Professional Documents
Culture Documents
doi:10.1093/applin/amh043
NANCY D. BELL
Indiana University of Pennsylvania
In the past few years researchers have begun to show an interest in humour
and language play as it relates to second language learning (SLL). Tarone (2000)
has suggested that L2 language play may be facilitative of SLL, in particular by
developing sociolinguistic competence, as learners experiment with L2 voices;
and by destabilizing the interlanguage (IL) system, thus allowing growth to
continue. She recommends research examining the ways in which adult L2
speakers interacting outside the classroom play with language as a way of
learning more about this issue. Using case study methodology to document the
ways in which L2 verbal humour was negotiated and constructed by three
advanced non-native speakers (NNSs) of English as they interacted with native
speakers (NSs) of English, this study contributes to this knowledge base by
showing patterns of interaction that arise during humorous language play
between NSs and NNSs and how these may benefit second language acquisition
(SLA). Results suggest that language play can be a marker of proficiency, as
more advanced participants used L2 linguistic resources in more creative ways.
Language play may also result in deeper processing of lexical items, making
them more memorable, thus it may be especially helpful in the acquisition of
vocabulary and semantic fields.
INTRODUCTION
Although humour has only recently begun to receive attention from
scholars in SLA, it has a history of theoretical and empirical work that dates
back to Plato and Aristotle (Morreall 1983; see also Raskin 1985, ch. 1).
Humour can be used to negotiate identities (Apte 1985; Basso 1979; Boxer
and Cortés-Conde 1997; Eder 1993; Eisenberg 1986; Wennerstrom 2000;
Yedes 1996), to mitigate face-threatening acts (Holmes 2000), to create and
affirm affiliation (Basso 1979; Boxer and Cortés-Conde 1997; Eder 1993;
Norrick 1993; Straehle 1993), to communicate social norms or to criticize
(Eder 1993; Eisenberg 1986; Goldberg 1997; Jorgensen 1996; Miller 1986;
Norrick 1993; Yedes 1996), to attempt to subvert social norms or power
structures (Holmes and Marra 2002), to release feelings of aggression
(Pogrebin and Poole 1988; Yedes 1996), to protect one’s own positive face
NANCY D. BELL 193
creation of humour. She suggests that NS support allows learners ‘not only
to learn how to engage in the joking activity, but also to experience its social
meaning in American society’ (Davies 2003: 1382).
METHODOLOGY
In this section I describe the methodology employed in the gathering and
analysis of data. I begin with a description of the data.
Data
The data for the research reported here come from a larger study that used
qualitative and quantitative discourse analysis to investigate how L2 humour
was perceived and negotiated by three highly advanced female NNSs
of English in interaction with native English speakers (Bell 2002). Each
participant was initially interviewed to obtain details of her background,
learn about the English NSs with whom she interacted regularly, and explore
her views on both L1 and L2 humour. The primary source of data, however,
came from tape recordings of the interaction of the three participants with
NSs over a period of 1 to 2 years. During this time, each participant was
provided with a mini cassette recorder and taped her conversations with NSs
whenever convenient and appropriate.1 By encouraging the participants
to record interaction at their discretion (and at the discretion of their
interlocutors, who gave verbal permission to be taped) I had little control
NANCY D. BELL 197
over the data gathering. However, this allowed the participants to use the
tape recorders in ways that were comfortable for them. The tapes contained
a wide range of interaction in diverse contexts. Among the three participants,
Participants
All three of the participants in this study were young women who were
working toward degrees at US universities. All three were also friendly and
outgoing. Table 1 summarizes some key characteristics. Note that the
participants were all highly proficient in English. I have provided an estimate
of their oral abilities in English expressed in terms of approximate ACTFL
levels. Having received prior training in ACTFL interviewing and rating,
I have based these estimations on my perceptions of their speech in the
data and on my own interaction with them. As I did not perform formal
ACTFL interviews with them, these evaluations are provided only as a
way of presenting, in the terms of a widely used scale, a fuller picture of
each participant’s level of proficiency than can be provided by their
TOEFL scores.
Judith,2 the youngest of the three at 18, was Venezuelan. She had studied
English for 10 years in Venezuela and was pursuing an undergraduate degree
Table 1: Participants
Participant name Age at start Nationality Most recent Estimated
of study TOEFL score ACTFL score
in the USA. At the start of the study she had been living in the USA for
6 months. Her most recent TOEFL score, which she had taken to be admitted
to the university, was 497. Judith taped her interaction with NSs for nearly
that these two individuals are close enough to have a teasing relationship.
