{"id":101,"date":"2026-04-29T10:07:13","date_gmt":"2026-04-29T08:07:13","guid":{"rendered":"https:\/\/www.sabiranet.unict.it\/?page_id=101"},"modified":"2026-04-29T11:44:41","modified_gmt":"2026-04-29T09:44:41","slug":"when-writing-takes-voice-writing-speech-speaking-writing","status":"publish","type":"page","link":"https:\/\/www.sabiranet.unict.it\/?page_id=101","title":{"rendered":"S1 &#8211; E2 When Writing Takes Voice (Writing speech, speaking writing)"},"content":{"rendered":"\n<h2 class=\"wp-block-heading has-text-align-center\"><strong>Media Speaking Arabic(s):<\/strong><\/h2>\n\n\n\n<p class=\"has-text-align-center\"><strong>A New (G)local Digital Heritage<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><em>Rosa Pennisi<\/em><\/p>\n\n\n\n<p>Season 1 \u2013 <strong>Which Arabic(s) in Digital Media?<\/strong><\/p>\n\n\n\n<p>Episode 2 title: <strong><em>When Writing Takes Voice (Writing speech, speaking writing)<\/em><\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: S1 - E2: Quando la scrittura prende voce \/ Writing speech, speaking writing\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/episode\/3raWab8zRvnnRxGrqOsQFS?si=JWsS8LG3T-qcOXGpLQxVNg&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><em>English script<\/em><\/p>\n\n\n\n<p>In the language of digital media, writing and speech no longer appear as two neatly separate spheres. In this episode, we try to understand what happens when writing begins to sound like a voice, and when voice\u2014especially in podcasts and digital content\u2014is shaped with an increasingly strong awareness of writing.<\/p>\n\n\n\n<p>\u2026<\/p>\n\n\n\n<p>Welcome to <strong><em>Media Speaking Arabic(s): a new (g)local digital heritage<\/em><\/strong>, the podcast of the SABIRANET project.<\/p>\n\n\n\n<p>SABIRANET is funded by the European Union \u2013 NextGenerationEU through Italy\u2019s National Recovery and Resilience Plan, <em>Young Researcher 2024 \u2013 SoE line<\/em>, administered by the Italian Ministry of University and Research.<\/p>\n\n\n\n<p>In this podcast, we explore the relationship between Arabic language, digital media, mobility, and society across Morocco and Europe.<\/p>\n\n\n\n<p>I am Rosa Pennisi, researcher in Arabic Language and Literature, and you are listening to the second episode of the first season.<\/p>\n\n\n\n<p>\u2026<\/p>\n\n\n\n<p>In the previous episode, we asked what happens when media speak mixed Arabic.<\/p>\n\n\n\n<p>Today I would like to begin with another observation, one that often returns in my work.&nbsp;<\/p>\n\n\n\n<p>When one works on digital texts, especially in the classroom or in research, something interesting sometimes happens: one reads materials that look written, but in fact sound almost as if they were speaking. And, conversely, one listens to content that seems spontaneous, yet is actually shaped with a care and a form that are very close to writing.<\/p>\n\n\n\n<p>Sometimes very little is enough to notice it.&nbsp;<\/p>\n\n\n\n<p>A newspaper headline that sounds like a direct question.&nbsp;<\/p>\n\n\n\n<p>An article that, while remaining written, adopts a tone closer to conversation.&nbsp;<\/p>\n\n\n\n<p>A podcast that sounds natural and immediate, but is in fact carefully organized, paced, and calibrated.<\/p>\n\n\n\n<p>In short: writing does not always sound fully \u201cwritten,\u201d and speech is not always truly spontaneous.<\/p>\n\n\n\n<p>This is precisely where the digital becomes interesting.&nbsp;<\/p>\n\n\n\n<p>Because digital media do not only transform the way content circulates.&nbsp;<\/p>\n\n\n\n<p>They also transform the way writing and speech meet, approach one another, imitate one another, and overlap.<\/p>\n\n\n\n<p>This second episode begins from here.<\/p>\n\n\n\n<p>From a question that, once again, is not only linguistic, but also social and media-related:<\/p>\n\n\n\n<p><strong>what happens when writing takes voice, and when voice is constructed like writing?<\/strong><\/p>\n\n\n\n<p>Why does this matter? It matters for at least three reasons.&nbsp;<\/p>\n\n\n\n<p>It matters because the way something is said or written is never neutral.&nbsp;<\/p>\n\n\n\n<p>It matters because the boundary between orality and writing helps produce effects of proximity, involvement, credibility, and discursive authority.&nbsp;<\/p>\n\n\n\n<p>And it matters because, in contemporary Arabic\u2014and especially in Moroccan and diasporic contexts\u2014this intertwining makes the relations between Standard Arabic, <em>D\u0101rija<\/em>, and mixed forms even more visible.<\/p>\n\n\n\n<p>In this episode, then, we will try to understand precisely this: how the digital blurs the boundaries between writing and speech, and why this helps us read media language more effectively.<\/p>\n\n\n\n<p>\u2026<\/p>\n\n\n\n<p>When we speak of writing and speech, we are often led to imagine them as two opposite poles.&nbsp;<\/p>\n\n\n\n<p>On the one hand, writing: more stable, more controlled, more distant.&nbsp;<\/p>\n\n\n\n<p>On the other, voice: more immediate, more situated, closer to interaction.<\/p>\n\n\n\n<p>This distinction, of course, still makes sense. But in digital media it is often no longer sufficient.&nbsp;<\/p>\n\n\n\n<p>Today we can find written texts that incorporate signals typical of orality: direct questions, deictics, colloquial formulas, syntactic rhythms closer to conversation, and register choices that reduce the distance from the audience.<\/p>\n\n\n\n<p>And, conversely, we can find oral texts\u2014podcasts, video commentaries, live streams, audio content\u2014that sound spontaneous, but are in fact organized through a highly controlled structure: introduction, relaunches, explanations, lexical repetitions, and carefully constructed effects of proximity.<\/p>\n\n\n\n<p>In other words, the point is no longer simply to distinguish what is written from what is spoken. The point is to observe how writing can produce voice effects, and how voice can take on forms closer to public writing.<\/p>\n\n\n\n<p>This is particularly important in the case of contemporary Arabic. Here the relationship between orality and writing intersects with other issues: the role and functions of Standard Arabic, the weight of colloquial varieties, the growing visibility of <em>D\u0101rija<\/em>, the stratification of repertoires, and the social perception of what appears more authoritative, more proximate, more spontaneous, or more correct.[1]<\/p>\n\n\n\n<p>In digital media, all of this does not remain in the background. It can be heard. It can be seen. And it often becomes an essential part of meaning.<\/p>\n\n\n\n<p>\u2026<\/p>\n\n\n\n<p>Let us begin with a concrete case in which <strong>writing moves closer to voice<\/strong>.<\/p>\n\n\n\n<p>To address this properly, it is better to start from a specific example.<\/p>\n\n\n\n<p>For this purpose, I choose an article published by <em>Goud<\/em>, a Moroccan digital newspaper founded in 2011 by Ahmed Najim and known for its highly visible use of <em>D\u0101rija<\/em> within online journalistic discourse.<\/p>\n\n\n\n<p>For further information on <em>Goud<\/em> and to consult the article analysed here, you can refer to the notes and bibliographical references attached to this episode.[2]<\/p>\n\n\n\n<p>The article, published on 3 March 2023, is signed by Karim Soufi and bears the title:<\/p>\n\n\n\n<p>\u0631\u0626\u064a\u0633 \u0627\u064a\u0637\u0627\u0644\u064a\u0627 \u0648\u0634\u062d \u062a\u0644\u0645\u064a\u0630\u0629 \u0645\u063a\u0631\u0628\u064a\u0629 \u0628\u0648\u0633\u0627\u0645 \u0627\u0644\u0627\u0633\u062a\u062d\u0642\u0627\u0642 \u0627\u0644\u062c\u0645\u0647\u0648\u0631\u064a&nbsp;<\/p>\n\n\n\n<p>(<em>ra\u02be\u012bs \u012a\u1e6d\u0101liy\u0101 wa\u0161\u0161a\u1e25a tilm\u012bdha ma\u0121ribiyya bi-wis\u0101m al-isti\u1e25q\u0101q al-jumh\u016br\u012b<\/em>)<\/p>\n\n\n\n<p>that is:<\/p>\n\n\n\n<p>\u2018The President of Italy awarded a Moroccan student the Order of Merit of the Republic.\u2019<\/p>\n\n\n\n<p>The topic of the article is, in itself, straightforward: it reports the recognition granted in Italy to a young Moroccan woman engaged in voluntary work and in helping children and women in vulnerable situations.<\/p>\n\n\n\n<p>What is interesting, however, is the way the text is constructed.&nbsp;<\/p>\n\n\n\n<p>If we read the beginning of the article, we find writing that remains relatively close to the informative function typical of a written news article.<\/p>\n\n\n\n<p><strong>It begins<\/strong>, in fact, by referring to a source:<\/p>\n\n\n\n<p>&#8220;\u0642\u0627\u0644\u062a \u062c\u0631\u064a\u062f\u0629 \u201clanazione\u201d \u0627\u0644\u0625\u064a\u0637\u0627\u0644\u064a\u0629&#8221;<\/p>\n\n\n\n<p>that is, \u201cthe Italian newspaper <em>La Nazione <\/em>wrote\u201d<\/p>\n\n\n\n<p><strong>and immediately afterwards presents the news item:<\/strong><\/p>\n\n\n\n<p>&#8220;\u0623\u0646 \u0631\u0626\u064a\u0633 \u0627\u0644\u0637\u0627\u0644\u064a\u0627\u0646&#8221;<\/p>\n\n\n\n<p>\u201cthat the President of Italy\u201d<\/p>\n\n\n\n<p>&#8220;\u0633\u064a\u0631\u062c\u064a\u0648 \u0645\u0627\u062a\u0627\u0631\u064a\u0644\u0627\u060c \u0648\u0634\u062d \u062a\u0644\u0645\u064a\u0630\u0629 \u0645\u063a\u0631\u0628\u064a\u0629&#8221;<\/p>\n\n\n\n<p>\u201chonoured a Moroccan student\u201d<\/p>\n\n\n\n<p>&#8220;\u0628\u0648\u0633\u0627\u0645 \u0627\u0644\u0627\u0633\u062a\u062d\u0642\u0627\u0642 \u0627\u0644\u062c\u0645\u0647\u0648\u0631\u064a \u0645\u0646 \u062f\u0631\u062c\u0629 \u0641\u0627\u0631\u0633&#8221;<\/p>\n\n\n\n<p>\u201cwith the Order of Merit of the Republic, in the rank of Knight,\u201d<\/p>\n\n\n\n<p>&#8220;\u0628\u0633\u0628\u0628 \u0627\u0644\u062a\u0632\u0627\u0645\u0647\u0627 \u0628\u062e\u062f\u0645\u0629 \u0627\u0644\u0623\u0637\u0641\u0627\u0644 \u0648\u0645\u0633\u0627\u0639\u062f\u0629 \u0627\u0644\u0639\u064a\u0627\u0644\u0627\u062a \u0627\u0644\u0644\u064a \u0639\u0627\u064a\u0634\u064a\u0646 \u0641\u062d\u0627\u0644\u0629 \u062a\u0634\u0631\u062f.&#8221;&nbsp;<\/p>\n\n\n\n<p>\u201cbecause of her commitment to serving children and helping women living in a condition of vagrancy,\u201d that is, women without a fixed home.<\/p>\n\n\n\n<p>In this whole first part of the article, the syntactic structure coincides with the classic construction used in journalistic <em>Media Arabic<\/em>: verb, subject, and complements.<\/p>\n\n\n\n<p>Within these constructions, however, mixed expressions do appear.<\/p>\n\n\n\n<p>One example is &#8220;\u0631\u0626\u064a\u0633 \u0627\u0644\u0637\u0627\u0644\u064a\u0627\u0646&#8221;, where \u0631\u0626\u064a\u0633 is bivalent\u2014that is, the same term is shared by both Standard Arabic and <em>D\u0101rija<\/em>, with the meaning \u201chead\u201d or \u201cpresident\u201d\u2014while \u0627\u0644\u0637\u0627\u0644\u064a\u0627\u0646, \u201cItaly\/Italian,\u201d clearly belongs to the Moroccan <em>D\u0101rija<\/em> repertoire.<\/p>\n\n\n\n<p>Another example is the relative phrase &#8220;\u0627\u0644\u0639\u064a\u0627\u0644\u0627\u062a \u0627\u0644\u0644\u064a \u0639\u0627\u064a\u0634\u064a\u0646 \u0641\u062d\u0627\u0644\u0629 \u062a\u0634\u0631\u062f&#8221;, \u201cwomen who are living\u201d, where a classic relative-clause function is realized through lexical and morphosyntactic elements drawn from <em>D\u0101rija<\/em>.<\/p>\n\n\n\n<p>It is also worth recalling that Moroccan <em>D\u0101rija<\/em> does not have a fully shared standard codification for written use. This is precisely why its visibility within a written space such as a journalistic article is so significant.[3]<\/p>\n\n\n\n<p>But then, in the last sentence of the article, something different happens.