Further analysis of these and other literary works will more accurately determine benefits of the status and solidarity framework as applied to the codeswitching research.
However, the relationships found in Beautiful Señoritas and Coser y cantar do not offer such conclusions, due to the variable nature of the relationships identified. Accordingly, the analysis of Botánica reveals that indeed codeswitching between the characters does affect their relational development in maintaining solidarity and intimacy. Due to her ideological stance, it is expected that a strong emphasis on solidarity rather than status and the use of affective rather than referential speech functions are present in the relationships in her plays. Dolores Prida is a feminist and Hispanic dramatist whose central theme is the search for identity of Hispanic immigrants, specifically women, in the United States today. Hence, this work aims to add to scholarly research in the fields of codeswitching, discourse analysis, and literary linguistics, using the status and solidarity framework to examine the codeswitching in Dolores Prida's plays. Furthermore, Prida's works have never before been appraised using linguistic methodology. Linguistic scholars recognize the lack of linguistic analysis of literary texts specifically, codeswitching at present is not fully explored as a linguistic phenomenon in written contexts. The three plays discussed are Beautiful Señoritas (1978), Coser y cantar (1981) and Botánica (1991). The three plays discussed are Beautiful Seoritas (1978), Coser y cantar (1981) and Botnica (1991). Recorded at Roxy Studios in New York City by Teatro Theatre Duo. Engineered by Joseph DePersia with thanks to Bob Standar and the Roxy Studios. Produced by Adina Back and Felipe Gorostiza. Prida attended Hunter College in Manhattan, New York.This analysis employs the sociolinguistic framework of status and solidarity (Holmes, 2001) to examine the use of codeswitching on the relational development between the characters in three plays by Cuban-American playwright Dolores Prida. This analysis employs the sociolinguistic framework of status and solidarity (Holmes, 2001) to examine the use of codeswitching on the relational development between the characters in three plays by Cuban-American playwright Dolores Prida. Written, adapted for radio, and directed by Dolores Prida, and performed by Elizabeth Pena. Prida moved to New York City in 1961.įour Guys Named José … and Una Mujer Named María!ĭolores Prida was interred at First Calvary Cemetery in Long Island City, Queens, New York.
She also was a columnist for the Daily News of New York and for El Diario/La Prensa, a Spanish-language daily in New York City.ĭolores Obdulia Prida was born in Caibarien, Cuba, on September 5, 1943.ĭolores Prida died at Mount Sinai Hospital in Manhattan, New York, on January 20, 2013.
She was known for her longtime "Dolores Dice" (Dolores Says) advice column in Latina magazine. Dolores Prida was born in Caibarien, Cuba, and died in Manhattan, New York. Click here to request an update to your information.
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