The reader will certainly note in the following examples how utterances
I have identified as playful also seem to perform other, non-playful
In referring to Jake as ‘the weakest link’ Pum has keenly observed the
similarities between his situation and that of the contestants in the game
show with the same name in which, at the end of each round, group
In lines 1 and 2 Mary appears to begin to pose a question to Tanya, but she
interrupts herself and answers it. Tanya notices this, and her first tease, lines
3–4, implies that Mary is not giving her the opportunity to participate in
the conversation. This first tease is not responded to, as the conversation
turns briefly to the matter of the cake. Tanya then prompts Mary to continue
with what she had been trying to say earlier. Her prompting begins
neutrally; however, she quickly begins to tease Mary again, reminding her
that she had been attempting to explain something that she ‘knew’ that
Tanya felt. This type of teasing between these two very close friends was
common and their barbs seem most often to indicate the intimacy of their
relationship (cf. Boxer and Cortés-Conde 1997). In line 6 the tease becomes
sharper, with Tanya referring to Mary as ‘Miss Predicting-all-the-Feelings’.
By drawing on a form often used to show disapproval (compare ‘Miss
Know-it-All’ or ‘Miss High-and-Mighty’), Tanya playfully demonstrates her
objection to having her unspoken emotions assumed to be understood by
another.
I turn now to the second set of examples, which involve the role of
humorous language play in noticing and learning an L2.
ATTENTION TO FORM/MEANING
Many SLA researchers claim that interaction plays an important role in
acquisition. By some (e.g., Long 1996; Philp 2003; Pica 1994) it is regarded as
important for potentially promoting noticing of mismatches between learner
and NS production, which may in turn prompt the learner to alter his or her
IL. For others, (e.g., Block 2003; Johnson 2004; Pavlenko and Lantolf 2000)
the social aspect of interaction is viewed as inseparable from the cognitive
aspect. In this view, interaction provides access to L2 resources and learning
occurs in opportunities to use these in the construction of new identities and
relationships through participation in new communities of practice.
The successful construction of humour requires sophisticated linguistic
and cultural knowledge in order to carefully select and place appropriate
linguistic and extra-linguistic cues. In addition, as humour thrives on the
unexpected, creative and unusual uses of linguistic resources often occur in
playful conversation. These two factors make both the construction and
interpretation of humour frequently difficult for L2 speakers, as confirmed by
the larger study from which the present data are drawn (Bell 2002). At the
same time, these same factors make humorous language play a prime area
in which L2 development can continue to occur even for highly proficient
L2 speakers, as learners’ attention can be drawn to linguistic form(s) and
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meanings, and the different ways in which these can be used, as noted by
Sullivan (2000). The following two extracts demonstrate this through an
example of implicit feedback based on an NNS’s attempt at joking and an
Metalinguistic sequences
NSs’ attempts at humour with these NNSs also sometimes resulted in explicit
Example 6: Hillbillies
1 Jake: look at the swamp it’s a swamp back there. ((That’s where all the
2 pineys live too)) do you know who the pineys are?
3 Pum: I don’t know
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Jake begins by teasingly introducing Pum to the idea of ‘pineys’ (line 2).
That he frames this in a playful way, and as he immediately asks Pum if she
knows who they are demonstrates that part of the joke, for him, lies in what
is sure to be Pum’s lack of familiarity with the term. When Pum tells him
that she doesn’t know who ‘pineys’ are, he introduces the term ‘hillbillies’ to
explain (line 4), his laugh particle revealing this as amusing and inviting
Pum to laugh with him. Although Pum professes her lack of familiarity with
the word, at the same time she treats it as laughable, although whether this
is to oblige Jake or is in appreciation of the phonological patterning of
the word (or some combination) cannot be certain. In line 8, after Pum
has established her knowledge gap, Jake begins to define a ‘hillbilly’ for her.
He begins with a standard definition format (‘the hillbilly is-’), but interrupts
himself to instead portray the social category of ‘hillbilly’ by listing several
examples of what he apparently considers to represent ‘hillbilly’ activities.
