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The present study, based on a typological survey of ca. 70 languages, offers a systematization of consonantal insertions by classifying them into three main types: grammatical, phonetic, and prosodic insertions. The three epenthesis types essentially differ from each other in terms of preferred sounds, domains of application, the role of segmental context, their occurrence cross-linguistically, the extent of variation and phonetic explication.
The present investigation is significantly different from other analyses of consonantal epentheses in the sense that it neither invokes markedness nor diachronic state of the processes under discussion. Instead, it considers the different nature of the epenthetic segments by referring to the representational levels and/or domains which are relevant for their appearance.
"The documentation of... descriptive generalizations is sometimes clearer and more accessible when expressed in terms of a detailed formal reconstruction, but only in the rare and happy case that the formalism fits the data so well that the resulting account is clearer and easier to understand than the list of categories of facts that it encodes.... [If not], subsequent scholars must often struggle to decode a description in an out-of-date formal framework so as to work back to... the facts.... which they can re-formalize in a new way. Having experienced this struggle often ourselves, we have decided to accommodate our successors by providing them directly with a plainer account." (Akinlabi & Liberman 2000:24)
The article offers a philosophical reading of Mazen Kerbaj's sound piece "Starry Night". Recorded in 2006 during the bombing of Beirut by the Israeli Air Force, the piece stages an acoustic encounter between the improvised sounds of the trumpet and live bomb explosions. Arguing for a formal examination of the ways in which Kerbaj stages the problem of the genesis of musical order in the exchange between trumpet and bombs, the article draws parallels with explorations of the problems of the State and of political contradiction in the Marxist tradition. Three common points are identified: the contingency of the appearance of order, its inseparability from an excess of violence, and its spatializing function. The last part delineates parallels between Kerbaj's subversive aesthetic strategies and Badiou's elaboration of the concept of the subject as the interruption of a repetitive logic of placement.
In this paper I investigate the usage of the adverb and particle 'so' in spontaneous speech (interviews) collected from 21 speakers of the urban multi-ethnolectal youth language Kiezdeutsch. Speakers from the neighborhoods Kreuzberg and Wedding in Berlin are ranging in age from 14 to 18. The 1454 tokens of so available in the corpus (about 5 hours of speech) were classified into 10 different categories; some were structurally defined while others were defined along dimensions of meaning. Our current results indicate that there are differential usages patterns depending on the speaker's gender and age for some of these categories. Further, it appears that some patterns that have been attributed grammatical meaning may not appear frequently enough to establish a separate meaningful grammatical category. Rather, most instances of this kind of use of so appear to have a hedging function, indicating speakers' non-commitance to a specific circumstance.
Writing a positive account of utopias has always been a difficult and risky task. Utopias have always already been out of fashion and outside of time. Since 1989 at the latest, visions of utopia appear to have come to an end. Twenty years after Fukayama's 'end of history', this article re-assesses the potentially fruitful roles for utopia’s out-of-timeness. Focusing on the critical potential of utopias through the concept of tension, it argues that utopian thought must be conceptualized through its tensile connections both to the status quo of a given society and to its possible futures.
The morpho-syntax of relative clauses in Sotho-Tswana is relatively well-described in the literature. Prosodic characteristics, such as tone, have received far less attention in the existing descriptions. After reviewing the basic morpho-syntactic and semantic features of relative clauses in Tswana, the current paper sets out to present and discuss prosodic aspects. These comprise tone specifications of relative clause markers such as the demonstrative pronoun that acts as the relative pronoun, relative agreement concords and the relative suffix. Further prosodic aspects dealt with in the current article are tone alternations at the juncture of relative pronoun and head noun, and finally the tone patterns of the finite verbs in the relative clause. The article aims at providing the descriptive basis from which to arrive at generalizations concerning the prosodic phrasing of relative clauses in Tswana.
Símákonde is an Eastern Bantu language (P23) spoken by immigrant Mozambican communities in Zanzibar and on the Tanzanian mainland. Like other Makonde dialects and other Eastern and Southern Bantu languages (Hyman 2009), it has lost the historical Proto-Bantu vowel length contrast and now has a regular phrase-final stress rule, which causes a predictable bimoraic lengthening of the penultimate syllable of every Prosodic Phrase. The study of the prosody / syntax interface in Símákonde Relative Clauses requires to take into account the following elements: the relationship between the head and the relative verb, the conjoint / disjoint verbal distinction and the various phrasing patterns of Noun Phrases. Within Símákonde noun phrases, depending on the nature of the modifier, three different phrasing situations are observed: a modifier or modifiers may (i) be required to phrase with the head noun, (ii) be required to phrase separately, or (iii) optionally phrase with the head noun.
Símákonde is an Eastern Bantu language (P23) spoken by immigrant Mozambican communities in Zanzibar and on the Tanzanian mainland. Like other Makonde dialects and other Eastern and Southern Bantu languages (Hyman 2009), it has lost the historical Proto-Bantu vowel length contrast and now has a regular phrase-final stress rule, which causes a predictable bimoraic lengthening of the penultimate syllable of every Prosodic Phrase. The study of the prosody / syntax interface in Símákonde Relative Clauses requires to take into account the following elements: the relationship between the head and the relative verb, the conjoint / disjoint verbal distinction and the various phrasing patterns of Noun Phrases. Within Símákonde noun phrases, depending on the nature of the modifier, three different phrasing situations are observed: a modifier or modifiers may (i) be required to phrase with the head noun, (ii) be required to phrase separately, or (iii) optionally phrase with the head noun.
This paper tests three current theories of the phonology-syntax interface – Truckenbrodt (1995), Pak (2008) and Cheng & Downing (2007, 2009) – on the prosody of relative clauses in Chewa. Relative clauses, especially restrictive relative clauses, provide an ideal data set for comparing these theories, as they each make distinct predictions about the optimal phrasing. We show that the asymmetrical phase-edge based approach developed to account for similar Zulu prosodic phrasing by Cheng & Downing also best accounts for the Chewa data.