Change This Title! (DRAFT: August 19, 2021)

Total Page:16

File Type:pdf, Size:1020Kb

Change This Title! (DRAFT: August 19, 2021) VOWEL HARMONY AND SOME RELATED PROCESSES IN FUNGWA by Samuel Kayode Akinbo BA (Hons) Linguistics, University of Ibadan, 2012 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate and Postdoctoral Studies (Linguistics) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2021 © Samuel Kayode Akinbo, 2021 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: Vowel harmony and related processes in Fungwa submitted by Samuel Kayode Akinbo in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Linguistics Examining Committee: Douglas Pulleyblank, Linguistics, UBC Supervisor Gunnar Olafur´ Hansson, Linguistics, UBC Supervisory Committee Member Rose-Marie Dechaine,´ Linguistics, UBC Supervisory Committee Member Anne-Michelle Tessier, Linguistics, UBC University Examiner Jessica de Villiers, English Language & Literatures, UBC University Examiner ii Abstract This dissertation investigates vowel harmony and some related processes in Fungwa, which is an endangered Kainji language spoken in Nigeria. In the language, there are two kinds of vowel harmony. In the first pattern of vowel harmony, the vowels of CV prefixes and clitics agree in backness with the vowel of the adjacent root syllable. However, V prefixes and proclitics do not exhibit this vowel harmony. I argue that the domain of harmony is subject to a word minimality condition and the requirement for an initial onset. The integration of CV prefixes and clitics into the harmonic domain with the root morpheme is forced bythe minimality condition. To satisfy the onset requirement on the domain of harmony, V pre- fixes and proclitics are excluded from the harmonic domain. The second pattern ofvowel harmony in Fungwa involves the backing or fronting of all non-high vowels in nominal roots. The fronting of non-high root vowels marks diminutive, while the backing of non- high root vowels marks augmentative. The proposal here is that the root-vowel mutations are the result of morphemes with only a back or front feature as their exponent. To encode that the mutation does not target high vowels, the argument in this dissertation is that the realisation of the featural morphemes is prominence-based. To intensify the diminutive or augmentative formation, the nominal forms can be partially reduplicated. Just as with the root-controlled harmony, the reduplication is conditioned by the requirement for an onset. A pattern of tonal alternation also interacts with vowel harmony and reduplication proving additional evidence for the domains motivated by harmony. Within the framework of Opti- mality Theory, a formal account of the vowel harmony, reduplication and tonal alternation is proposed. iii Lay Summary This dissertation investigates the co-occurrence of vowels and some related processes in Fungwa, an endangered language spoken in Nigeria. The language has two patterns of vowel co-occurrence. In the first pattern, vowels in the part of the word with themain lexical meaning determine the properties of all the vowels in a word. This agreement among vowels is referred to as harmony. I argue that the part of the word showing harmony is subject to requirements on word size and syllable structure. A second pattern of vowel co- occurrence involves mutating all root vowels to mark the notion of smallness and bigness. I argue that the mutation is conditioned by the intrinsic loudness of the vowels in a word. The patterns of vowel co-occurrence are intertwined with a pattern of prefixation showing partial copying which interacts with lexical pitch. For these patterns, I propose a formal account within current phonological theory. iv Preface This work consists an original and intellectual work of the author Samuel Akinbo, and it is solely based on fieldwork data from native speakers of Fungwa in Niger State, Nigeria. The fieldwork was approved by the Behavioural Research Ethics Board of the University of British Columbia [certificate #H15-00958]. Aspects of chapter3 were presented at 47th Annual Conference on African Linguistics at the University of California, Berkeley (March, 2016). A preliminary version of chapter 4 was presented at the Annual Meeting of Phonology at the University of California, San Diego (October, 2018) and published in the proceedings of the conference (Akinbo, 2019). At the Annual Meeting of the Canadian Linguistic Association at the University of British Columbia (June, 2019), a preliminary version of chapter6 was presented. The map in Figure 1.1 was created by Eric Leinberger based on coordinates that I obtained in the field. The map is used with permission. v Table of Contents Abstract......................................... iii Lay Summary ..................................... iv Preface ......................................... v Table of Contents ................................... vi List of Tables...................................... xi List of Figures .....................................xiii List of Abbreviations ................................. xiv Acknowledgments................................... xvi Dedication ....................................... xix 1 Introduction .................................... 