Educational jargon

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In the German-speaking area, educational jargon is usually understood to be an emphatically high-level and “artificial” form of colloquial language. The negative connotation term is used to describe dialect speakers and petty bourgeoisie who strive to belong to the educated middle class. The jargon includes incorrectly used or incorrectly used quotations , empty phrases , half-knowledge , neologisms, etc., with which the speaker wants to stand out from the "simple layer".

Miriam Riediger writes that the term educational jargon wants to express that this type of language is misusing a certain area, in this case education, and that those people fall back on this jargon who are not legitimized to do so in the actual sense. In any case, the educational jargon is used with seriousness, possible errors or involuntary comedy in the language (e.g. malapropism ) are not noticed by the speaker. Educational jargon and real educational language can coexist, u. U. even in the same sentence.

etymology

Educational jargon is derived from jargon (French actually 'incomprehensible murmur', "gibberish", old French gargun = chirping) and literally denotes a non-standardized language variety of the educational language , diachronically reinterpreted as educational language (less pronounced) colloquial language of petty bourgeoisie ( "Lower") social classes.

Term coining and use on the stage

This form of language is taken up in the folk piece of the 20th century, which deals critically but also satirically with the petty bourgeoisie, although it does not primarily shape it. Ödön von Horváth , who is considered to be the innovator of the folk piece, deals in his dramatic works with the social alienation or lack of communication and speech of the citizens by means of an artificial and communicationless "dialogue language". Horváth demands that “no word of dialect may be spoken. Every word must be spoken in High German, but in the same way as someone who speaks dialect and now forces himself to speak High German. ”In stories from the Vienna Woods (“ Just don't teach you anything! ”-“ But such a behavior! ”) the actors try to use quotes, meaningless phrases, half-knowledge that has been read in, including the formation of neologisms and the often incorrect use of educational language, e.g. B. "Gourmand" (= glutton) instead of "Gourmet" to seem more than to be. The cause is the "disintegration of the actual dialects" through the formation of the petty bourgeoisie in pathetic or illusory speech. Educational jargon is used by rising proletarians as well as by social relegators. However, this calls for criticism - and this is how the dialogue of the new folk piece emerges, and with it the person and thus the dramatic plot - a synthesis of seriousness and irony. Dieter "Hildebrandt speaks closely following Botho Strauss of a ' jargon of impropriety ' (Akzente, 1972, p. 111; rororo - monographs p. 80)."

Authors from the 1968 movement, such as Fitzgerald Kusz , placed the focus more on social conditions, which are reflected in the language of their characters. The boundaries between dialect and sociolect became fluid. In the piece of silence, boy! the deliberate use of dialect forms a contrast to the urbane “politicization” and conversations about poets and thinkers, which ultimately fails the protagonists. Kusz himself uses the dialect "not locally specific, but ... class-specific." For him, it is about the petty bourgeoisie of Franconian provenance, but that exists elsewhere too, it is interchangeable.

Individual evidence

  1. ↑ Miriam Riediger: Social aspects in selected works by Ödön von Horváth against their contemporary background. GRIN Verlag, 2006, ISBN 3-638-47573-5 (online)
  2. ↑ Henk J. Koning: Nestroy and Horváth: An Unequal Brotherhood? In: Orbis Linguarum. Volume 21, 2002.
  3. ↑ a b Theresa Zuschnegg: The "Fall of consciousness" in the comedy "Beautiful View" and the popular play "Italian Night". Bachelor thesis, Google Books ( online , p. 8), accessed on March 6, 2013.
  4. ↑ Ödön von Horváth: Instructions for use. 1932. (online)
  5. ↑ kerber-net.de: Ödön von Horváth, Kasimir and Karoline. ( Memento of December 26, 2010 in the Internet Archive ) (PDF; 70 kB)
  6. ↑ a b Herbert Hoven: The new pleasure in dialect - Volkstheater (2/4). ( Memento from April 12, 2013 in the web archive archive.today ) WDR 5.
  7. ↑ markt.de: Shut up, boy! (Description of the performance) , accessed on March 6, 2013.