The Vowel Phonemes of Meigret
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4. R-Influence on Vowels
4. R-influence on vowels Before you study this chapter, check whether you are familiar with the following terms: allophone, centring diphthong, complementary distribution, diphthong, distribution, foreignism, fricative, full vowel, GA, hiatus, homophone, Intrusive-R, labial, lax, letter-to-sound rule, Linking-R, low-starting diphthong, minimal pair, monophthong, morpheme, nasal, non-productive suffix, non-rhotic accent, phoneme, productive suffix, rhotic accent, R-dropping, RP, tense, triphthong This chapter mainly focuses on the behaviour of full vowels before an /r/, the phonological and letter-to-sound rules related to this behaviour and some further phenomena concerning vowels. As it is demonstrated in Chapter 2 the two main accent types of English, rhotic and non-rhotic accents, are most easily distinguished by whether an /r/ is pronounced in all positions or not. In General American, a rhotic accent, all /r/'s are pronounced while in Received Pronunciation, a non-rhotic variant, only prevocalic ones are. Besides this, these – and other – dialects may also be distinguished by the behaviour of stressed vowels before an /r/, briefly mentioned in the previous chapter. To remind the reader of the most important vowel classes that will be referred to we repeat one of the tables from Chapter 3 for convenience. Tense Lax Monophthongs i, u, 3 , e, , , , , , , 1, 2 Diphthongs and , , , , , , , , triphthongs , Chapter 4 Recall that we have come up with a few generalizations in Chapter 3, namely that all short vowels are lax, all diphthongs and triphthongs are tense, non- high long monophthongs are lax, except for //, which behaves in an ambiguous way: sometimes it is tense, in other cases it is lax. -
The Origin of the Peculiarities of the Vietnamese Alphabet André-Georges Haudricourt
The origin of the peculiarities of the Vietnamese alphabet André-Georges Haudricourt To cite this version: André-Georges Haudricourt. The origin of the peculiarities of the Vietnamese alphabet. Mon-Khmer Studies, 2010, 39, pp.89-104. halshs-00918824v2 HAL Id: halshs-00918824 https://halshs.archives-ouvertes.fr/halshs-00918824v2 Submitted on 17 Dec 2013 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Published in Mon-Khmer Studies 39. 89–104 (2010). The origin of the peculiarities of the Vietnamese alphabet by André-Georges Haudricourt Translated by Alexis Michaud, LACITO-CNRS, France Originally published as: L’origine des particularités de l’alphabet vietnamien, Dân Việt Nam 3:61-68, 1949. Translator’s foreword André-Georges Haudricourt’s contribution to Southeast Asian studies is internationally acknowledged, witness the Haudricourt Festschrift (Suriya, Thomas and Suwilai 1985). However, many of Haudricourt’s works are not yet available to the English-reading public. A volume of the most important papers by André-Georges Haudricourt, translated by an international team of specialists, is currently in preparation. Its aim is to share with the English- speaking academic community Haudricourt’s seminal publications, many of which address issues in Southeast Asian languages, linguistics and social anthropology. -
Typesetting Classical Greek Philology Could Not find Anything Really Suitable for Her
276 TUGboat, Volume 23 (2002), No. 3/4 professor of classical Greek in a nearby classical high Philology school, was complaining that she could not typeset her class tests in Greek, as she could do in Latin. I stated that with LATEX she should not have any The teubner LATEX package: difficulty, but when I started searching on CTAN,I Typesetting classical Greek philology could not find anything really suitable for her. At Claudio Beccari that time I found only the excellent Greek fonts de- signed by Silvio Levy [1] in 1987 but for a variety of Abstract reasons I did not find them satisfactory for the New The teubner package provides support for typeset- Font Selection Scheme that had been introduced in LAT X in 1994. ting classical Greek philological texts with LATEX, E including textual and rhythmic verse. The special Thus, starting from Levy’s fonts, I designed signs and glyphs made available by this package may many other different families, series, and shapes, also be useful for typesetting philological texts with and added new glyphs. This eventually resulted in other alphabets. my CB Greek fonts that now have been available on CTAN for some years. Many Greek users and schol- 1 Introduction ars began to use them, giving me valuable feedback In this paper a relatively large package is described regarding corrections some shapes, and, even more that allows the setting into type of philological texts, important, making them more useful for the com- particularly those written about Greek literature or munity of people who typeset in Greek — both in poetry. -
Notes on the Development of the Linguistic Society of America 1924 To
NOTES ON THE DEVELOPMENT OF THE LINGUISTIC SOCIETY OF AMERICA 1924 TO 1950 MARTIN JOOS for JENNIE MAE JOOS FORE\\ORO It is important for the reader of this document to know how it came to be written and what function it is intended to serve. In the early 1970s, when the Executive Committee and the Committee on Pub1ications of the linguistic Society of America v.ere planning for the observance of its Golden Anniversary, they decided to sponsor the preparation of a history of the Society's first fifty years, to be published as part of the celebration. The task was entrusted to the three living Secretaries, J M. Cowan{who had served from 1940 to 1950), Archibald A. Hill {1951-1969), and Thomas A. Sebeok {1970-1973). Each was asked to survey the period of his tenure; in addition, Cowan,who had learned the craft of the office from the Society's first Secretary, Roland G. Kent {deceased 1952),was to cover Kent's period of service. At the time, CO'flal'\was just embarking on a new career. He therefore asked his close friend Martin Joos to take on his share of the task, and to that end gave Joos all his files. Joos then did the bulk of the research and writing, but the~ conferred repeatedly, Cowansupplying information to which Joos v.t>uldnot otherwise have had access. Joos and HiU completed their assignments in time for the planned publication, but Sebeok, burdened with other responsibilities, was unable to do so. Since the Society did not wish to bring out an incomplete history, the project was suspended. -
An Acoustic Analysis of the Vowels in Fuzhou Chinese
AN ACOUSTIC ANALYSIS OF THE VOWELS IN FUZHOU CHINESE Changhe Chen Department of Linguistics and Translation, City University of Hong Kong [email protected] ABSTRACT acoustic analysis based on speech samples from speakers (20 speakers for monophthongs and 10 for This study is an acoustic description of the vowels in diphthongs and triphthong) in their fifties in 2011. At Fuzhou Chinese produced by 10 speakers (5 males present, no published article is found for the vowels and 5 females) in their thirties. The vowels include 8 of the younger generation, but some vowel changes monophthongs .h x d 1 ` N n t., 14 diphthongs .ht th are expected. dh dt `h `t nt 1x Nx hd h` xn tn t`., and 1 triphthong This study aims at reinvestigating the vowels in .t`h. in open syllable. Compared with existing Fuzhou Chinese of speakers aged 30-39, younger studies, this study finds (i) that sometimes .d. is than those in [6]. diphthongized; (ii) that diphthong may undergo .xn. 2. METHODOLOGY change to become ZX\; (iii) that diphthong .Nx. seems to have merged with .t`h. and .1x. in open syllable, All test words are (C)V and (C)VS syllables, 2 and .dt. also shows a tendency to merge with .ht.; frequently used in daily life . For each diphthong and (iv) that the acoustic realization of diphthong .nt. can triphthong, two syllables associated with two types of be Zɞt\, ZPt\ and ZNt\ but not Znt\, and diphthong tones are used in order to investigate possible vowel alternation. But due to space limit, only results of the .hd. -
Diphthongs Andtriphthongs
chapter 5 Diphthongs and Triphthongs 5.1 Introduction The combination of a vowel and either of the semivowels *w and *y in the same syllable is traditionally referred to as a diphthong in Semitic linguistics, although it is unclear to what degree these combinations behaved like single vocalic phonemes, as the term ‘diphthong’ implies. Similarly, the combination of two vowels with an intervening semivowel is frequently called a triphthong; strictly speaking, this is incorrect, as ‘triphthong’ usually describes a single phoneme with three vocalic places of articulation occurring within the same syllable, while Semitic triphthongs are always disyllabic. To avoid confusion, however, the traditional terminology will be maintained in this chapter. The reader will recall that W represents any semivowel, i.e. *w or *y. Diphthongs and triphthongs are often treated together, but as we shall see, they are better considered separately. Accordingly, the first section of this chap- ter will investigate the development of the original diphthongs *aw and *ay. The other diphthongs are not discussed, as their development is either unprob- lematic or very difficult to ascertain. Quite clearly, *iy > *ī and *uw > *ū, as in he was‘ הוַּרד < he will suck (pause)’,*huwrada > *hūrad‘ ִייָ֑נק < yiynaqu > *yīnaq* brought down’. *uy seems to develop to *ī, but the evidence is limited to a few ויישם it may be poured (pause)’ in Exod 30:32 and the kṯiḇ form‘ ִיי ָ֑סְך forms like ,(in Gen 24:33 ַוֻיּיַשׂם in Gen 50:26 and ַוִ֫יּיֶשׂם and he/it was placed’ (vocalized‘ most other cases of *uy having been affected by analogy. -
1. Introduction