That he finds this amusing is evident in his laughter (lines 4 and 11), and the
generally playful tone he takes. Pum’s laughter and her playful insult of Jake
(‘you sick’) in line 12 is more likely due to the fact that Jake’s mention of
‘Free:: Bir:::d!’ is an intertextual link to an earlier conversation in which he
was singing this song in an apparently ridiculous matter (this interaction was
not recorded, but was referred to several times). In line 13 Jake begins and
then abandons another attempt to define ‘hillbilly’, instead opting to
reconfirm that this lexical item is unfamiliar to Pum. From this point on,
the vocabulary lesson takes place within a serious frame, becoming more
208 EXPLORING L2 LANGUAGE PLAY AS AN AID TO SLL
form involves not just noticing correct L2 forms in order to weed out
incorrect productions and acquire the correct ones. Quite the contrary;
the play with second-language forms . . . introduces more variation into
Example 7: Clone
1 Tanya: do you know that he- Tom Hanks’ son is him
2 Mary: nope
3 Tanya: he is his copy he’s completely his copy
4 Mary: his what?
5 Tanya: copy?
6 Mary: copy?
7 Tanya: the way he looks?
8 Mary: o::h clone.
9 Tanya: whaHHHt?! HUH HUH His cloHHHOHOHOn::e!
10 Mary: [((what’s / ? / son))
210 EXPLORING L2 LANGUAGE PLAY AS AN AID TO SLL
Tanya’s initial use of the metaphor ‘copy’ (line 3) puzzles Mary until
Tanya clarifies, saying, ‘the way he looks’ (line 7). Once she has understood
Tanya’s intent, Mary is able to provide a different metaphor, ‘clone’, as a way
of describing that two people look very much alike. This suggestion is greeted
with immediate surprise (‘WhaHHHt?!’) and laughter from Tanya. The falling
intonation with which she delivers the words ‘his clone!’ in line 9 indicates
an amused dismissal of the use of the term in this context, probably because
she assumed that Mary provided the word based on a misunderstanding
of Tanya’s point, as she indicated in a playback session. Perhaps because
her first suggestion was met with great hilarity, Mary gives an alternate
formulation of the idea, indicating that Tanya could also have said, ‘he’s his
double’ (line 12). At this point the interaction for Mary, but not Tanya, has
been reframed from ‘clarification talk’ to ‘mini vocabulary lesson’. In fact,
it is not clear that Tanya even takes note of Mary’s second option, as she
remains consumed with laughter at the use of ‘clone’. In lines 13 and 14 she
gives some indication that for her the semantic field of ‘clone’ is restricted to
scientific uses, facetiously associating Mary’s word choice with ‘this modern
generation’. After attempting twice to speak (line 16), Mary pauses, perhaps
viewing it as futile to attempt to continue the lesson. As in the case of
example 5, at this point the play frame is abandoned and the vocabulary
lesson/clarification sequence continues seriously, with Tanya now calmer
and urging Mary to continue (line 17). Mary then suggests the use of an
entire sentence to explain the concept (‘he looks exactly like him’) and
begins to provide another option, but is interrupted by Tanya. Tanya is still
disbelieving and checks again that ‘you can’t say he’s his copy?’ (line 19).
Finally, in line 22, Mary, exasperated, recommends that Tanya ‘ask another
American’, and the talk returns to the cake they are making.
Although Mary approaches the misunderstanding as an opportunity to
instruct Tanya in more appropriate ways to formulate the concept of a
striking likeness, Tanya’s attention seems to be focused on dismissing ‘clone’
as an option for describing physical similarities and confirming the
inappropriateness of ‘copy’ in this context. In fact, it is not certain that she
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made note of the other options presented to her due to her preoccupation
with these two terms. Tanya explained that she distrusted Mary’s
explanations, but did not seek further clarification because she assumed
DISCUSSION
As these examples have demonstrated, language play in naturalistic NS–NNS
conversation seems to provide opportunities for the facilitation of SLL,
especially perhaps with more advanced L2 speakers. Below I discuss the
various roles for humorous L2 language play that arose from the data
presented here and suggest how future research might begin to determine
whether or to what extent language play actually does aid in SLL.
her to recognize that L1 meanings do not always map onto L2 words in the
same way.
NOTES
1 In keeping with university policy, also obtained written permission for
the procedures and requirements the use of their audio-taped inter-
of participation in the study were action for research purposes. Partici-
explained in a written consent form, pants also asked permission of
as well as the time requirements the NSs before turning on their tape
and possible risks and benefits. All recorders.
participants signed the consent forms. 2 All names are pseudonyms chosen by
It was explained to all participants the participants.
that the purpose of the study was 3 Double parenthesis indicate that the
to examine L2 humour in NS–NNS words within were spoken while
interaction. I obtained written smiling and italics indicate emphasis.
permission to conduct audio-taped Laughter occurring within words is
interviews for research purposes, and separated by a capital H.
216 EXPLORING L2 LANGUAGE PLAY AS AN AID TO SLL
REFERENCES
Apte, M. 1985. Humor and Laughter: An Chukovsky, K. 1963. From Two to Five. Berkeley: