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This dissertation is an investigation of pitch accent, or lexical tone, in standard Croatian. The first chapter presents an in-depth overview of the history of the Croatian language, its relationship to Serbo-Croatian, its dialect groups and pronunciation variants, and general phonology. The second chapter explains the difference between various types of prosodic prominence and describes systems of pitch accent in various languages from different parts of the world: Yucatec Maya, Lithuanian and Limburgian. Following is a detailed account of the history of tone in Serbo-Croatian and Croatian, the specifics of its tonal system, intonational phonology and finally, a review of the most prominent phonetic investigations of tone in that language.
The focal point of this dissertation is a production experiment, in which ten native speakers of Croatian from the region of Slavonia were recorded. The material recorded included a diverse selection of monosyllabic, bisyllabic, trisyllabic and quadrisyllabic words, containing all four accents of standard Croatian: short falling, long falling, short rising and long rising. Each target word was spoken in initial, medial and final positions of natural Croatian sentences. This research fills several gaps in the existing literature. Namely, the production of tone was investigated in words with a syllabic /r̩/, in pretonal syllables and in non-initial context. Acoustic parameters measured included duration, F0 in every 10% of the nucleus duration, overall pitch, pitch range and pitch peak alignment.
Results showed that differences between falling and rising accents in Croatian are produced mainly with tonal parameters and that the most salient features were pitch peak alignment and overall pitch. The difference between long and short accents was primarily durational and optionally tonal. Words produced in initial and medial sentence positions had a rising contour in their accented syllable, while in the final, segments were usually falling.
U hrvatskoj jezikoslovnoj tradiciji element se formalni je pokazatelj pripadnosti pojedinoga glagola skupini povratnih glagola. Taj se element dosad smatrao zamjenjivim zamjenicom sebe u tzv. pravih povratnih glagola. U ovome se radu na temelju postavaka više autora (Zec 1985, Sells, Zaenen i Zec 1987, Moskovljević 1997, Medová 2009, Oliva 2010) pokušava dokazati neistovjetnost elemenata se i sebe. Slobodna zamjena tih dvaju elemenata rezultira promjenom značenja i gramatičkom neovjerenošću. Iz toga proizlazi i drugačija podjela povratnih glagola. U radu će se usporedbom nekoliko povratnih glagola i njihovih prijelaznih parnjaka iznijeti drugačiji pristup povratnim glagolima.
The Intensifying Function of Modal Particles and Modal Elements in a Cross-Linguistic Perspective
(2015)
The aim of this paper is to analyze the intensifying function of German modal particles and equivalent modal expressions in Croatian and English. Our hypothesis is that some modal particles in German and their functional equivalents in Croatian and English can express different degrees of intensity and types of intensification. The presented study comprises two parts. First, the use of intensifying modal particles by a group of speakers of L1 Croatian and L2 German/English is investigated. On the basis of the results obtained, and by means of a previously conducted corpus analysis (cf. Kresić and Batinić 2014), an intensification scale with respect to the inventory of German modal particles and corresponding particles in Croatian as well as equivalent English expressions is suggested. Some German and Croatian modal particles and equivalent modal elements in English can be classified on the upper and partially on the lower part of the proposed intensification scale when compared to the norm, i.e. an utterance unmarked by a modal particle.
Croatian negative indefinite expressions, or the so-called ni-words, are complex forms made by adding the prefix ni- to simple forms of indefinite pronouns. The Croatian standard norm prescribes that in prepositional phrases involving negative idefinite pronouns (the so-called ni-pronouns), the negative element ni should be separated from the pronoun and put in front of the preposition. However, in everyday communication one may often notice the use of the word order P + negative indefinite pronoun, and this word order has also made its way into newspapers and other media. This paper attempts to determine whether there is a significant difference in meaning between the order ni + P + indefinite pronoun and the order P + negative indefinite pronoun to account for such a change in language. We also analyze the frequency of use of these two different word orders in the Croatian National Corpus, examining eleven most frequent prepositions and six simple indefinite pronouns.
Obligatory control refers to the relation of obligatory coreference between one of the arguments in the matrix clause and an unexpressed argument of the subordinate infinitive. This paper provides examples of subject and object control in Croatian that reveal significant differences between these two constructions. Subject control is understood as a purely syntactic relation, while the analysis of object control requires the introduction of semantic macroroles. The two constructions are therefore based on different basic principles, which results in various asymmetries with regard to restrictions on possible syntactic realizations. Moreover, the limitations on scope interpretation of temporal adverbs resulting from word order changes in object control constructions suggest that the two verbs in object control might form a tighter unit than those in subject control constructions.
U ovome se radu uspoređuju sustavi vokalnih fonema suvremenih standardnih jezika: južnoslavenskoga hrvatskog i istočnoslavenskih (redoslijedom): ruskoga, ukrajinskoga i bjeloruskoga, pri čemu se za svaki daje odnos današnjih prema vokalnim fonemima staroslavenskoga jezika kao etalona. U vezi s pokazanim drugačijim odnosom vokala i suglasnika u hrvatskome, s jedne strane, i istočnoslavenskima, s druge, navode se grafemi vokalnih fonema u četirima grafijama i pokazuju, objašnjavaju te imenuju principi njihova pravopisanja.