The Productivity of Variable Disyllabic Tone Sandhi in Tianjin Chinese Jie

Total Page:16

File Type:pdf, Size:1020Kb

The Productivity of Variable Disyllabic Tone Sandhi in Tianjin Chinese Jie The productivity of variable disyllabic tone sandhi in Tianjin Chinese Jie Zhang & Jiang Liu Journal of East Asian Linguistics ISSN 0925-8558 Volume 25 Number 1 J East Asian Linguist (2016) 25:1-35 DOI 10.1007/s10831-015-9135-0 1 23 Your article is protected by copyright and all rights are held exclusively by Springer Science +Business Media Dordrecht. This e-offprint is for personal use only and shall not be self- archived in electronic repositories. If you wish to self-archive your article, please use the accepted manuscript version for posting on your own website. You may further deposit the accepted manuscript version in any repository, provided it is only made publicly available 12 months after official publication or later and provided acknowledgement is given to the original source of publication and a link is inserted to the published article on Springer's website. The link must be accompanied by the following text: "The final publication is available at link.springer.com”. 1 23 Author's personal copy J East Asian Linguist (2016) 25:1–35 DOI 10.1007/s10831-015-9135-0 The productivity of variable disyllabic tone sandhi in Tianjin Chinese Jie Zhang1 · Jiang Liu2 Received: 9 January 2013 / Accepted: 23 December 2014 / Published online: 3 November 2015 © Springer Science+Business Media Dordrecht 2015 Abstract Tianjin Chinese has one of the more complex tone sandhi systems in Northern Chinese dialects. Due to its close contact with Standard Chinese, many of its tone sandhi patterns are also variable. This article first reports a detailed acoustic study of tone sandhi patterns in both real lexical items and novel words in Tianjin. The data were collected from 48 speakers of Tianjin, who were instructed to pro- nounce disyllabic sequences as real words based on voice prompts. The results showed that the productivity of the sandhis in novel words varied depending on the sandhi—some were less productive than in real words, and some were more pro- ductive, indicating a combination of underlearning, overlearning, and proper learning of the sandhis from the lexicon. A theoretical model that predicts the productivity patterns based on the phonetic properties of the sandhis and statistical generalizations about the sandhis over the lexicon is then proposed. Keywords Tone · Tone sandhi · Tianjin · Productivity · Optimality theory · Maximum entropy grammar Electronic supplementary material The online version of this article (doi: 10.1007/s10831-015-9135-0) contains supplementary material, which is available to authorized users. & Jie Zhang [email protected] & Jiang Liu [email protected] 1 Department of Linguistics, The University of Kansas, 1541 Lilac Lane, Blake Hall, Room 427, Lawrence, KS 66045-3129, USA 2 Department of Asian Languages and Literatures, University of Minnesota, 220 Folwell Hall, 9 Pleasant Street SE, Minneapolis, MN 55455, USA 123 Author's personal copy 2 J. Zhang, J. Liu 1 Introduction 1.1 Two types of evidence for phonological knowledge Kenstowicz and Kisseberth, in Chap. 5 of their seminal Generative phonology: Description and theory (1979), raised a serious methodological issue for generative phonology research: they questioned the assumption that the phonological abstractions derived by traditional research methods that focused on lexically manifested patterns of sound distribution and morpheme alternation were the same abstractions in speakers’ unconscious phonological knowledge—the knowledge that generative phonology aims to uncover. Consequently, they advocated the research practice of complementing the evidence gleaned from such traditional sources with evidence from speakers’ linguistic behavior that directly manifested their uncon- scious knowledge, from speech errors and language games to loanwords and second language acquisition. Their skepticism of the assumption turned out to be well founded as subsequent research showed that speakers know both more and less than the lexical patterns. A number of recent studies have shown that speakers possess phonological knowledge that the lexical patterns of their language do not inform them of—a scenario that we will refer to as “overlearning.” For instance, Zuraw (2007) showed through a corpus study on loans