivre, and if that person is desired in return, then, the feelings of being accepted and happiness are also involved (13). On the other hand, desire is often repressed, as it may be considered evil, anarchic, an enemy of reason and an alienation from consciousness (14). According to Pons: Sometimes repression, in the form of censorship, comes from the outside—from society at large, or from particular social groups—because of desire´s subversive nature, because it is a force which, given a free rein, would threaten the higher purpose which a given society assigns to other (and usually ideological) forces … Repression may also come from the inside, via the internalization of censorship … desire is sometimes feared by the individual as a force alien to his/her true self which would leave him/her vulnerable to rejection or domination, and would result in loss of freedom (14).Consequently, when talking about sexual desire, the two main concepts to be dealt with are freedom and transgression. As Pons makes clear, “the desiring subject can be taken advantage of, manipulated like a puppet [as h]is or her freedom is in this sense limited by the experience of desire” (15). While some practices may be considered abusive, such as bondage or sado-masochism, they may be deliberately and freely chosen by the partners involved. In this case, these practices represent “an encounter between equals: dominance is no more than make-believe, and a certain amount of freedom (as much as is compatible with giving oneself up to one´s fantasies) is maintained throughout” (24). Consequently, the perception of freedom changes with each person and situation. What is transgressive depends on the norms in every culture and, as these evolve, so do the forms of transgression (Pons 43). Examples of transgressions can be: firstly, the separation of sex from love, adultery or female and male homosexuality, which happen with the free will of the partners; or, secondly, paedophilia, incest or bestiality, which imply abuse. Going against society’s norms involves taking risks, such as being discovered and exiled from society or feeling isolated as a result of a feeling of difference. As the norms change according to culture, time and person, an individual may transgress the rules and feel liberated, but later on do the same thing and feel alienated. As Pons declares, “transgressing the rules does not always lead to liberation or happiness—transgression can turn into a trap and turn out to be simply another kind of alienation” (46). In Swallowing Clouds, Zhu Zhiyee transgresses the social norms of his time by having an affair with Syn: firstly, because it is extra-marital, he and his wife, KarLeng, are Catholic and fidelity is one of the promises made when getting married; and, secondly, because he is Syn´s boss and his comments and ways of flirting with her could be considered sexual harassment. For two years, the affair is an escape from Zhu Zhiyee´s daily worries and stress and a liberation and fulfillment of his sexual desires. However, he introduces Syn to his mother and his sisters, who accept her and like her more than his wife. He feels trapped, though, when KarLeng guesses and threatens him with divorce. He cannot accept this as it would mean loss of face in their neighbourhood and society, and so he decides to abandon Syn. Syn´s transgression becomes a trap for her as Zhu, his mother and his sisters have become her only connection with the outside world in Australia and this alienates her from both the country she lives in and the people she knows. However, Syn´s transgression also turns into a trap for Zhu Zhiyee because she will not sign the documents to give him the house back and every month she sends proof of their affair to KarLeng in order to cause disruption in their household. This exposure could be compared with the humiliation suffered by the concubine when she was paraded in a pig´s basket before she was drowned in the HuangPu River. Furthermore, the reader does not know whether KarLeng finally divorces Zhu Zhiyee, which would be his drowning and loss of face and dishonour in front of society, but can imagine the humiliation, shame and disgrace KarLeng makes him feel every month. Pons also depicts eroticism as a form of transgression. In fact, erotic relations are a power game, and seduction can be a very effective weapon. As such, women can use seduction to obtain power and threaten the patriarchal order, which imposes on them patterns of behaviour, language and codes to follow. However, men also use seduction to get their own benefits, especially in political and social contexts. “Power has often been described as the ultimate aphrodisiac” (Pons 32) and this can be seen in many of the sexual games between Syn and Zhu Zhiyee in Swallowing Clouds, where Zhu