1 1.1 The goals of this dissertation......................... 1 1.2 The people, their location and culture .................... 2 1.2.1 Their ancestral and present homes.................. 3 1.2.2 Nomenclature, culture and population................ 6 1.3 Language information............................. 7 1.4 The first goal: Documenting Fungwa..................... 9 1.4.1 Language consultants and their roles................. 9 1.4.2 Instrumentation, procedures and output ............... 11 1.5 Theoretical approaches............................ 13 1.5.1 Prosodic phonology ......................... 13 vi 1.5.2 Feature Geometry........................... 16 1.5.3 Locality condition .......................... 18 1.5.4 Optimality Theory .......................... 19 1.6 Organisation of this thesis........................... 20 2 Introduction to Fungwa phonology........................ 21 2.1 Introduction.................................. 21 2.2 Syllable structure............................... 21 2.3 Consonants .................................. 23 2.3.1 Nasals: m, n ............................. 24 2.3.2 Plosives: p/b, t/d, k/g......................... 26 2.3.3 Affricates: tS/dZ ........................... 28 2.3.4 Fricatives: f/v, s/z, S, h ........................ 29 2.3.5 Approximants: r, l, j, w........................ 30 2.4 Consonants that arise from language contact with Hausa .......... 32 2.4.1 Fricative: F .............................. 32 2.4.2 Implosives: á/á ............................ 33 ˚ 2.4.3 Ejectives: k' .............................. 34 2.5 Vowels..................................... 34 2.5.1 Oral vowels.............................. 35 2.5.2 Nasal vowels............................. 38 2.5.3 Diphthongs and long vowels..................... 39 2.5.4 Vowel harmony............................ 40 2.6 Tone...................................... 41 2.6.1 Tonal assimilation .......................... 43 2.6.2 Final lowering of a tone ....................... 44 2.6.3 Tonal overwrite with L-tone ..................... 45 2.7 Summary and conclusion........................... 45 3 Fungwa nominal morpho-syntax: background ................. 46 3.1 Preview of nominal morphology....................... 46 3.2 Noun classes ................................. 48 3.2.1 N-class prefixes: number marking.................. 49 3.2.2 N-class prefixes: pairing and semantic tendencies.......... 51 3.2.3 N-class prefixes: proto-forms .................... 58 3.2.4 Noun-class prefixes: syntax ..................... 60 vii 3.3 Noun-class agreement............................. 69 3.3.1 Overt versus covert concordial N-class agreement.......... 69 3.3.2 Concordial agreement with subject.................. 74 3.3.3 Concordial agreement with a focused nominal............ 76 3.3.4 Concordial agreement with relativised nominal........... 77 3.3.5 Concordial agreement with associative................ 79 3.3.6 Phrasal movement triggers agreement................ 80 3.4 Nominal modification............................. 91 3.4.1 Relativisation............................. 91 3.4.2 Associative construction....................... 93 3.4.3 Possessive modifiers......................... 94 3.4.4 Demonstrative modifiers....................... 96 3.4.5 Numeral modifiers.......................... 98 3.4.6 No L-tone overwrite with quantificational modifiers......... 99 3.4.7 Nominals with L-tone overwrite are a (reduced) relative clause . 100 3.5 Pronouns: inventory and syntax........................102 3.5.1 Independent (personal and demonstrative) pronouns: inventory . 102 3.5.2 Independent (personal and demonstrative) pronouns: syntax . 109 3.5.3 Dependent personal pronouns: inventory . 110 3.5.4 Dependent personal pronouns: syntax . 113 3.6 Summary and conclusion...........................115 4 Root-controlled harmony.............................117 4.1 Introduction..................................117 4.2 Root vowels are (mostly) harmonic......................118 4.2.1 Frequency counts for vowel cooccurrence . 119 4.2.2 Tendency towards harmony in Fungwa . 121 4.3 Prosodic integration of CV formatives....................121 4.3.1 Prosodic integration of CV prefixes . 122 4.3.2 Prosodic
Recommended publications