&nbsp;<\/p>\n\n\n\n<p>The passage reads:<\/p>\n\n\n\n<p>&#8220;\u0647\u0627\u0630 \u0627\u0644\u0634\u0627\u0628\u0629 \u0627\u0644\u0645\u063a\u0631\u0628\u064a\u0629&#8221;&nbsp;<\/p>\n\n\n\n<p>\u201cthis young Moroccan woman\u201d<\/p>\n\n\n\n<p>&#8220;\u062c\u0627\u062a \u0644\u0644\u0637\u0627\u0644\u064a\u0627\u0646 \u0645\u0639 \u0627\u0644\u0627\u0645 \u062f\u064a\u0627\u0644\u0647\u0627&#8221;<\/p>\n\n\n\n<p>\u201ccame to Italy with her mother\u201d<\/p>\n\n\n\n<p>&#8220;\u0648\u0647\u064a \u0639\u0646\u062f\u0647\u0627 \u0639\u0627\u0645\u064a\u0646&#8221;<\/p>\n\n\n\n<p>\u201cwhen she was two years old\u201d<\/p>\n\n\n\n<p>&#8220;\u0648\u0639\u0632\u064a\u0632 \u0639\u0644\u064a\u0647\u0627&#8221;<\/p>\n\n\n\n<p>\u201cand it is important for her\u201d<\/p>\n\n\n\n<p>&#8220;\u062a\u0645\u0646\u062d \u0627\u0644\u062d\u0628 \u0644\u0644\u0648\u0644\u064a\u062f\u0627\u062a \u0627\u0644\u0635\u063a\u0627\u0631&#8221;<\/p>\n\n\n\n<p>\u201cto give affection to little children\u201d<\/p>\n\n\n\n<p>&#8220;\u0643\u0645\u0627 \u062a\u0644\u0642\u0627\u062a \u0627\u0644\u062d\u0628 \u0645\u0646 \u0627\u0644\u0627\u0645 \u062f\u064a\u0627\u0644\u0647\u0627 \u0641\u0635\u063a\u0631\u0647\u0627&#8221;<\/p>\n\n\n\n<p>\u201cjust as she received love from her mother in her childhood\u201d<\/p>\n\n\n\n<p>&#8220;\u0648\u0639\u0645\u0631\u0647\u0627 \u063a\u0627\u062f\u064a \u062a\u0628\u062e\u0644 \u0639\u0644\u064a\u0647\u0645&#8221;<\/p>\n\n\n\n<p>\u201cand she will never fail them\u201d<\/p>\n\n\n\n<p>&#8220;\u0628\u0648\u0642\u062a\u0647\u0627 \u0648\u062c\u0647\u062f\u0647\u0627&#8221;<\/p>\n\n\n\n<p>\u201cwith her time and effort\u201d<\/p>\n\n\n\n<p>This may be described as the most \u201cspoken-like\u201d point of the text.&nbsp;<\/p>\n\n\n\n<p>And the reason is not simply that entire expressions in <em>D\u0101rija<\/em> appear.&nbsp;<\/p>\n\n\n\n<p>The more interesting point is another one: in this passage, journalistic writing, while remaining writing, begins to organize information as a telling voice would do.<\/p>\n\n\n\n<p>We can see this in several details.<\/p>\n\n\n\n<p>The first is proximal deixis: \u0647\u0627\u0630 \u0627\u0644\u0634\u0627\u0628\u0629 \u0627\u0644\u0645\u063a\u0631\u0628\u064a\u0629, \u201cthis young Moroccan woman\u201d.[4]<\/p>\n\n\n\n<p>Here the referent is not introduced through a more distant or neutral designation.&nbsp;<\/p>\n\n\n\n<p>The proximal demonstrative brings her closer to the scene of enunciation.&nbsp;<\/p>\n\n\n\n<p>In other words, the text reduces distance and constructs an effect of greater discursive proximity, often associated with oral interaction.<\/p>\n\n\n\n<p>The second element concerns the syntactic-discursive organization of the passage.&nbsp;<\/p>\n\n\n\n<p>Here information is no longer integrated and compressed, as often happens in more strictly informative and carefully controlled written registers, but unfolds through fragmentation and successive additions[5]:<\/p>\n\n\n\n<p>the text says that she arrives in Italy with her mother, that she was two years old, that she likes to give affection to children, that she received love from her mother, and that she will never fail to give children her time and energy.<\/p>\n\n\n\n<p>This incremental construction does not automatically turn the text into speech, but it does evoke discursive strategies often associated with oral storytelling and, more broadly, with a stronger dynamic of involvement.<\/p>\n\n\n\n<p>There is then a third, very important aspect: affective predication.[6]&nbsp;<\/p>\n\n\n\n<p>When the text says \u062a\u0645\u0646\u062d \u0627\u0644\u062d\u0628 \u0648\u0639\u0632\u064a\u0632 \u0639\u0644\u064a\u0647\u0627\u2014\u201cit is important for her to give affection\u201d\u2014it is not merely informing us about an action.&nbsp;<\/p>\n\n\n\n<p>It is not simply telling us that the protagonist engages in voluntary work. It stages an affective disposition, an emotional stance, a way of being.<\/p>\n\n\n\n<p>To explain this point properly, we may use a notion proposed by scholars such as Douglas Biber: stance.[7]&nbsp;<\/p>\n\n\n\n<p>By this term, we mean, in very simplified form, the way in which a text makes visible attitudes, judgments, involvement, and evaluation.<\/p>\n\n\n\n<p>So, here, the text does not only give us a fact: it also shows us the protagonist\u2019s affective orientation toward what she does. And this matters, because it already takes us somewhat beyond a purely informative logic.<\/p>\n\n\n\n<p>But we must be precise: this alone is not yet enough to say that we are dealing with an effect of orality.&nbsp;<\/p>\n\n\n\n<p>Affectivity and evaluation do not belong only to speech: they can also exist in writing, including in journalistic texts.<\/p>\n\n\n\n<p>What we can say, then, is that here a form of discursive subjectivity appears, and that this subjectivity prepares the ground for a more involved mode of discourse.<\/p>\n\n\n\n<p>And then, lexicon also matters.&nbsp;<\/p>\n\n\n\n<p>The <em>D\u0101rija<\/em> expression &#8220;\u0644\u0644\u0648\u0644\u064a\u062f\u0627\u062a \u0627\u0644\u0635\u063a\u0627\u0631&#8221;, \u2018to the little children\u2019\u2014used only in the article\u2019s final sentence\u2014does not correspond to the standard term &#8220;\u0627\u0644\u0623\u0637\u0641\u0627\u0644&#8221; \u2018children\u2019, used elsewhere in the article. The former has a more relational, more ordinary, less institutional colouring. It produces an effect of greater immediacy and lesser distance.<\/p>\n\n\n\n<p>Here too, however, the analysis must be formulated carefully: it is not the case that an ordinary word is automatically \u201coral\u201d.<\/p>\n\n\n\n<p>The point is another one.&nbsp;<\/p>\n\n\n\n<p>This lexical choice makes the text less impersonal and closer to a lexicon of relation, care, and proximity. In this way, together with the other elements in the article\u2019s final sentence, it helps construct a more involved voice.<\/p>\n\n\n\n<p>Finally, there is the ending of the sentence: &#8220;\u0648\u0639\u0645\u0631\u0647\u0627 \u063a\u0627\u062f\u064a \u062a\u0628\u062e\u0644 \u0639\u0644\u064a\u0647\u0645&#8221;\u2014&#8217;and she will never fail them\u2019\u2014&#8221;\u0628\u0648\u0642\u062a\u0647\u0627 \u0648\u062c\u0647\u062f\u0647\u0627&#8221; \u2018with her time and effort\u2019.<\/p>\n\n\n\n<p>This is, above all, where the passage becomes particularly interesting.&nbsp;<\/p>\n\n\n\n<p>Not because the sentence is fully \u201coral\u201d in itself. It is not.&nbsp;<\/p>\n\n\n\n<p>But because several elements accumulate here at once: an idiomatic formulation, strong evaluation, a highly perceptible subjective voice, and a closure that seems designed not only to inform, but also to express participation.[8]<\/p>\n\n\n\n<p>In other words, the degree of discursive involvement increases here.&nbsp;<\/p>\n\n\n\n<p>And it is precisely this increase in involvement that can produce, within writing, a local effect of oralization.