Zhiyee is the active partner and Syn becomes little more than an object that gives pleasure. A clear reference to erotic fetishism is embedded in the above-mentioned quote on bound feet, which are compared to pig´s trotters. In fact, bound feet were so important in China in the millennia between the Song Dynasty (960-1276) and the early 20th century that “it was impossible to find a husband” (Holman) without them: “As women’s bound feet and shoes became the essence of feminine beauty, a fanatical aesthetic and sexual mystique developed around them. The bound foot was understood to be the most intimate and erotic part of the female anatomy, and wives, consorts and prostitutes were chosen solely on the size and shape of their feet” (Holman). Bound feet are associated in Ng’s novel with pig´s trotters and are described as “cute and loving … soft cottonwool lumps, plump and cuddly, [that] makes you want to stroke them like your lover´s hands” (224). This approach towards bound feet and, by extension, towards pig´s trotters, can be related to the fond feelings Melanesian and Asian cultures have towards piglets, which “are treated as pets and receive a great deal of loving attention” (Kim 121). Consequently, the bound feet can be considered a synecdoche for the fond feelings piglets inspire. Food and Sex The fact that Zhu Zhiyee is a butcher and works with different types of meat, including pork, that he chops it, sells it and gives cooking advice, is not gratuitous in the novel. He is used to being in close proximity to meat and death and seeing Syn’s pale skin through which he can trace her veins excites him. Her flesh is alive and represents, therefore, the opposite of meat. He wants to seduce her, which is human hunting, and he wants to study her, to enjoy her body, which can be compared to animals looking at their prey and deciding where to start eating from. Zhu´s desire for Syn seems destructive and dangerous. In the novel, bodies have a price: dead animals are paid for and eaten and their role is the satiation of human hunger. But humans, who are also animals, have a price as well: flesh is paid for, in the form of prostitution or being a mistress, and its aim is satiation of human sex. Generally speaking, sex in the novel is compared to food either in a direct or an indirect way, and making love is constantly compared to cooking, the preparation of food and eating (as in Pons 303). Many passages in Swallowing Clouds have cannibalistic connotations, all of these being used as metaphors for Zhu Zhiyee’s desire for Syn. As mentioned before, desire can be positive (as it makes a person feel alive) or negative (as a form of internal or social censorship). For Zhu Zhiyee, desire is positive and similar to a drug he is addicted to. For example, when Zhu and Syn make delivery rounds in an old Mazda van, he plays the recordings he made the previous night when they were having sex and tries to guess when each moan happened. Sex and Literature Pons explains that “to write about sex … is to address a host of issues—social, psychological and literary—which together pretty much define a culture” (6). Lillian Ng´s Swallowing Clouds addresses a series of issues. The first of these could be termed ‘the social’: Syn´s situation after the Tiananmen Massacre; her adulterous relationship with her boss and being treated and considered his mistress; the rapes in Inner Mongolia; different reasons for having an abortion; various forms of abuse, even by a mother of her mentally handicapped daughter; the loss of face; betrayal; and revenge. The second issue is the ‘psychological’, with the power relations and strategies used between different characters, psychological abuse, physical abuse, humiliation, and dependency. The third is the ‘literary’, as when the constant use of metaphors with Chinese cultural references becomes farcical, as Tseen Khoo notes in her article “Selling Sexotica” (2000: 164). Khoo explains that, “in the push for Swallowing Clouds to be many types of novels at once: [that is, erotica, touristic narrative and popular], it fails to be any one particularly successfully” (171). Swallowing Clouds is disturbing, full of stereotypes, and with repeated metaphors, and does not have a clear readership and, as Khoo states: “The explicit and implicit strategies behind the novel embody the enduring perceptions of what exotic, multicultural writing involves—sensationalism, voyeuristic pleasures, and a seemingly deliberate lack of rooted-ness in the Australian socioscape (172). Furthermore, Swallowing Clouds has also been defined as “oriental grunge, mostly because of the progression throughout the narrative from one gritty, exoticised sexual encounter to another” (Khoo 169-70).Other novels which have been described as “grunge” are Edward Berridge´s