  • ED489597.Pdf
    The 28th International Conference Of the International Group for the Psychology of Mathematics Education Volume 4 14–18 July 2004 Bergen, Norway The 28th International Conference of the International Group for the Psychology of Mathematics Education, Volume 4, Bergen, Norway 14–18 July 2004 Table of Content Research Reports – Full-Text p01-08 Situated or Abstract: The Effect of Combining Context and Structure on Constructing an Additive (Part-Part-Whole) Schema (Irit Peled; Ruth Meron) p09-16 Using Graphical Profiles to Study the Learning and Teaching of Mathematics (Dvora Peretz) p17-24 The Role of Number in Proportional Reasoning: A Prospective Teacher’s Understanding (Axelle C. Person; Sarah B. Berenson; Paula J. Greenspon) p25-32 Learning to Use CAS: Voices from a Classroom (Robyn Pierce; Kaye Stacey) p33-40 Technical School Students´ Conceptions of Tangent Lines (Márcia Maria Fusaro Pinto; Valéria Guimarães Moreira) p41-48 Elementary School Students’ Mental Representations of Fractions (Demetra Pitta-Pantazi; Eddie M. Gray; Constantinos Christou) p49-56 A Structural Model for Problem Posing (Pittalis, M.; Christou, C.; Mousoulides, N.; Pitta-Pantazi, D.) p57-64 Some Undergraduates' Experiences of Learning Mathematics (Hilary Povey; Corinne Angier) p65-72 Normalising Geometrical Constructions: A Context for the Generation of Meanings for Ratio and Proportion (Psycharis, Georgos; Kynigos, Chronis) p73-80 The Sensual and the Conceptual: Artefact-Mediated Kinesthetic Actions and Semiotic Activity (Luis Radford; Serge Demers; José Guzmán; Michele Cerulli) P81-88 A Sociocultural Account of Students’ Collective Mathematical Understanding of Polynomial Inequalities in Instrumented Activity (Ferdinand Rivera; Joanne Rossi Becker) p89-96 Infinity as a Multi-Faceted Concept in History and in the Mathematics Classroom (Ornella Robutti; Ferdinando Arzarello; Maria G.
    [Show full text]
  • Music Business and the Experience Economy the Australasian Case Music Business and the Experience Economy
    Peter Tschmuck Philip L. Pearce Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Music Business and the Experience Economy . Peter Tschmuck • Philip L. Pearce • Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Editors Peter Tschmuck Philip L. Pearce Institute for Cultural Management and School of Business Cultural Studies James Cook University Townsville University of Music and Townsville, Queensland Performing Arts Vienna Australia Vienna, Austria Steven Campbell School of Creative Arts James Cook University Townsville Townsville, Queensland Australia ISBN 978-3-642-27897-6 ISBN 978-3-642-27898-3 (eBook) DOI 10.1007/978-3-642-27898-3 Springer Heidelberg New York Dordrecht London Library of Congress Control Number: 2013936544 # Springer-Verlag Berlin Heidelberg 2013 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer.
    [Show full text]
  • Overwhelming Terror, the Product of Four Decades of Research Among Semai, Demonstrates That Semai Ways Of
    OverwhelmingTerrorDSRPBK.qxd 10/13/08 1:04 PM Page 1 Anthropology • Asia DENTAN War and Peace Library Series Editor: Mark Selden “Overwhelming Terror, the product of four decades of research among Semai, demonstrates that Semai ways of life are not something rare and strange, but a continuation LOVE, FEAR, PEACE, AND VIOLENCE AMONG SEMAI OF MALAYSIA TERROR OVERWHELMING of the ways of successful ancient egalitarian societies. Cultural anthropology should be the study in depth of human beings and the application of that knowledge to a deeper understanding of one’s own beliefs and practices. Robert Knox Dentan, applying lessons learned among Semai to contemporary American problems, succeeds admirably in a way that makes one proud to be an anthropologist. Overwhelming Terror was written by a man of perceptive mind and OVERWHELMING TERROR loving heart.” —Carol Laderman, City College–CUNY This powerful ethnography of a people believed to be the least violent in the world LOVE, FEAR, PEACE, AND VIOLENCE explores how they maintain peaceful relations even under the most dire circum- AMONG SEMAI OF MALAYSIA stances. Robert Knox Dentan, the world’s foremost scholar of Semai, brings its mem- bers vividly to life. His book includes translations of their poetry, dramatized accounts of particular events, and narratives in their own words. Throughout, the author highlights the mechanisms and costs of peace, underscoring their relevance to everyday life in all societies. Students and scholars of peace studies, conflict res- olution, ethnography, and Southeast Asia will find this unique work an invaluable and compelling study. Robert Knox Dentan is professor emeritus of anthropology at State University of New York at Buffalo.