and a web-based survey on novel words that Tagalog speakers possessed knowledge of the splittability of word-initial consonant clusters that could not be deduced from the lexicon. Berent et al. (2007) demonstrated through a series of experiments that English speakers preferred /bd/ as an onset cluster over /lb/, even though neither is a legal onset cluster in English. In an artificial language- learning setting, Wilson (2006) established that when English speakers were presented with velar palatalization before mid vowels, they could extend the process before high vowels but not vice versa. These have been taken as “the poverty of the stimulus” arguments for the relevance of Universal Grammar or substantive biases in phonological learning. “Underlearning,” alternatively termed “the surfeit of the stimulus” (Becker et al. 2011), refers to speakers’ subpar knowledge, and sometimes total ignorance, of generalizable patterns in the lexicon. For example, Becker et al. (2011) found that Turkish speakers could generalize to novel words the statistical patterns seen in relations between an obstruent voicing alternation and word length as well as place of articulation in obstruents in the lexicon, but they were oblivious to a similar statistically significant relation between the voicing alternation and properties of the preceding vowel (height, backness). Hayes et al. (2009b) investigated the variation patterns in suffixal vowel harmony in Hungarian and compared how speakers internalized two types of gradient patterns in novel words—natural ones in which the harmony behavior is based on the properties of the stem vowels (number of triggers, height of the trigger) and unnatural ones in which the harmony is correlated with features of the stem-final consonant. They found that speakers learned both the natural and unnatural patterns, but the unnatural patterns were undervalued and learned less robustly than the natural ones. Using an artificial language-learning 123 Author's personal copy Tone sandhi productivity in Tianjin Chinese 3 paradigm, Moreton (2008) showed that English speakers learned a vowel height- voicing dependency significantly more poorly than a height-height dependency despite the facts that (a) neither dependency is attested in English, (b) the dependency in question was present in the learning experiment, and (c) the two dependencies have comparable phonetic precursors. These results also suggest that speakers’ phonological knowledge is the combined result of learned lexical patterns and a priori knowledge. These studies support Kenstowicz and Kisseberth’s thesis that evidence for speakers’ phonological knowledge needs to come from both within and beyond lexical patterns. Beyond the areas identified by Kenstowicz and Kisseberth such as speech errors and loanwords, corpus-external evidence has emerged from exper- imental investigations of productivity, especially in the form of wug tests (Berko 1958), in which speakers are asked to provide responses to novel words in contexts that are facilitative to the application of the phonological process in question. This methodology has been widely used to test the productivity of phonological alternations (e.g., Albright et al. 2001; Hayes and Londe 2006; Zuraw 2007; Hayes et al. 2009b; Becker et al. 2011) as well as regular and irregular morphological rules (e.g., Bybee and Pardo 1981; Albright 2002; Albright and Hayes 2003; Pierrehumbert 2006). 1.2 The role of productivity in tone sandhi research Tone sandhi research, particularly descriptive work, has had a long tradition in Chinese phonology. Both detailed descriptions of tone sandhi in individual dialects and typological works on cross-linguistic patterns of tone sandhi abound (see Zhang 2014a, b for reviews and references). The relation between tone sandhi and theoretical phonology, however, has been an uncomfortable one. The analysis of Chinese tone sandhi patterns has presented considerable challenges to theoretical phonology in both rule-based and constraint-based frameworks, and complete theoretical analyses of any given tone sandhi system have proven difficult. Beyond the sheer complexity of tone sandhi patterns often observed in Chinese dialects, especially in the Wu and Min groups, three other properties of tone sandhi are responsible for this difficulty. First, as the result of diachronic changes, many of the sandhi patterns in the present-day