Lives of the Saints (1995), Justine Ettler´s The River Ophelia (1995), Linda Jaivin´s Eat Me (1995), Andrew McGahan´s Praise (1992) and 1988 (1995), Claire Mendes´ Drift Street (1995) or Christos Tsiolkas´ Loaded (1995) (Michael C). The word “grunge” has clear connotations with “dirtiness”—a further use of pig, but one that is not common in the novel. The vocabulary used during the sexual intercourse and games between Syn and Zhu Zhiyee is, however, coarse, and “the association of sex with coarseness is extremely common” (Pons 344). Pons states that “writing about sex is an attempt to overcome [the barriers of being ashamed of some human bodily functions], regarded as unnecessarily constrictive, and this is what makes it by nature transgressive, controversial” (344-45). Ng´s use of vocabulary in this novel is definitely controversial, indeed, so much so that it has been defined as banal or even farcical (Khoo 169-70).ConclusionThis paper has analysed the use of the words and expressions: “pig”, “pork” and “drowning in a pig’s basket” in Lillian Ng´s Swallowing Clouds. Moreover, the punishment of drowning in a pig’s basket has served as a means to study the topics of desire, transgression and eroticism, in relation to an analysis of the characters of Syn and Zhu Zhiyee, and their relationship. This discussion of various terminology relating to “pig” has also led to the study of the relationship between food and sex, and sex and literature, in this novel. Consequently, this paper has analysed the use of the term “pig” and has used it as a springboard for the analysis of some aspects of the novel together with different theoretical definitions and concepts. Acknowledgements A version of this paper was given at the International Congress Food for Thought, hosted by the Australian Studies Centre at the University of Barcelona in February 2010. References Allen, Bryan J. Information Flow and Innovation Diffusion in the East Sepic District, Papua New Guinea. PhD diss. Australian National University, Australia. 1976. Berridge, Edward. Lives of the Saints. St Lucia: U of Queensland P, 1995. C., Michael. “Toward a sound theory of Australian Grunge fiction.” [Weblog entry] Eurhythmania. 5 Mar. 2008. 4 Oct. 2010 http://eurhythmania.blogspot.com/2008/03/toward-sound-theory-of-australian.html. Ettler, Justine. The River Ophelia. Sydney: Picador, 1995. Healey, Christopher J. “Pigs, Cassowaries, and the Gift of the Flesh: A Symbolic Triad in Maring Cosmology.” Ethnology 24 (1985): 153-65. Holman, Jeanine. “Bound Feet.” Bound Feet: The History of a Curious, Erotic Custom. Ed. Joseph Rupp 2010. 11 Aug. 2010. http://www.josephrupp.com/history.html. Jaivin, Linda. Eat Me. Melbourne: The Text Publishing Company, 1995. Khoo, Tseen. “Selling Sexotica: Oriental Grunge and Suburbia in Lillian Ngs’ Swallowing Clouds.” Diaspora: Negotiating Asian-Australian. Ed. Helen Gilbert, Tseen Khoo, and Jaqueline Lo. St Lucia: U of Queensland P, 2000. 164-72. Khoo, Tseen; Danau Tanu, and Tien. "Re: Of pigs and porks” 5-9 Aug. 1997. Asian- Australian Discussion List Digest numbers 1447-1450. Apr. 2010 . Kim, Seung-Og. “Burials, Pigs, and Political Prestige in Neolithic China.” Current Anthopology 35.2 (Apr. 1994): 119-141. McGahan, Andrew. Praise. Sydney: Allen & Unwin, 1992. McGahan, Andrew. 1988. Sydney: Allen & Unwin, 1995. Mendes, Clare. Drift Street. Pymble: HarperCollins, 1995. Ng, Lillian. Swallowing Clouds. Ringwood: Penguin Books Australia,1997. Pons, Xavier. Messengers of Eros. Representations of Sex in Australian Writing. Newcastle upon Tyne: Cambridge Scholars Publishing, 2009. Rappaport, Roy. Pigs for the Ancestors. New Have: Yale UP, 1967. Roscoe, Paul B. “The Pig and the Long Yam: The Expansion of the Sepik Cultural Complex”. Ethnology 28 (1989): 219-31. Tsiolkas, Christos. Loaded. Sydney: Vintage, 1995. Yu, Ouyang. “An Interview with Lillian Ng.” Otherland Literary Journal 7, Bastard Moon. Essays on Chinese-Australian Writing (July 2001): 111-24.

Voice synthesising software Vocaloid (Yamaha Corporation) is a popular tool for professional and amateur music production. At the time of writing, there are over 770,000 videos tagged ‘vocaloid’ on Niconico; karaoke chain Karatez displays the top five thousand tracks on its Website (Karatetsu); Hatsune Miku Wiki has over 59,000 pages, while the Vocaloid Lyrics Wiki has over 90,000. Vocaloid is part of Japan’s unique media mix, comprising of the software and music but also official collaborations and a significant amount of fan culture. However, while there is academic research on the way that Vocaloid music is produced and consumed (Sousa; Hamasaki et al.; Leavitt et al.; Kobayashi and Taguchi), there is a lack of research into the content of Vocaloid songs and music videos: that is, what kinds of themes and messages are