<\/p>\n\n\n\n<p>This point is important from a theoretical perspective as well.&nbsp;<\/p>\n\n\n\n<p>Scholars such as Wallace Chafe and Deborah Tannen have long shown that speech and writing should not be thought of as two separate and opposite blocks, but rather as two poles of a continuum.[9]<\/p>\n\n\n\n<p>In between, there are many hybrid texts. And some written texts can adopt strategies which, while remaining written, evoke speech through their degree of involvement, voice presence, and closeness to ordinary interaction.<\/p>\n\n\n\n<p>And this is exactly why the case is useful for us.&nbsp;<\/p>\n\n\n\n<p>Not because it shows us a text that is fully \u201coral\u201d. It does not.&nbsp;<\/p>\n\n\n\n<p>On the contrary, this article is interesting precisely because it remains hybrid.&nbsp;<\/p>\n\n\n\n<p>Its opening preserves a recognizable journalistic frame; other segments remain closer to an informative function; but in certain points\u2014and especially in this final sentence\u2014the writing mobilizes discursive resources often associated with involved speech.<\/p>\n\n\n\n<p>So we would not say:&nbsp;<\/p>\n\n\n\n<p>\u201cthis text is oral because it is in D\u0101rija\u201d.<\/p>\n\n\n\n<p>We would rather say that, in this passage, journalistic writing does not transcribe speech, but mimics some of its discursive effects.<\/p>\n\n\n\n<p>It does so through proximal deixis, incremental syntax, affective-relational lexicon, and idiomatic formulations that construct a less impersonal voice, closer to ordinary interaction.<\/p>\n\n\n\n<p>And this also changes the type of discursive relationship proposed to the reader.<\/p>\n\n\n\n<p>The text does not abandon its informative function, but combines it here with a more narrative and more involved mode, one that reduces enunciative distance and constructs an effect of greater discursive proximity.<\/p>\n\n\n\n<p>It is precisely in this sense that, in the digital media observed in SABIRANET, writing can begin to sound like a voice.<\/p>\n\n\n\n<p>\u2026<\/p>\n\n\n\n<p>If in the previous section we saw that writing can move closer to voice, here it is worth looking at the reverse process.<\/p>\n\n\n\n<p>Because in digital media the opposite also happens: sometimes voice, precisely because we hear it, automatically appears to us more spontaneous, more natural, more authentic.<\/p>\n\n\n\n<p>But this is not always the case.&nbsp;<\/p>\n\n\n\n<p>A voice can sound immediate and, at the same time, be highly constructed.&nbsp;<\/p>\n\n\n\n<p>It can sound simple, yet have been prepared with great precision.&nbsp;<\/p>\n\n\n\n<p>It can sound close, but that closeness may be the result of highly controlled choices: choices of rhythm, lexicon, syntax, and register.<\/p>\n\n\n\n<p>In this sense, voice is never only \u201cvoice\u201d: it is also a shaping of discourse.<\/p>\n\n\n\n<p>To make this point more concrete, I use here a particularly useful case drawn from <em>Hawamich<\/em>, an independent Moroccan media platform which presents itself as a journalistic space grounded in proximity, investigation, and attention to geographical, cultural, and social margins.<\/p>\n\n\n\n<p>The case that interests us is an article published on hawamich.info on 12 October 2021, under the title:<\/p>\n\n\n\n<p><em>&#8220;\u0625\u0645\u062f\u064a\u0627\u0632\u0646&#8221; \u0623\u064a\u0627\u0645 \u0632\u0645\u0627\u0646 \u0648\u0627\u0644\u0635\u062d\u0627\u0641\u0629 \u0627\u0644\u0622\u0646.. \u0647\u0644 \u0623\u062e\u0630\u062a \u0627\u0644\u0635\u062d\u0627\u0641\u0629 \u0645\u0643\u0627\u0646 \u0634\u0639\u0631\u0627\u0621 \u0627\u0644\u062a\u0643\u0633\u0628\u061f<\/em><em><\/em><\/p>\n\n\n\n<p>You will find the link and references in the notes to this episode.[10]<\/p>\n\n\n\n<p>The general theme of the article is very clear: it compares the <em>imdiyazen<\/em>, that is, itinerant <em>Amazigh<\/em> poet-singers, with the role of the contemporary press, asking whether journalism has in part taken the place of those mediators of public speech who once praised, denounced, narrated events, and commented on social life.<\/p>\n\n\n\n<p>Alongside this written version, one can also listen, on the same page, to the podcast version of the article.<\/p>\n\n\n\n<p>This example is especially interesting because it does not present us with spontaneous speech in the strict sense.&nbsp;<\/p>\n\n\n\n<p>We are not dealing with an improvised conversation.&nbsp;<\/p>\n\n\n\n<p>We are not dealing with an audio recording made \u201chowever it came out\u201d.&nbsp;<\/p>\n\n\n\n<p>We are dealing with something else: a voice that follows a pre-existing written text, but partially reworks it as it is put into sound.<\/p>\n\n\n\n<p>I described this type of production in a previous study as <em>premeditated speech<\/em>: a prepared mode of speech that follows the written text closely, yet can modify some lexical and morphosyntactic choices precisely in order to function better in oral form.[11]<\/p>\n\n\n\n<p>This distinction also helps explain why, unlike unplanned speech, these podcasts do not display the most typical signs of immediate spontaneity\u2014for example interjections or disorderly restarts\u2014and are therefore a particularly useful case for understanding what a constructed orality can look like.<\/p>\n\n\n\n<p>Let us take a first, very simple example.<\/p>\n\n\n\n<p>In the written version, we read, in essence:<\/p>\n\n\n\n<p>&#8220;\u0643\u0627\u0646 \u0646\u0638\u0645 \u0627\u0644\u0634\u0639\u0631 \u0647\u0648 \u0645\u0647\u0646\u062a\u0647\u0645 \u0627\u0644\u062a\u064a \u064a\u0643\u0633\u0628\u0648\u0646 \u0628\u0647\u0627 \u062b\u0645\u0646\u0627 \u0642\u0644\u064a\u0644\u0627.&#8221;<\/p>\n\n\n\n<p>that is: \u201cComposing poetry was their profession, from which they earned a modest income.\u201d<\/p>\n\n\n\n<p>In the podcast version, however, the same passage sounds like this:<\/p>\n\n\n\n<p><em>k\u0101n na\u1e0f\u0323am \u0161-\u0161-i\u02bfr huwa l-mihna dy\u0101l-hum ll\u012b ka-yksb\u016b bi-h\u0101 \u1e6faman qal\u012bl<\/em><\/p>\n\n\n\n<p>The content, in fact, remains almost the same: it still says that composing poetry was their trade, and that this trade brought them little money.