systems are phonetically arbitrary. This presents particular challenges to the analysis of these patterns in Optimality Theory (Prince and Smolensky 1993), which relies on surface-oriented, generalizable markedness constraints. Second, many of the tone sandhi patterns are phonologically opaque (Kiparsky 1973). For example, in Taiwanese, four of the five tones in the tonal inventory on non-checked syllables are involved in a circular chain shift: 55 → 33 → 21 → 51 → 55 (Cheng 1968; Chen 1987); in Fuzhou, the following synchronic chain shifts are attested: 32 → 44 → 53 → 21 / __ {212, 242}; 44 → 53 → 32 → 24 / __ 32 (Liang and Feng 1996). These patterns also pose analytical challenges for Optimality Theory: circular chain shift has been shown to be incomputable by a “conservative” OT grammar that uses only IO-faithfulness and markedness constraints (Moreton 2004), and regular chain shift requires additional mechanisms
Recommended publications
  • T3 Sandhi Rules of Different Prosodic Hierarchies
    T3 Sandhi rules of different prosodic hierarchies Abstract This study conducts acoustic analysis on T3 sandhi of two characters across different boundaries of prosodic hierarchies. The experimental data partly support Chen (2000)’s view about sandhi domain that “T3 sandhi takes place obligatorily within MRU”, and “sandhi rule can not apply cross intonation phrase boundary”. Nonetheless, the results do not support his claim that “there are no intermediate sandhi hierarchies between MRU and intonation phrase”. On the contrary, it is found that, although T3 sandhi could occur across all kinds of hierarchical boundaries between MRU and intonation phrase, T3 sandhi rules within a foot (prosodic word), or between foots without pause, or between pauses without intonation (phonology phrase) are very different in terms of acoustic properties. Furthermore, based on the facts that (1) T3 sandhi could occur cross boundary of pauses and (2) phrase-final sandhi could be significantly lengthening, it is argued that T3 sandhi is due to dissimilation of low tones, rather than duration reduction within MRU domain. It is also demonstrated that tone sandhi and prosodic hierarchies may not be equivalently evaluated in Chinese phonology. Prosodic hierarchies are determined by pause and lengthening, not by tone sandhi. Key words: tone sandhi; prosodic hierarchies; boundary; Mandarin Chinese 1 Introduction So-called T3 sandhi in mandarin Chinese has been widely discussed in Chinese Phonology. Mandarin Chinese has four tones: T1 (level 55), T2 (rising 35), T3 (low-rise 214), T4 (falling 51).Generally, when a T3 is followed by another T3, it turns into T2. The rule could be simply stated as: 214->35/ ___214.
    [Show full text]
  • A Corpus Study of the 3 Tone Sandhi in Standard Chinese
    A Corpus Study of the 3 rd Tone Sandhi in Standard Chinese Yiya Chen 1, Jiahong Yuan 2 1 Department of Linguistics, Radboud University Nijmegen 2 Department of Linguistics, University of Pennsylvania [email protected], [email protected] (Zhang 1988, Shih 1997, M. Chen 2000, Chen 2003, Chen Abstract 2004). Speer et al. (1989) show that listeners are indeed In Standard Chinese, a Low tone (Tone3) is often realized sensitive to a constituent’s phrasal structure in judging the application of the 3 rd tone Sandhi to constituents which could with a rising F0 contour before another Low tone, known as the 3rd tone Sandhi. This study investigates the acoustic be ambiguous between an underlying Rising tone and a characteristics of the 3rd tone Sandhi in Standard Chinese Sandhi Rising tone. Their results suggest the possibility that the higher linguistic boundary it is between two Low tones, using a large telephone conversation speech corpus. Sandhi rd Rising was found to be different from the underlying Rising the less likely the 3 tone sandhi rule is applied. With regard tone (Tone2) in bi-syllabic words in two measures: the to the difference between the underlying Rising tone and the Sandhi Rising tone, Peng (2000) show that the F0 maximum magnitude of the F 0 rising and the time span of the F 0 rising. We also found different effects of word frequency on Sandhi of SR is lower than R. Furthermore, in fast speech, a Sandhi Rising and the underlying Rising tones. Finally, for tri- Rising tone may flatten and show no apparent F0 rise (Kuo, syllabic constituents with Low tone only, constituent Xu, and Yip, to appear).