present and what this might suggest for producers and consumers. This article highlights the importance of the content of Vocaloid music. To this end, I have focussed on Vocaloid composer/producer Neru’s 2018 album CYNICISM. Not to be confused with the Vocaloid Akita Neru, Neru’s music tends to focus on negative affect such as depression, loneliness, and anxiety. Documenting such themes helps to illustrate some of the struggles that producers and consumers experience. I provide a brief explanation of Vocaloid, followed by a reflection on their personas and functioning as a Body without Organs (Annett; Lam; Deleuze and Guattari, Anti-Oedipus). Then I introduce Small’s concept of musicking to provide a framework for the way that music transmits certain affects. In the second half of the article, I unpack Neru’s album and its use of imagery, lyrics, and sound. Vocaloids Voice synthesising software Vocaloid was initially released in 2004, the result of a collaboration between Japan’s Yamaha Corporation and Spain’s Pompeu Fabra University (Voctro Labs; Yamada 17). This software allows the user to create singing audio, drawing from recordings of real people called “voicebanks”. These voicebanks are produced by third-party companies, and are typically provided with a persona with an appearance and personality. For instance, the most well-known Vocaloid is Hatsune Miku, while Kagamine Rin and Kagamine Len are those most used by Neru. Essentially anyone who uses the Vocaloid software can become producers – the term used in Vocaloid cultures for composer. Vocaloid is an example of Japan’s “unique media mix”, where the media are produced not just by “the original company”, but also via “commercial collaborations with media franchises”, and “by a creative collective of individuals on the internet” (Leavitt et al. 204 & 211; see also Steinberg). As well as producers there are songwriters, lyricists, tuners, illustrators, and animators. Some people edit Vocaloid videos, creating compilations, ranking them, and so on (Hamasaki et al. 166). There is also a vibrant fan culture of database managers, fan translators, artists, and fiction writers, as well as human cover artists (utaite), such as Mafumafu, who became popular in part due to his covers of Neru’s music. Official corporate production mostly involves Hatsune Miku, and includes concerts, video games, and collaborations for consumer products. Such branding and collaboration illustrates the creation of a complex Vocaloid narrative. Accordingly, most researchers who examine Vocaloid discuss the complex relationships between various content creators and their methods of collaboration (Yamada), as well as Vocaloid as fan-generated media, examining issues such as commercial interest and exploitation (Bell; Sousa; Jørgensen et al.; To; Kobayashi and Taguchi). However, in this article I am interested in why fans strongly enjoy Vocaloid music and find meaning in it; as I will explore below, such fan collaboration is both a symptom and a cause. Personas and Bodies without Organs Although Vocaloid has a crowd-sourced and collaborative production environment, its use of digital voicebanks and significant consumer culture has led to criticism. For instance, Lam (1110–11) describes voicebanks as being “devoid of originality”, suggests that “all Vocaloid works are derivative”, and also that Vocaloid simply allows users “to indulge … within the virtual space of fabricated authenticity and depthlessness”. However, it is evident from comments on Niconico, YouTube, Reddit, the aforementioned Wikis, Vocaloid Discord servers, and any other space where fans socialise that listeners are emotionally moved by Vocaloid music. Zaborowski, for instance, describes two Japanese boys enthusiastically singing to ryo/Supercell’s Melt. Strikingly, Zaborowski (107) noted that the boys repeatedly told him that “precisely because the voice is the same, the listener can appreciate the quality of the melody and the lyrics”, and that a Vocaloid “sounds different when you are sad. Or when you are away from home”. Listeners are experiencing something when they engage with Vocaloid music, and it would be hasty to simply dismiss their experiences as “depthless”. One factor that makes Vocaloid music particularly authentic and affective for its audiences is the attachment of crowdsourced, constructed personas to Vocaloids. Authenticity here is not necessarily evaluated by the virtual nature of the artist (or instrument) itself, but the producers’ effort to create the work (Zaborowski 107). In this sense there is a need to consider the people involved in producing and listening to Vocaloid music, who find meaning in the songs and characters. Aside from Vocaloids, producers and utaite often also establish a character or imagery as a persona. Neru for instance is recognisable through his avatar—a closed eye with eyelashes and a single tear, and the various characters featured in his videos. The practice of creating a persona for non-human items is unique to Japanese culture, visible in the way that yuru kyara or “wobbly characters” are created to represent entities such as events, corporations, locations, policies, and so on (Occhi 77). These characters can be human-like or creature-like, drawing on Shinto’s anthropomorphism (Jensen and Blok 97). Kyara help minimise the separation between humans and nature, as well as humans and technology (Occhi 80–81). The attachment of kyara to voicebanks, which would otherwise have no face, helps to facilitate a sense of humanisation and connection with the software. It may be that the synthetic nature of the music as well as the use of personas in Vocaloid music means that the listener feels that the song is sung by the Vocaloid, but also processes the creator’s emotion. Kenmochi (4), for instance, suggests that since synthetic voices hold less emotion, it is the persona that functions as a symbol to connect the creator and listener. The producer is able to “impose their own values and perceptions on the virtual character” (Lam 1111), and in doing so, the persona functions as what Deleuze and Guattari call a Body without Organs (Anti-Oedipus 9; A Thousand Plateaus 151). That is, the persona has “no fixed identity” (Lam 1117), and can stratify or destratify, depending on what people do with it (Annett 172). They can become whatever the listener or creator wants, and so there is an emotional connection. Vocaloid music is meaningful to listeners, then, not despite its digital, virtual, constructed nature, but in fact because of what these elements facilitate. Musicking Christopher Small’s work Musicking also provides a framework useful to consider the emotional impact of Vocaloid music. Small argues that “the fundamental nature and meaning of music lie not in objects … but in action”, and therefore proposes a definition of ‘musicking’; to “take part, in any capacity, in a musical performance” (8–9, emphasis omitted). Importantly, for Small (77) simply listening to a recording is to take part in music, and “we may be sure that somebody's values are being explored, affirmed, and celebrated in every musical performance”. Small’s comments here provide a framework for focussing on the experiences of the people involved in producing and listening to Vocaloid music, rather than getting caught up in negative beliefs around the digital nature of production. Further, reflecting on remix, a significant aspect of Vocaloid music, Small (214) notes that relationships are “open to reinterpretation over and over again as listeners create new contexts for their reception and their ritual use of it”. Further, Small (134) suggests that the act of musicking functions as a powerful “means of social definition and self-definition”. Small’s suggestions here that music can be recycled, reinterpreted, and used for self-definition aligns with many aspects of Vocaloid music; tracks are frequently covered by producers using other Vocaloids, or utaite; the meanings of lyrics are frequently discussed in comment sections of YouTube videos and Wikis, and fans often align themselves with certain Vocaloids or producers that they enjoy and relate to. Such self-definition is an important theme to keep in mind when I consider Neru’s CYNICISM album as it touches on societal issues such as loneliness, nihilism, and low self-esteem. CYNICISM Vocaloid producer Neru, also known as z’5 or Oshiire-P, is quite popular. At the time of writing, he has 124,000 followers on Japanese video-sharing site Niconico (Neru, "Neru"), 242,000 on Chinese video-sharing site BiliBili (Neru, "Neru_Official"), 388,000 monthly listeners on Spotify (Spotify), and 560,000 subscribers on YouTube (Neru, "Neru OFFICIAL"). He released his first Vocaloid song in 2009, and to date has three major albums. CYNICISM is the latest, released in 2018. The standard edition contains 14 tracks, and all aside from one use the Vocaloids Kagamine Rin or Kagamine Len. Fig. 1: CYNICISM standard edition, illustrated by Sudou Souta (Apple Music) Fig. 2: Tracklist All quotes from songs are my own translations from the original Japanese. The CYNICISM album communicates a strong sense of nihilism. Nihilism is an ambiguous concept (Nietzsche 76; Diken 6; Marmysz 61). However, Marmysz (71) summarises that nihilists have three claims: that humans are alienated from the world; that this should not be the case; and that “there is nothing we can do” about this situation. As explored below, Neru’s nihilism appears to align with Kant’s “existential nihilism (believing that life has no meaning)” (Gertz, ch. 2, emphasis omitted). It is worth