<\/p>\n\n\n\n<p>But the way of saying it changes.<\/p>\n\n\n\n<p>In the voice, elements from the <em>D\u0101rija<\/em> repertoire appear, such as <em>dy\u0101l-hum <\/em>(possessive adjective, \u201ctheir\u201d), <em>lli<\/em> (relative pronoun, \u201cthat\/which\u201d), and <em>ka-yksb\u016b<\/em> (present-tense verbal morphology in <em>D\u0101rija<\/em>).<\/p>\n\n\n\n<p>In other words, a formulation fully compatible with written Standard Arabic is recalibrated toward forms that are far more normal in Moroccan oral usage.<\/p>\n\n\n\n<p>And here the decisive point is: it does not look like a random substitution at all.&nbsp;<\/p>\n\n\n\n<p>It looks, rather, like a regular, oriented, controlled substitution.<\/p>\n\n\n\n<p>The voice does not move freely away from the text: it follows it, but makes it more sayable and more listenable. So, we are not dealing with a voice that simply \u201cspeaks however it comes\u201d. No.<\/p>\n\n\n\n<p>We are dealing with a voice that adapts the written text with precision to another channel\u2014the sonic one. And this is already a first, very strong sign that the naturalness of the audio is, at least in part, constructed.<\/p>\n\n\n\n<p>Let us take a second example. In the written version, we find a sentence such as:<\/p>\n\n\n\n<p>&#8220;\u0648\u0645\u0646 \u0644\u0645 \u064a\u0645\u0646\u062d\u0647\u0645 \u064a\u0647\u062c\u0648\u0646\u0647 \u0648\u064a\u0646\u0634\u0631\u0648\u0646 \u0623\u0633\u0631\u0627\u0631\u0647 \u0623\u0645\u0627\u0645 \u0627\u0644\u0646\u0627\u0633&#8221;<\/p>\n\n\n\n<p>that is: \u201cWhoever did not reward them, they attacked and exposed his secrets before the people\u201d.<\/p>\n\n\n\n<p>In the podcast version, by contrast, we hear:<\/p>\n\n\n\n<p><em>w-ll\u012b m\u0101 \u02bfa\u1e6d\u0101-hum-\u0161 yaha\u01e7\u016bna-hu wa-yan\u0161ur\u016bna \u02beasr\u0101ra-hu qd\u0101m n-n\u0101ss<\/em><\/p>\n\n\n\n<p>Here too the general meaning remains stable: whoever did not give something to the itinerant poets was attacked and publicly exposed.<\/p>\n\n\n\n<p>But from the formal point of view, the oral version once again reproduces the same passage from the written article by using morphosyntactic elements from the <em>D\u0101rija<\/em> repertoire\u2014for example the discontinuous verbal negation with <em>ma<\/em> + verb + <em>sh<\/em>, and also lexical choices common in <em>D\u0101rija<\/em> such as <em>qdam<\/em> <em>n-nas<\/em> (\u2018in front of the people\u2019), in place of the more strictly standard formulation used in the written article.<\/p>\n\n\n\n<p>These shifts do not change the underlying content, but they do change the discursive profile of the sentence: they make it closer to a formal style of Moroccan Arabic.<\/p>\n\n\n\n<p>And once again, what strikes us is not pure spontaneity, but rather its opposite:&nbsp;<\/p>\n\n\n\n<p>the regularity of the transformation.<\/p>\n\n\n\n<p>The voice follows a written journalistic text, but at clearly recognizable points it moves that text toward a form more compatible with speech.<\/p>\n\n\n\n<p>We might put it even more simply like this:&nbsp;<\/p>\n\n\n\n<p>Here the voice does not improvise; it interprets.&nbsp;<\/p>\n\n\n\n<p>It does not invent freely; it transposes.&nbsp;<\/p>\n\n\n\n<p>It does not abandon the text; it rearranges it.<\/p>\n\n\n\n<p>And this is fundamental for the argument of this episode.&nbsp;<\/p>\n\n\n\n<p>Because it helps us correct a widespread assumption: the idea that voice is always the place of pure spontaneity. No.&nbsp;<\/p>\n\n\n\n<p>In digital media, voice can be prepared, edited, calibrated, written before being spoken, or it can closely follow a written text and modify it selectively.<\/p>\n\n\n\n<p>That is why it is not enough to say: \u201chere there is a voice, therefore there is immediate authenticity\u201d.&nbsp;<\/p>\n\n\n\n<p>We need to ask instead: how has that voice been constructed? through which choices? and with what effects?<\/p>\n\n\n\n<p>The <em>Hawamich<\/em> case is useful for exactly this reason.&nbsp;<\/p>\n\n\n\n<p>On the one hand, it maintains a strong journalistic structure: there is a written article, informative and organized, with a precise theme.&nbsp;<\/p>\n\n\n\n<p>On the other hand, the podcast version shows that the passage into voice is not mechanical.<\/p>\n\n\n\n<p>It is not the simple flat reading of a standard text.&nbsp;<\/p>\n\n\n\n<p>It is a worked-out voicing, in which some structures are shifted toward forms more accessible to listening and closer to mixed Moroccan usage.&nbsp;<\/p>\n\n\n\n<p>In other words: voice constructs its effects of naturalness with great precision.<\/p>\n\n\n\n<p>And for precisely that reason, it is as interesting an object of analysis as writing itself.<\/p>\n\n\n\n<p>In the previous section, we saw that a written text can adopt traits that make it sound a little like a voice. Here, by contrast, we see the opposite: a voice can be much less spontaneous than it seems, because it emerges from a precise discursive design. In the digital media observed in SABIRANET, then, neither writing is always \u201conly writing\u201d, nor voice always \u201conly spontaneity\u201d. Both can be recalibrated according to medium, audience, and the kind of presence the text seeks to construct.<\/p>\n\n\n\n<p>\u2026<\/p>\n\n\n\n<p>At this point, the underlying issue becomes clearer.<\/p>\n\n\n\n<p>In digital media, writing and speech do not function as two closed categories, but as two resources that can be realigned in different ways.<\/p>\n\n\n\n<p>In the case of <em>Goud<\/em>, we have seen a journalistic written text which, in one precise passage, locally evokes speech-like discourse.&nbsp;<\/p>\n\n\n\n<p>In the case of <em>Hawamich<\/em>, we have seen instead a voice that does not coincide with immediate spontaneity, but with the selective and controlled voicing of a pre-existing written text.<\/p>\n\n\n\n<p>This means that, when we analyse a digital text, it is no longer enough to say: \u201cthis is written\u201d or \u201cthis is spoken.\u201d&nbsp;<\/p>\n\n\n\n<p>We need to ask instead: in what way does writing construct voice effects? And in what way does voice reorganize materials and structures of writing?