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So that's why you call it code-switching in America. Less chance of being shot. But I'd want to draw a distinction between the two: register-jumping involves a switch between a variety of registers already available as part of the speaker's idiolect(s?), whereas code switching involves the adoption of a form of speech native to another group (or the same person wearing a different identity, in a different context). Dunno. I've been told there's no difference between the two, but my gut tells me there is. Something like that. I'm still thinking my way through it. But now you've warned me, I'll be sure to avoid register-jumping when I'm in God's Own Land. Or have I just jumped the shark? TTFN Robin > On 26 October 2016 at 20:01 David Latane > <[log in to unmask]> wrote: > > > > > > --------------------------------------------- > From: Robin Hamilton <[log in to unmask]> > To: [log in to unmask] > Sent: Wednesday, October 26, 2016 2:44 PM > Subject: Re: a bit much > > David, > I think part of your problem, at least as manifested by your inability to > see just how and why Mark's statement is humorous, is that you simply don't > understand register-jumping. > > ---- > In America, if you jump over to the register you get shot. For some reason > I've been thinking of Ruggles and his eccentric symphonic piece "The > Sun-Treader," which as almost everybody knows is what the hero-worshipping boy > Browning called Percy Shelley in his later disowned anonymous Pauline (1833). > Ruggles also set most of Blake if memory serves that also stands and > ruminates. For those who do not know Ruggles, ta-da: > > Carl Ruggles, Sun-Treader 1/2, William Blake > https://www.youtube.com/watch?v=wcCz8rDrcMI > > > Carl Ruggles, Sun-Treader 1/2, William Blake > > Carl Ruggles (1876-1971), Sun-Treader, Michael Tilson Thomas (b. 1944), > conductor, Boston Symphony Orchestra. Re... > > > > David Latané >