Abstract
Firefly is a TV series that aired in 2002 and 2003 in the United States. The series belongs to the space western subgenre, which allies science fiction and western tropes by layering, in this case, a dystopian society, space travel, standoffs in desolate landscapes, and saloon brawls. This juxtaposition of genres is reflected in the language of Firefly’s characters in three ways: world-specific slang, Chinese code-switching, and features evoking Southern American English. This study explores the latter, employing quantitative methods used in variationist sociolinguistics. Using a corpus of all episodes of the series and the film Serenity (2005), we show that features reminiscent of Southern varieties of English, specifically nasal fronting and the use of ain’t, are stratified according to the social realities of the world of Firefly. Nonstandard linguistic variants are used to represent rebel smugglers as opposed to characters representing valued professions. This pattern contributes to world-building in Firefly by indexing divisions between the superpower-controlled territories and the recently settled edge of the universe. The use of realistically constrained Southern linguistic features draws upon present-day notions of linguistic (non)standardness to indicate marginality. Firefly therefore relies on its audience’s linguistic knowledge of the real world to create its fictional one.
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Articles in the same Issue
- Frontmatter
- Research Articles
- Introduction to the special issue on “The language of science fiction”
- The impact of Star Wars on the English language: Star Wars-derived words and constructions in present-day English corpora
- “To boldly go where no man has gone before”: how iconic is the Star Trek split infinitive?
- From Star Trek to The Hunger Games: emblem gestures in science fiction and their uptake in popular culture
- The language of men and women in Star Trek: The Original Series and Star Trek: Discovery
- “So, I trucked out to the border, learned to say ain’t, came to find work”: the sociolinguistics of Firefly
- Subverting motion in science fiction? Beam in the Star Trek TV series
- Perceiving with strangeness: quantifying a style of altered consciousness as estrangement in a corpus of 1960s American science fiction
- “There was much new to grok”: an analysis of word coinage in science fiction literature
- Cyberpunk, steampunk, and all that punk: genre names and their uses across communities
Articles in the same Issue
- Frontmatter
- Research Articles
- Introduction to the special issue on “The language of science fiction”
- The impact of Star Wars on the English language: Star Wars-derived words and constructions in present-day English corpora
- “To boldly go where no man has gone before”: how iconic is the Star Trek split infinitive?
- From Star Trek to The Hunger Games: emblem gestures in science fiction and their uptake in popular culture
- The language of men and women in Star Trek: The Original Series and Star Trek: Discovery
- “So, I trucked out to the border, learned to say ain’t, came to find work”: the sociolinguistics of Firefly
- Subverting motion in science fiction? Beam in the Star Trek TV series
- Perceiving with strangeness: quantifying a style of altered consciousness as estrangement in a corpus of 1960s American science fiction
- “There was much new to grok”: an analysis of word coinage in science fiction literature
- Cyberpunk, steampunk, and all that punk: genre names and their uses across communities