<\/p>\n\n\n\n<p>This is where the theme once again intersects directly with the heart of SABIRANET. Because in the case of Arabic\u2014and especially in the relation between Standard Arabic, <em>D\u0101rija<\/em>, and mixed forms\u2014the boundary between writing and orality is not just a technical matter. It concerns prestige, proximity, authority, and the social recognizability of linguistic forms.<\/p>\n\n\n\n<p>\u2026<\/p>\n\n\n\n<p>Why does all this matter so much?<\/p>\n\n\n\n<p>Because the relationship between writing and voice is never purely formal. It produces very concrete discursive and social effects.<\/p>\n\n\n\n<p>When a written text incorporates traits of orality, it can construct an effect of greater proximity, accessibility, and involvement.&nbsp;<\/p>\n\n\n\n<p>When, by contrast, a voice is shaped in a more controlled, more explanatory, and more orderly way, it can construct an effect of greater credibility, stability, and discursive authority.<\/p>\n\n\n\n<p>Naturally, these effects are not automatic.&nbsp;<\/p>\n\n\n\n<p>They depend on the medium, the context, the audience, and also on the linguistic ideologies of those who read or listen.<\/p>\n\n\n\n<p>For some, a language closer to orality may appear lively, recognizable, and more immediate.<\/p>\n\n\n\n<p>For others, it may seem less correct or less authoritative.&nbsp;<\/p>\n\n\n\n<p>Likewise, a more constructed voice may appear reliable and legitimate\u2014or, on the contrary, too distant.<\/p>\n\n\n\n<p>And this is precisely why the relationship between writing and voice is so important to observe: it tells us not only what a text looks like, but also what kind of discursive relation it makes possible.<\/p>\n\n\n\n<p>\u2026<\/p>\n\n\n\n<p>There is one final important aspect.<\/p>\n\n\n\n<p>In digital media, writing and speech do not simply coexist: they often pass continuously into one another.<\/p>\n\n\n\n<p>An article can be read aloud in a podcast.&nbsp;<\/p>\n\n\n\n<p>A podcast can be transcribed, quoted, and recirculated.&nbsp;<\/p>\n\n\n\n<p>A written post can adopt the tone of oral interaction.&nbsp;<\/p>\n\n\n\n<p>A phrase spoken in a video can become a comment, a caption, a screenshot, a meme.<\/p>\n\n\n\n<p>In this sense, the digital is not only the place where writing and speech meet.&nbsp;<\/p>\n\n\n\n<p>It is also the place where they are constantly recalibrated and set into circulation again.<\/p>\n\n\n\n<p>And it is precisely this mobility that makes the boundary less stable: not because it disappears altogether, but because it is continuously redrawn.<\/p>\n\n\n\n<p>\u2026<\/p>\n\n\n\n<p>Let us return, then, to the opening question of this episode: <strong>what happens when writing takes voice, and when voice is constructed like writing?<\/strong><\/p>\n\n\n\n<p>First of all, the boundary between writing and speech stops appearing as a rigid division.&nbsp;<\/p>\n\n\n\n<p>It does not disappear, but it changes.&nbsp;<\/p>\n\n\n\n<p>And this transformation forces us to look at media language in a less schematic way.<\/p>\n\n\n\n<p>In the case of the <em>Goud<\/em> article, we have seen that a journalistic written text can remain such and yet, in certain passages, organize information as a telling voice would do.&nbsp;<\/p>\n\n\n\n<p>Not because it becomes speech in the full sense, but because it mobilizes discursive effects of proximity, involvement, and enunciative presence.<\/p>\n\n\n\n<p>In the case of <em>Hawamich<\/em>, we have seen the reverse process: a voice that may seem immediate and natural, but that actually arises from a precise working-over of written text.&nbsp;<\/p>\n\n\n\n<p>Here voice does not coincide with pure spontaneity: it is a selective, oriented, constructed voicing.<\/p>\n\n\n\n<p>This means that, in digital media, neither writing is always only writing, nor voice always only spontaneity.&nbsp;<\/p>\n\n\n\n<p>Both can be recalibrated, adapted, and transformed according to the medium, the audience, and the discursive effects one seeks to construct.<\/p>\n\n\n\n<p>In the case of contemporary Arabic, all this is particularly visible.&nbsp;<\/p>\n\n\n\n<p>Because the relationship between writing and voice is intertwined with the presence of Standard Arabic, with the growing visibility of <em>D\u0101rija<\/em>, with the mixed forms of media communication, and with the ways speakers attribute value, prestige, or proximity to different linguistic resources.<\/p>\n\n\n\n<p>In this second episode, then, we have taken a step further beyond the first.&nbsp;<\/p>\n\n\n\n<p>If in the first episode we asked what happens when media speak mixed Arabic, today we have tried to understand how the digital rewrites the relationship between writing and orality, and how this relationship can be observed concretely in texts.<\/p>\n\n\n\n<p>In the next episode, we will widen the lens to another fundamental dimension: the movement of language between Morocco and Europe.&nbsp;<\/p>\n\n\n\n<p>We will see how the Arabic of digital media travels, transforms itself, and builds connections in diasporic contexts.<\/p>\n\n\n\n<p>\u2026<\/p>\n\n\n\n<p>You have been listening to <strong><em>Media Speaking Arabic(s)<\/em><\/strong>, the podcast of the SABIRANET project.&nbsp;<\/p>\n\n\n\n<p>In the description you will find the link to the project website, where you can listen to and read all episodes, transcribed and enriched with explanatory notes and bibliographical references.<\/p>\n\n\n\n<p>I am Rosa Pennisi, and thank you for listening.&nbsp;<\/p>\n\n\n\n<p>See you in the next episode.<\/p>\n\n\n\n<p><strong><em>NOTES<\/em><\/strong><\/p>\n\n\n\n<p>[1] Arabic sociolinguistic background.<\/p>\n\n\n\n<p>This episode builds on a well-established sociolinguistic understanding of Arabic as a space of stratified and functionally differentiated repertoires rather than a simple opposition between \u201cstandard\u201d and \u201cdialect.