    [Show full text]
  • 2006 Volkswagen Pro Tour Grand Finals Participating Players List (Updated As at 13/12/2006)
    2006 Volkswagen Pro Tour Grand Finals Participating Players List (updated as at 13/12/2006) Men’s Singles Women’s Singles 01 MA Lin (CHN) ZHANG Yining (CHN) 02 WANG Liqin (CHN) WANG Yue Gu (SIN) 03 BOLL Timo (GER) *TIE Yana (HKG) 04 CHEN Qi (CHN) WANG Nan (CHN) 05 SAMSONOV Vladimir (BLR) LI Jia Wei (SIN) 06 WANG Hao (CHN) *JIANG Huajun (HKG) 07 HOU Yingchao (CHN) GUO Yan (CHN) 08 OH Sang Eun (KOR) LI Xiaoxia (CHN) 09 JOO Se Hyuk (KOR) LIU Jia (AUT) 10 CHEN Weixing (AUT) HIRANO Sayaka (JPN) 11 CHUAN Chih-Yuan (TPE) GAO Jun (USA) 12 SCHLAGER Werner (AUT) SHEN Yanfei (ESP) 13 *LI Ching (HKG) HIURA Reiko (JPN) 14 ELOI Damien (FRA) LI Jiao (NED) 15 GARDOS Robert (AUT) *ZHANG Rui (HKG) 16 KORBEL Petr (CZE) TAN MONFARDINI Wenling (ITA) Men’s Doubles Women’s Doubles 01 CHEN Qi / MA Lin (CHN) WANG Nan / ZHANG Yining (CHN) 02 CHEN Weixing / GARDOS Robert (AUT) *TIE Yana / ZHANG Rui (HKG) 03 *CHEUNG Yuk / LEUNG Chu Yan (HKG) GUO Yue / LI Xiaoxia (CHN) 04 *KO Lai Chak / LI Ching (HKG) LI Jia Wei / SUN Bei Bei (SIN) 05 BOLL Timo / SUSS Christian (GER) GAO Jun (USA) / SHEN Yanfei (ESP) 06 HAO Shuai / MA Long (CHN) HIRANO Sayaka / HIURA Reiko (JPN) 07 GAO Ning / YANG Zi (SIN) HEINE Veronika / LIU Jia (AUT) 08 AXELQVIST Johan / SVENSSON Robert (SWE) *LAU Sui Fei / LIN Ling (HKG) U21 Boys’ Singles U21 Girls’ Singles 01 *JIANG Tianyi (HKG) LI Qiangbing (AUT) 02 AXELQVIST Johan (SWE) POTA Georgina (HUN) 03 BAUM Patrick (GER) GRUNDISCH Carole (FRA) 04 BOBILLIER Loïc (FRA) RAMIREZ Sara (ESP) 05 JAKAB Janos (HUN) VACENOVSKA Iveta (CZE) 06 KIM Tae Hoon (KOR) *YU Kwok See (HKG) 07 MATSUMOTO Cazuo (BRA) HEINE Veronika (AUT) 08 DURAN Marc (ESP) PROKHOROVA Yulia (RUS) .
    [Show full text]
  • No. Venue Year Men's Team Women's Team Men's Singles
    Asian Championships Results 1972 to 2007 No. Venue Year Men's Team Women's Men's Team Singles 1. Beijing 1972 Japan China HASEGAWA Nabuhiko (JPN) bt China bt Japan bt XI Enting (CHN) 2. Yokohama 1974 China Japan HASEGAWA Nabuhiko (JPN) Bt Japan Bt China bt XI Enting (CHN) 3. Pyongyang 1976 China Korea DPR LIANG Geliang (CHN) bt Japan bt China bt GUO Yuehua (CHN) 4. Kuala Lumpur 1978 China China GUO Yuehua(CHN) Bt Korea DPR Bt Korea DPR bt LIANG Geliang (CHN) 5. Calcutta 1980 China China SHI Zhihao (CHN) bt Japan bt Korea DPR bt XIE Saike (CHN) 6. Jakarta 1982 China China CAI Zhenhua (CHN) bt Japan bt Japan bt XIE Saike (CHN) 7. Islamabad 1984 China China XIE Saike (CHN) bt Korea DPR bt Korea DPR bt CHEN Longcan (CHN) 8. Shenzhen 1986 China China J1ANG Jialiang (CHN) bt Korea DPR bt Korea DPR bt TENG Yi (CHN) 9. Niigata 1988 China Korea R CHEN Longcan (CHN) bt Korea DPR bt Korea DPR Bt YOO Nam Kyu (KOR) 10. Kuala Lumpur 1990 China Korea R WANG Tao (CHN) bt Korea DPR bt Korea DPR bt MA Wenge (CHN) 11. New Delhi 1992 China Hong Kong XIE Chaojie (CHN) bt Korea DPR bt China bt KANG Hee Chan (KOR) 12. Tianjin 1994 China China KONG Linghui (CHN) bt Korea DPR bt Hong Kong bt LIU Guoliang (CHN) 13 Singapore 1996 Korea China Kong Linghui(CHN) Bt China Bt Hong Kong Bt Liu Guoliang(CHN) 14 Osaka 1998 China China WANG Liqin(CHN) Bt Korea R Bt Korea DPR Bt Seiko Iseki(JPN) 15 Doha 2000 China China CHIANG Peng-Lung(TPE) Bt Korea Bt Korea Bt MA Lin(CHN) 16 Bangkok 2003 China Bt China Bt Wang Hao(CHN) Chinese Taipei Hongkong,China Bt Tang Peng(CHN) 17
    [Show full text]
  • Zhushan Mandarin