A fox knows many things but a hedgehog one big thing Mark Aronoff Stony Brook University 1. Introduction Isaiah Berlin’s little book, The Hedgehog and the Fox (1953), takes its title from a line by the Greek poet Archilochus: πόλλ᾽ οἶδ᾽ ἀλωπηξ ἀλλ᾽ ἐχῖνος ἓν μέγα ‘many [things] knows [a] fox but [a] hedgehog one big [thing]’. Since it is impossible to do justice in a paraphrase to Berlin’s prose, I will quote the relevant passage in full: [T]aken figuratively, the words can be made to yield a sense in which they mark one of the deepest differences which divide writers and thinkers, and, it may be, human beings in general. For there exists a great chasm between those, on one side, who relate everything to a single central vision, one system less or more coherent or articulate, in terms of which they understand, think, and feel—a single, universal, organizing principle in terms of which alone all that they are and say has significance—and, on the other side, those who pursue many ends, often unrelated and even contradictory, connected, if at all, only in some de facto way, for some psychological or physiological cause, related by no moral or aesthetic principle; these last lead lives, perform acts, and entertain ideas that are centrifugal rather than centripetal, their thought is scattered or diffused, moving on many levels, seizing upon the essence of a vast variety of experiences and objects for what they are in themselves, without, consciously or unconsciously, seeking to fit them into, or exclude them from, any one unchanging, all-embracing, sometimes self-contradictory and incomplete, at times fanatical, unitary vision. -
Due April 15
UCLA UCLA Electronic Theses and Dissertations Title The Representation of Poverty in the Roman Empire Permalink https://escholarship.org/uc/item/3sp0w5c4 Author Larsen, Mik Robert Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Representation of Poverty in the Roman Empire A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Mik R Larsen 2015 © Copyright by Mik R Larsen 2015 ABSTRACT OF THE DISSERTATION The Representation of Poverty in the Roman Empire by Mik R Larsen Doctor of Philosophy in History University of California, Los Angeles, 2015 Professor Ronald J. Mellor, Chair This dissertation investigates the cultural imagination of Roman elites regarding poverty in their society – how it was defined, how traditional and accepted images of poverty were deployed for rhetorical effect, and in what way elite attitudes toward poverty evolved over the course of the first century and a half under the Empire. It contends that the Roman conception of poverty was as a disordered discourse involving multiple competing definitions which frequently overlapped in practice. It argues that the inherent contradictions in Roman thought about poverty were rarely addressed or acknowledged by authors during this period. The Introduction summarizes scholarly approaches toward Roman perceptions of poverty and offers a set of definitions which describe the variant images of poverty in elite texts. The first chapter addresses poverty’s role in the histories of Livy, and the ways in which his presentation of poverty diverge from his assertion that the loss of paupertas was key to the decline of the Roman state. -
Latin Books Published in Paris, 1501-1540
Latin Books Published in Paris, 1501-1540 Sophie Mullins This thesis is submitted in partial fulfilment for the degree of PhD at the University of St Andrews 6 September 2013 1. Candidate’s declarations: I, Sophie Anne Mullins hereby certify that this thesis, which is approximately 76,400 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September 2007 and as a candidate for the degree of PhD in September 2007; the higher study for which this is a record was carried out in the University of St Andrews between [2007] and 2013. (If you received assistance in writing from anyone other than your supervisor/s): I, …..., received assistance in the writing of this thesis in respect of [language, grammar, spelling or syntax], which was provided by …… Date 2/5/14 signature of candidate ……… 2. Supervisor’s declaration: I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date 2/5/14 signature of supervisor ……… 3. Permission for electronic publication: (to be signed by both candidate and supervisor) In submitting this thesis to the University of St Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. -
A Sociophonetic Study of the Metropolitan French [R]: Linguistic Factors Determining Rhotic Variation a Senior Honors Thesis