noting that Neru’s music has some commonalities with other genres. For instance, Prinz (584–85) suggests that punk music is irreverent, challenging social norms, and is nihilistic, reflecting on themes such as “decay, despair, suicide, and societal collapse”. As explored below, CYNICISM projects feelings including disappointment with society, poor self-esteem, and themes of irreverence. Irreverence and Society The namesake of the album is important to note within the context of nihilism, as cynicism can be understood as “a passive nihilist affect” (Diken 61). Cynicism is the attitude that comes about when one has failed “to come to terms with loss”, “to realize that something has been lost”, or understand exactly what has been lost. It incited a state of melancholy, trapping the cynic, who suffers an “utterly debilitating sense of disappointment, the root cause of which it cannot identify or move beyond” (Allen, ch. 7). In numerous ways Neru exhibits a lack of faith in humanity and society. Just the title of the track What a Terrible Era communicates a sense of hopelessness, particularly the line “強いて言うとするなら人類は失敗作だった” (“if I had to say, humanity was a work of failure”). The album’s lyrics repeatedly refer to the negative state of the world; “本日の世界予報向上性低迷後退” (“today’s world forecast: Progress is stagnant and regressing”) (Hey, Rain). SNOBBISM asks “バグ塗れの人類のデバッグはいつ終わる” (“humanity is stained with bugs; when will debugging end?”). Neru repeatedly laments the state of humanity and his disappointment with the world. Further, cynicism is an attitude of scorn towards “sincerity and integrity”, which are viewed as “a cover for self-interest” (Allen, ch. 1). In line with this, reflecting the cynic’s embrace of untruthfulness (Gertz, ch. 3), in SNOBBISM Neru states “一生、ブラフを威すがいいさ” (“it’s okay to threaten to bluff through your entire life”). Further, Diken (59) suggests that “capitalism is the age of cynicism”, and the Law-Evading Rock (Neru OFFICIAL, "Law-Evading Rock") music video, illustrated and animated by Ryuusee, exhibits such a critique of capitalism. The video is quite chaotic, designed to appear as a Japanese TV channel. Meme-style characters are superimposed onto photographic backgrounds to depict absurd advertisements and news programmes with flashing and dancing, as the lyrics call for the viewer to escape from reality. The character in this video, Datsu, appears to enter a state of nirvana when Neru’s CD is inserted into him. Here we can see how personas are particularly affectual in Vocaloid music, with fans stating that they relate to Datsu, among other forms of affectation, in comments on his Wikia page (Neru Wikia). Further, CYNICISM frequently calls for the self-identified ‘losers’ to band together, breaking the norms of society. Whatever Whatever Whatever, with its upbeat tune, bright colours, and proclamation of “能天気STYLE” (“Carefree STYLE”) exhibits a strong sense that ‘nothing matters so do whatever’. Let’s Drop Dead’s “僕等はきっとあぶれ者” (“we are surely hooligans”), Law-Evading Rock’s “負け犬になって 吠えろ 吠えろ” (“become a loser, roar, roar”) indicate a sense of knowing that one is ‘useless’ but attempting to take pride in or band together in spite (or indeed, because of this). These lyrics ascribe to a nihilistic notion that nothing matters, but are also a call to arms in a sense – a call for losers to band together for strength, and to act with irreverence. Some encourage the listener to become someone unfit for society (Law-Evading Rock), or to turn back on and break away from morals that are designed to get one into heaven (March of Losers). The music video for SNOBBISM (Neru OFFICIAL, "SNOBBISM"), illustrated and animated by Ryuusee, features Bizu, a demon man wearing a formal suit and top hat. The video has a retro style and is bright but muted with blurry backgrounds, streaking, and graininess. Bizu appears to take on a retro rubber hose animation style, dancing and sometimes hitting objects while calling on the viewer to “make a scene”; to be irreverent and break the norms of society. Personal Failure CYNICISM also in numerous ways refers to personal failures and a lack of faith in the future. Some lyrics refer to a plan or manual (SNOBBISM, Song of Running Away), or a future being wrecked or torn (Spare Me My Inferiority, What a Terrible Era). Corresponding with the nihilistic tone of the album, Whatever Whatever Whatever describes being lazy today, and putting effort in tomorrow, while Let’s Drop Dead simply states “明日はくたばろうぜ” (“tomorrow let’s drop dead”). Yet continuing forward into the future seems mandatory, as in Whatever Whatever Whatever Neru describes himself as being too much of a wimp to commit suicide, and March of Losers repeats the refrain “進め進め” (“forward, forward”), calling for the losers to continue even though “this