    ILLUSTRATIONS OF THE IPA Zhushan Mandarin Yiya Chen Leiden University Centre for Linguistics (LUCL) & Leiden Institute for Brain and Cognition (LIBC) [email protected] Li Guo Shanghai International Studies University [email protected] Zhushan Mandarin (ㄩኡ䈍) is a dialect of Mandarin Chinese (ISO 639-3; code: cmn) spoken in the Zhushan county (ㄩኡ৯), which belongs to the city of Shiyan (ॱ๠ᐲ) in Hubei Province (⒆ेⴱ), the People’s Republic of China. As shown in Figure 1, the county borders the city of Chongqing (䟽ᒶᐲ) to the south and Shaanxi Province (䲅㾯ⴱ) to the north. It has an area of 3,586 km2 and a population of about 4.7 million residents (Hubei Province Annals Committee 2017). The general consensus is that it is a Mandarin dialect (LAC 2012). However, there have been debates on the proper classification of this dialect as belonging to the Jianghuai Mandarin group (⊏␞ᇈ䈍) (e.g. Coblin 2005,X.B.Liu2007)ortothe Southwestern Mandarin group (㾯ইᇈ䈍) (e.g. Ting 1996,X.C.Liu2005,L.Li2009). Figure 1 Map of Zhushan County and its surrounding areas. The debated status of Zhushan Mandarin is believed to result not only from the influ- ence of the dialects from surrounding regions but also from the “combined effects of inheritance and convergence” in its linguistic system (Coblin 2005: 111). Many speakers Journal of the International Phonetic Association, page 1 of 19 © International Phonetic Association This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), whichpermitsunrestrictedre-use,distribution,andreproductioninanymedium,providedtheoriginalworkisproperlycited.
    [Show full text]
  • THE NATURE of VARIATION in TONE SANDHI PATTERNS of SHANGHAI and WUXI WU by Hanbo Yan Submitted to the Graduate Degree Program In
    THE NATURE OF VARIATION IN TONE SANDHI PATTERNS OF SHANGHAI AND WUXI WU By © 2016 Hanbo Yan Submitted to the graduate degree program in Linguistics and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Dr. Jie Zhang ________________________________ Dr. Allard Jongman ________________________________ Dr. Joan Sereno ________________________________ Dr. Annie Tremblay ________________________________ Dr. Yan Li Date Defended: 05/11/2016 ii The Dissertation Committee for Hanbo Yan certifies that this is the approved version of the following dissertation: THE NATURE OF VARIATION IN TONE SANDHI PATTERNS OF SHANGHAI AND WUXI WU ________________________________ Chairperson Dr. Jie Zhang Date approved: 05/26/2016 iii Abstract The primary goal of this dissertation is to understand the variation patterns in suprasegmental processes and what factors influence the patterns. To answer the questions, we investigated the variation patterns of tone sandhi in the Shanghai and Wuxi Wu dialects of Chinese. Shanghai disyllables and trisyllables have been documented to have two different sandhi patterns: tonal extension and tonal reduction. Some items can only undergo tonal extension, some items can only undergo tonal reduction, and some can variably undergo either type of sandhi. Previous works have indicated that the syntactic structure, semantic transparency, and lexical frequency of the items all play a role in the sandhi application. Additionally, the morpheme length of trisyllabic items (1+2, 2+1) is also expected to affect their sandhi application. A variant forms’ goodness rating experiment, together with a lexical frequency rating experiment and a semantic transparency rating experiment, showed that syntactic structure has a primary effect on sandhi application in general.