A Sociophonetic Study of the Metropolitan French [R]: Linguistic Factors Determining Rhotic Variation A Senior Honors Thesis Presented in partial fulfillment of the requirements for graduation with honors research distinction in the undergraduate colleges of The Ohio State University by Sarah Elyse Little The Ohio State University June 2012 Project Advisor: Professor Rebeka Campos-Astorkiza, Department of Spanish and Portuguese ii ABSTRACT Rhotic consonants are subject to much variation in their production cross-linguistically. The Romance languages provide an excellent example of rhotic variation not only across but also within languages. This study explores rhotic production in French based on acoustic analysis and considerations of different conditioning factors for such variation. Focusing on trills, previous cross-linguistic studies have shown that these rhotic sounds are oftentimes weakened to fricative or approximant realizations. Furthermore, their voicing can also be subject to variation from voiced to voiceless. In line with these observations, descriptions of French show that its uvular rhotic, traditionally a uvular trill, can display all of these realizations across the different dialects. Focusing on Metropolitan French, i.e., the dialect spoken in Paris, Webb (2009) states that approximant realizations are preferred in coda, intervocalic and word-initial positions after resyllabification; fricatives are more common word-initially and in complex onsets; and voiceless realizations are favored before and after voiceless consonants, with voiced productions preferred elsewhere. However, Webb acknowledges that the precise realizations are subject to much variation and the previous observations are not always followed. Taking Webb’s description as a starting point, this study explores the idea that French rhotic production is subject to much variation but that such variation is conditioned by several factors, including internal and external variables. -
Characters for Classical Latin
Characters for Classical Latin David J. Perry version 13, 2 July 2020 Introduction The purpose of this document is to identify all characters of interest to those who work with Classical Latin, no matter how rare. Epigraphers will want many of these, but I want to collect any character that is needed in any context. Those that are already available in Unicode will be so identified; those that may be available can be debated; and those that are clearly absent and should be proposed can be proposed; and those that are so rare as to be unencodable will be known. If you have any suggestions for additional characters or reactions to the suggestions made here, please email me at [email protected] . No matter how rare, let’s get all possible characters on this list. Version 6 of this document has been updated to reflect the many characters of interest to Latinists encoded as of Unicode version 13.0. Characters are indicated by their Unicode value, a hexadecimal number, and their name printed IN SMALL CAPITALS. Unicode values may be preceded by U+ to set them off from surrounding text. Combining diacritics are printed over a dotted cir- cle ◌ to show that they are intended to be used over a base character. For more basic information about Unicode, see the website of The Unicode Consortium, http://www.unicode.org/ or my book cited below. Please note that abbreviations constructed with lines above or through existing let- ters are not considered separate characters except in unusual circumstances, nor are the space-saving ligatures found in Latin inscriptions unless they have a unique grammatical or phonemic function (which they normally don’t). -
IPA and French Sounds
IPA and French Sounds IPA and French Sounds The International Phonetic Alphabet (IPA) is now used in all high quality dictionaries to describe “proper” pronunciation. Previous dictionaries used approximations from “native” sounds, but that approach always failed for those people whose regional pronunciation differed from the “standard” used by the dictionary makers. This problem still exists in books that were written with a British audience in mind - they are mostly useless for Americans. The Berlitz phrase books are a particularly clear example of this phenomenon. Only two important problems arise in using the IPA in a dictionary. The first problem concerns only the dictionary maker: the variation in pronunciation in different regions makes it difficult to choose a single example. We are not going to tackle this problem very directly here, except to make some comments about variation in pronunciation of French words. We will favor Parisian pronunciation since this is very common even if not entirely standard. You will be easily understood if you attempt to imitate the Parisian pronunciation. You will almost surely speak with some trace of an American accent, so the minor differences are not critical. Learning to recognize and imitate regional French accents is too advanced to tackle here, and is not necessary unless you are in the acting profession. The second problem with the IPA does concern us here. How do you produce the sounds associated with the various symbols? We will suggest how to do this using a combination of French and American words wherever possible. However, not all French sounds occur in American speech (and vice versa).