\u201d Classical discussions begin with Ferguson\u2019s model of diglossia and Badawi\u2019s proposal of multiple levels of contemporary Arabic; more recent work has emphasized the ideological dimension of these distinctions and the growing visibility of colloquial and mixed forms in writing. For Arabic in general, see Ferguson (1959, 1996), Badawi (1973), Bassiouney (2020), and Brustad (2017). For Morocco in particular, see Miller (2017), Caubet (2017), and Hachimi (2017).<\/p>\n\n\n\n<p>[2] <em>Goud<\/em> and the article discussed in this episode.<\/p>\n\n\n\n<p>For basic information on <em>Goud<\/em> as a Moroccan online outlet known for its extensive use of <em>D\u0101rija<\/em>, see Pennisi (2025a). For the article analysed in this episode, see: <a href=\"https:\/\/www.goud.ma\/\u0631\u0626\u064a\u0633-\u0627\u064a\u0637\u0627\u0644\u064a\u0627-\u0648\u0634\u062d-\u062a\u0644\u0645\u064a\u0630\u0629-\u0645\u063a\u0631\u0628\u064a\u0629-\u0628\u0648\u0633\u0627\u0645-\u0627-790593\/\">https:\/\/www.goud.ma\/\u0631\u0626\u064a\u0633-\u0627\u064a\u0637\u0627\u0644\u064a\u0627-\u0648\u0634\u062d-\u062a\u0644\u0645\u064a\u0630\u0629-\u0645\u063a\u0631\u0628\u064a\u0629-\u0628\u0648\u0633\u0627\u0645-\u0627-790593\/<\/a> . The episode uses the article as a case study in how journalistic writing can combine an informative frame with locally speech-like features and discursive strategies.<\/p>\n\n\n\n<p>[3] Moroccan <em>D\u0101rija<\/em> in writing.&nbsp;<\/p>\n\n\n\n<p>The statement that Moroccan <em>D\u0101rija<\/em> lacks a fully shared written standard does not mean that it is not written. On the contrary, scholars have shown that <em>D\u0101rija<\/em> has become increasingly visible in contemporary public writing\u2014especially in blogs, social media, activist discourse, and popular media\u2014while remaining orthographically and ideologically contested. See Caubet (2017), Miller (2017), and Pennisi (2020).<\/p>\n\n\n\n<p>[4] Proximal deixis in Arabic.<\/p>\n\n\n\n<p>A proximal demonstrative points to a referent as close to the speaker\u2019s or enunciator\u2019s sphere, but demonstrative choice is not determined by physical distance alone. Work on Arabic demonstratives has shown that their use is strongly context-dependent and may also reflect degrees of perceptual or discursive accessibility. In this passage, the proximal demonstrative does not merely identify the referent: it helps reduce enunciative distance and make the reference more immediate. See Jarbou (2010). For a broader discussion of demonstratives as deictic expressions linked to joint attention and discourse, see Diessel &amp; Coventry (2020).<\/p>\n\n\n\n<p>[5] Incremental syntax and discourse organization.<\/p>\n\n\n\n<p>What is being described here as incremental organization refers to the step-by-step addition of information, rather than its compression into dense, highly integrated written structures. This kind of sequencing has often been associated with more involved, speech-like discourse. Classic discussions include Chafe &amp; Tannen (1987) and Tannen (1982). For Arabic digital writing specifically, see Latif (2017), who discusses the \u201coralization of writing\u201d in online discourse.<\/p>\n\n\n\n<p>[6] Affective predication.<\/p>\n\n\n\n<p>By affective predication I refer here to a predicative structure that attributes not only an action or state, but also an emotional or evaluative orientation to the participant. In the passage discussed in this episode, the text does not simply report volunteering as an activity; it frames the protagonist as someone affectively oriented toward care and affection. This overlaps with broader work on stance, evaluation, and discursive subjectivity. See Biber (2006) on stance in discourse, Bednarek (2006) on evaluation in media discourse, and Hachimi (2017) for a discussion of stance and ideological positioning in Moroccan digital discourse.<\/p>\n\n\n\n<p>[7] Stance.<\/p>\n\n\n\n<p>Douglas Biber uses the term \u201cstance\u201d to refer to the ways speakers and writers express attitudes, feelings, judgments, certainty, doubt, or evaluation in discourse. In this episode, the concept is used in a broad and simplified sense to show how a text can go beyond bare information and make an evaluative or affective orientation visible. See Biber (2006).<\/p>\n\n\n\n<p>[8] Idiomatic closure, evaluation, subjective voice, and participation.<\/p>\n\n\n\n<p>The final sequence &#8220;\u0648\u0639\u0645\u0631\u0647\u0627 \u063a\u0627\u062f\u064a \u062a\u0628\u062e\u0644 \u0639\u0644\u064a\u0647\u0645 \u0628\u0648\u0642\u062a\u0647\u0627 \u0648\u062c\u0647\u062f\u0647\u0627&#8221; is important not because a single morpheme makes it \u201coral\u201d, but because the whole formulation concentrates several effects at once. It is idiomatic in the sense that it sounds like a committed, familiar way of saying \u201cshe will never fail them\u201d; it is evaluative because it implicitly presents the protagonist\u2019s conduct as morally positive; it is subjective because the wording makes the narrator\u2019s orientation more perceptible; and it expresses participation because it sounds less like detached reporting and more like involved endorsement. On involvement and evaluation in discourse, see Chafe &amp; Tannen (1987), Tannen (1982), and Biber (2006).<\/p>\n\n\n\n<p>[9] Chafe, Tannen, and beyond a rigid opposition between speech and writing.<\/p>\n\n\n\n<p>Wallace Chafe and Deborah Tannen are key references for moving beyond a rigid opposition between spoken and written discourse. Chafe shows that speech and writing often differ in recurrent tendencies\u2014such as involvement versus integration, fragmentation versus condensation\u2014but not as absolute or fixed categories. Tannen, in turn, emphasizes that \u201coral\u201d and \u201cliterate\u201d strategies can circulate across both spoken and written discourse: a written text may adopt strategies associated with speech, while spoken discourse may display highly literate organization. Their work has also been further qualified by later scholarship, which has stressed the importance of genre, medium, and communicative situation. For this reason, the point is not that speech and writing are impossible to compare, but that they should not be treated as two homogeneous and mutually exclusive blocks. See Chafe &amp; Tannen (1987) and Tannen (1982). For a complementary model distinguishing material medium from communicative conception, see Koch and Oesterreicher (2012). In this episode, these works are used as a heuristic framework rather than as a model assumed to map directly onto the specific sociolinguistic realities of Arabic and Moroccan <em>D\u0101rija<\/em>.