    [Show full text]
  • Midwestern Journal of Theology
    MIDWESTERN JOURNAL OF THEOLOGY Vol. 10 Spring 2011 No. 1 CONTENTS Editorial Articles THEME: BIBLICAL THEOLOGY Theme Classic: On the Proper Distinction between Biblical and Dogmatic Theology (1787) Johann Philipp Gabler 1-11 THE SIZEMORE LECTURES 2011 Sizemore I: The Inaugurated Eschatological Indicative and Imperative in Relation to Christian Living and Preaching Greg K. Beale 12-31 Sizemore II: The Inaugurated End-Time Tribulation and Its Bearing on the Church Office of Elder and on Christian Living in General Greg K. Beale 32-57 Appreciation, Agreement, and a Few Minor Quibbles: A Response to G. K. Beale James M. Hamilton 58-70 The Holman Christian Standard Study Bible and Malachi 2:16: A Brief Response J. Alan Branch 71-86 Who Hates...Divorce? A Text-Critical Examination of Malachi 2:16 Daniel R. Watson 87-102 Bell’s Hell: A Dialogue With Love Wins ii Midwestern Journal of Theology Rustin Umstattd 103-23 Cutting-Edge Obsolescence: Rob Bell’s Reliance on a Long- Discredited Universalist Rendering of Matthew 25:46 in Love Wins Ronald V. Huggins 124-29 Where Is Exhortation in Hebrews? Discourse Analysis and Genre Division in the Epistle to the Hebrews Todd R. Chipman 130-44 Kersey Graves’s Sixteen Crucified Saviors: Prometheus as Test Case Ronald V. Huggins 145-65 John Bunyan on Justification Joel R. Beeke 166-89 The “Repentance of Jerome”: How the Great Translator of the Latin Vulgate Bible Got His Priorities Turned Round. Ronald V. Huggins 190-200 Book Reviews: Whosoever Will: A Biblical-Theological Critique of Five- Point Calvinism. David L.
    [Show full text]
  • The Brisbane Sound
    THE BRISBANE SOUND Scott Bradley Regan BMus, BMus (Hons) DOCTORAL THESIS By CREATIVE WORKS Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Creative Industries Faculty Queensland University of Technology 2019 Abstract What is the Brisbane Sound, and what does it actually sound like? Many cities are said to have their own musical ‘sound’, for example, the Liverpool Sound (Cohen 1994), the Dunedin Sound (McLeay 1994; Mitchell 1996; Bannister 2006), and the Canterbury Sound (Bennett 2002). Brisbane, Australia is no different. Since the late 1970s, music journalists and other cultural intermediaries (Bourdieu 1984) have constructed the idea of a ‘Brisbane Sound’, and used it to consecrate a specific cohort of bands that emerged during the ‘five golden years’ of Brisbane music history, between 1978 and 1983. Yet, despite the cultural currency and prevalence of the trope in subcultural parlance, this so-called Brisbane Sound has remained entirely absent from existing scholarly literature about the local Brisbane music scene. This Doctoral Thesis by Creative Works aims to remedy this gap, and in doing so, contributes new knowledge to our understanding of Brisbane popular music history and cultural memory. It also proposes a novel way of addressing the perennial conundrum of music’s ineffability, by using music to explain music. I take an interdisciplinary approach to answer the question ‘what does the Brisbane Sound sound like?’ by adapting methods from three key fields: cultural studies, popular musicology, and creative practice. First, I collate and analyse how the Brisbane Sound trope has been defined in media discourses over time.
    [Show full text]