kind of life has no meaning”. Some tracks indicate a more raw or vulnerable state, with Nihil and the Sunken City’s “もっとちょーだい ちょーだい 承認をちょーだい” (“more, give it to me, give it to me, please give me approval”). Importantly, Neru identifies himself as a loser, engaging in self-irreverence, making fun of himself (Kroth 104), referring to himself and his social group as ‘losers’. The music videos for Whatever Whatever Whatever (Neru OFFICIAL, "Whatever Whatever Whatever") and Let’s Drop Dead (Neru OFFICIAL, "Let’s Drop Dead"), illustrated and animated by Terada Tera, exhibit self-irreverent themes. The former uses vapourwave aesthetics, and both exhibit bright colours, with cartoonish characters I and Yaya dancing and drinking alcohol. I wears a Space Invaders jacket and grill glasses, while Yaya wears a t-shirt featuring a marijuana leaf and a pink animal-eared beanie; together in the video they communicate a ‘slacker’, partying attitude. What is particularly interesting here is the way that nihilistic lyrics have been employed alongside upbeat, catchy, pop-style music and flashy colours. Such dissonance is attention-grabbing and also reflects a sarcastic, careless sense of cynicism, one that is “irreverent” and “playful” – a style that Nietzsche adopted (Allen, ch. 7). Relatedly, Marmysz (4) suggests that humour is a useful response to nihilism because it shatters expectations. It is important to understand CYNICISM within the Japanese context. Discussing the Meiji Period, Nishitani (175) points out that Buddhism and Confucianism lost their power, and that with modernisation Japan became Europeanised and Americanised to the extent that there is a spiritual void. More recently, various economic crises and disasters throughout the 1990s and 2000s have contributed to national trauma (Roquet 89). Due to significant societal pressure, many Japanese people feel anxiety, sensitivity, vulnerability, and alienation (Ren 29). Accordingly, much Japanese anime engages with feelings of nihilism (Lozano-Méndez and Loriguillo-López; Tsang). In some respects Vocaloid culture is interrelated with hikikomori, a form of social withdrawal associated with various psychological, social, and behavioural factors (Li and Wong 603). Much academic literature exists on hikikomori, which in many ways is a Japanese phenomenon, being influenced by “culture, society and history”, and having come about in Japan during a period of “very rapid socioeconomic changes” (Kato et al. 1062). Many Vocaloid producers and utaite identify as hikikomori, including Mafumafu. However, studies on hikikomori outside Japan have shown that feelings of isolation, anxiety, and social exclusion are a global concern (Krieg and Dickie 61; Kato et al. 1062), contributing to Neru’s popularity among English-speaking audiences Conclusion My goal in this article is to point out that a significant number of people find Vocaloid music relatable and affectual, and it would be hasty to dismiss such music as “depthless” due to its use of voicebanks and connection to consumer culture. Vocaloid music is particularly affective in part due to the way that Vocaloids, producers, and utaite make use of personas which function as bodies without organs: something that listeners are able to project their own feelings onto. Further, Small’s concept of musicking encourages us to pay attention to what producers are saying as well as what listeners and fans are engaging with: what values are being explored and how they are being used for self-definition. It is important to consider not just the economic aspects of participatory culture and the networks of production surrounding Vocaloid, but the content of the music and the meanings that listeners get out of it. Neru’s CYNICISM album is particularly interesting in this regard. The combination of upbeat music, bright and garish imagery, and nihilistic lyrics communicates a strong sense of disappointment with society and a lack of self-worth in a dissonant manner – there is a sense of playfulness that is attention-grabbing and uses humour to communicate these negative themes. Given the breadth of Vocaloid content that is produced, further research into other producers, fan groups, and pieces of media will provide insight into this varied and rich phenomenon. References Allen, Ansgar. Cynicism. Cambridge: MIT P, 2020. Annett, Sandra. "What Can a Vocaloid Do? The Kyara as Body without Organs." Mechademia 10 (2017): 163–77. Bell, Sarah A. "The dB in the .Db: Vocaloid Software as Posthuman Instrument." Popular Music and Society 39.2 (2016): 222–240. Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. Trans. Brian Massumi. 11th ed. Minneapolis: U of Minnesota P, 2005. ———. Anti-Oedipus. Trans. Robert Hurley et al. 10th ed. 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