<\/p>\n\n\n\n<p>[10] <em>Hawamich<\/em> article.<\/p>\n\n\n\n<p>For the <em>Hawamich<\/em> article discussed here, see: <a href=\"https:\/\/hawamich.info\/2903\/\">https:\/\/hawamich.info\/2903\/<\/a> . The interest of the case lies in the coexistence, on the same page, of a written article and its podcast version, which makes it possible to compare the written and voiced realizations of the same content.<\/p>\n\n\n\n<p>[11] Premeditated speech and the Hawamich case.<\/p>\n\n\n\n<p>The discussion in this episode refers directly to Pennisi\u2019s comparative analysis of Moroccan digital media, which examines the relation between oral and written practices across online newspapers, talk-shows, and podcasts. In that study, the Hawamich podcasts are useful precisely because they do not represent unplanned spontaneous speech: they are cases of premeditated speech, that is, prepared oral productions that follow a pre-existing written text closely while selectively recalibrating it at the lexical and morphosyntactic levels in order to function more effectively in oral form. This makes them especially valuable for observing how \u201cvoice\u201d in digital media may be constructed rather than simply improvised. See Pennisi (2025b).<\/p>\n\n\n\n<p><strong><em>REFERENCES<\/em><\/strong><\/p>\n\n\n\n<p>Badawi, El-Said M. (1973). <em>Mustaway\u0101t al-\u02bfArabiyya al-mu\u02bf\u0101\u1e63ira f\u012b Mi\u1e63r: ba\u1e25th f\u012b \u02bfal\u0101qat al-lugha bi-l-\u1e25a\u1e0d\u0101ra<\/em>. Cairo: D\u0101r al-Ma\u02bf\u0101rif.<\/p>\n\n\n\n<p>Bassiouney, R. (2020). <em>Arabic sociolinguistics: Topics in diglossia, gender, identity, and politics<\/em>. 2nd ed. Edinburgh: Edinburgh University Press.<\/p>\n\n\n\n<p>Bednarek, M. (2006). <em>Evaluation in Media Discourse: Analysis of a Newspaper Corpus<\/em>. London and New York: Continuum.<\/p>\n\n\n\n<p>Biber, D. (2006). Stance in spoken and written university registers.&nbsp;<em>Journal of English for academic purposes<\/em>,&nbsp;<em>5<\/em>(2), 97-116.<\/p>\n\n\n\n<p>Brustad, K. (2017). Diglossia as ideology. In&nbsp;<em>The politics of written language in the Arab world<\/em>&nbsp;(pp. 41-67). Brill.<\/p>\n\n\n\n<p>Caubet, D. (2017). Morocco: An informal passage to literacy in d\u0101rija (Moroccan Arabic). In&nbsp;<em>The politics of written language in the Arab world<\/em>&nbsp;(pp. 116-141). Brill.<\/p>\n\n\n\n<p>Chafe, W., &amp; Tannen, D. (1987). The relation between written and spoken language.&nbsp;<em>Annual review of anthropology<\/em>,&nbsp;<em>16<\/em>, 383-407.<\/p>\n\n\n\n<p>Diessel, H., &amp; Coventry, K. R. (2020). Demonstratives in spatial language and social interaction: An interdisciplinary review.&nbsp;<em>Frontiers in Psychology<\/em>,&nbsp;<em>11<\/em>, 555265.<\/p>\n\n\n\n<p>Ferguson, C. A. (1959). Diglossia.&nbsp;<em>word<\/em>,&nbsp;<em>15<\/em>(2), 325-340.<\/p>\n\n\n\n<p>Ferguson, C. A. (1996). \u201cEpilogue: Diglossia Revisited\u201d. In <em>Understanding Arabic: Essays in Contemporary Arabic Linguistics in Honor of El-Said Badawi<\/em>, edited by by Alaa Elgibali, Cairo: The American University in Cairo Press, 49\u201368.<\/p>\n\n\n\n<p>Hachimi, A. (2017). Moralizing Stances Discursive Play and Ideologies of Language and Gender in Moroccan Digital Discourse. In&nbsp;<em>The politics of written language in the Arab world<\/em>&nbsp;(pp. 239-265). Brill.<\/p>\n\n\n\n<p>Jarbou, S. O. (2010). Accessibility vs. physical proximity: An analysis of exophoric demonstrative practice in Spoken Jordanian Arabic.&nbsp;<em>Journal of Pragmatics<\/em>,&nbsp;<em>42<\/em>(11), 3078-3097.<\/p>\n\n\n\n<p>Koch, P. &amp; Oesterreicher W. (2012). \u201cLanguage of Immediacy \u2013 Language of Distance: Orality and Literacy from the Perspective of Language Theory and Linguistic History.\u201d In <em>Communicative Spaces: Variation, Contact, and Change<\/em>, edited by Claudia Lange, Beatrix Weber, and G\u00f6ran Wolf, 441\u2013473. Frankfurt am Main: Peter Lang.<\/p>\n\n\n\n<p>Latif, E. A. (2017). The oralization of writing: Argumentation, profanity and literacy in cyberspace. In&nbsp;<em>The politics of written language in the Arab world<\/em>&nbsp;(pp. 290-307). Brill.<\/p>\n\n\n\n<p>Miller, C. (2017). Contemporary d\u0101rija writings in Morocco: Ideology and practices. In&nbsp;<em>The politics of written language in the Arab world<\/em>&nbsp;(pp. 90-115). Brill.<\/p>\n\n\n\n<p>Pennisi, R. (2020). Written D\u0101rija: \u2018m\u0101\u0161\u012b m\u01dd\u02bfq\u016bl t\u01ddkt\u01ddb-ha bi-\u1e25ur\u016bf al-lu\u0121a al-\u02bfarabiyya!\u2019 Media Reception of the Zakoura Dictionary Project. <em>Annali di Ca\u2019 Foscari. Serie orientale<\/em>, 56, 129\u2013154.<\/p>\n\n\n\n<p>Pennisi R. (2025a). <em>Arabe Mixte 2.0 : Pratiques et repr\u00e9sentations linguistiques dans les journaux et les m\u00e9dias num\u00e9riques marocains<\/em>. Roma: Istituto per l\u2019Oriente C.A. Nallino.<\/p>\n\n\n\n<p>Pennisi, R. (2025b). (Moroccan) Mixed Arabic in digital media: A comparative analysis of oral and written practices in Moroccan digital platforms and newspapers.&nbsp;<em>Lingua Posnaniensis<\/em>,&nbsp;<em>67<\/em>(1), 121-143.<\/p>\n\n\n\n<p>Tannen, D. (1982). Oral and literate strategies in spoken and written narratives.&nbsp;<em>Language<\/em>, 1-21.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"726\" height=\"234\" src=\"https:\/\/www.sabiranet.unict.it\/wp-content\/uploads\/2026\/01\/image.png\" alt=\"\" class=\"wp-image-43\" srcset=\"https:\/\/www.sabiranet.unict.it\/wp-content\/uploads\/2026\/01\/image.png 726w, https:\/\/www.sabiranet.unict.it\/wp-content\/uploads\/2026\/01\/image-300x97.png 300w\" sizes=\"auto, (max-width: 726px) 100vw, 726px\" \/><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Media Speaking Arabic(s): A New (G)local Digital Heritage Rosa Pennisi Season 1 \u2013 Which Arabic(s) in Digital Media? 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