    [Show full text]
  • The Investigation and Recording of Contemporary Taiwanese Calligraphers the Ink Trend Association and Xu Yong-Jin
    The Investigation and Recording of Contemporary Taiwanese Calligraphers The Ink Trend Association and Xu Yong-jin Ching-Hua LIAO Submitted in partial fulfilment of the requirements of the Degree of Professional Doctorate in Design National Institute for Design Research Faculty of Design Swinburne University of Technology March 2008 Ching-Hua LIAO Submitted in partial fulfilment of the requirements of the Degree of Professional Doctorate in Design National Institute for Design Research Faculty of Design Swinburne University of Technology March 2008 Abstract The aim of this thesis is both to highlight the intrinsic value and uniqueness of the traditional Chinese character and to provide an analysis of contemporary Taiwanese calligraphy. This project uses both the thesis and the film documentary to analyse and record the achievement of the calligraphic art of the first contemporary Taiwanese calligraphy group, the Ink Trend Association, and the major Taiwanese calligrapher, Xu Yong-jin. The significance of the recording of the work of the Ink Trend Association and Xu Yong- jin lies not only in their skills in executing Chinese calligraphy, but also in how they broke with tradition and established a contemporary Taiwanese calligraphy. The documentary is one of the methods used to record history. Art documentaries are in a minority in Taiwan, and especially documentaries that explore calligraphy. This project recorded the Ink Trend Association and Xu Yong-jin over a period of five years. It aims to help scholars researching Chinese culture to cherish the beauty of the Chinese character, that they may endeavour to protect it from being sacrificed on the altar of political power, and that more research in this field may be stimulated.
    [Show full text]
  • From Tone to Accent
    This page intentionally left blank Matthew Chen’s landmark study offers the most comprehensive analysis to date of the rich and complex patterns of tone used in Chinese languages. Chinese has a wide repertoire of tones which undergo often surprising changes when they are connected in speech flow. The term tone sandhi refers to this tonal alternation. Chen examines tone sandhi phenomena in detail across a variety of Chinese dialects. He explores a range of important theoretical issues such as the nature of tonal representation, the relation of tone to accent, the prosodic domain of sandhi rules, and the interface between syntax and phonology. His book is the culmination of a ten-year research project and offers a wealth of empirical data not previously accessible to linguists. Extensive references and a bibliography on tone sandhi complete this invaluable resource which will be welcomed as a standard reference on Chinese tone. Having taught for many years at the University of California, San Diego, is Professor and chair of Linguistics and Dean of the Humanities and Social Sciences faculty at the City University of Hong Kong. He has written numerous articles on linguistics and is Associate Editor of the Journal of Chinese Linguistics, University of California, Berkeley. In this series 52 . and . : English focus constructions and the theory of grammar 53 : Linguistic realities: an autonomist metatheory for the generative enterprise 54 : From etymology to pragmatics: metaphorical and cultural aspects of semantic structure 55 : Relevance relations in discourse: a study with special reference to Sissala 56 : On definiteness: a study with special reference to English and Finnish 57 and : The syntax of Noun Phrases: configuration, parameters and empty categories 58 : Conditions on phonological government 59 .
    [Show full text]
  • UC Berkeley UC Berkeley Phonlab Annual Report
    UC Berkeley UC Berkeley PhonLab Annual Report Title The Phonology of Incomplete Tone Merger in Dalian Permalink https://escholarship.org/uc/item/6mb5j9bm Journal UC Berkeley PhonLab Annual Report, 5(5) ISSN 2768-5047 Author Liu, Te-hsin Publication Date 2009 DOI 10.5070/P76mb5j9bm eScholarship.org Powered by the California Digital Library University of California UC Berkeley Phonology Lab Annual Report (2009) The Phonology of Incomplete Tone Merger in Dalian1 Te-hsin Liu [email protected] 1. Introduction The thesis of tone merger in northern Chinese dialects was first proposed by Wang (1982), and further developed by Lien (1986), the migration of IIb (Yangshang) into III (Qu) being a common characteristic. The present work aims to provide an update on the current state of tone merger in northern Chinese, with a special focus on Dalian, which is a less well-known Mandarin dialect spoken in Liaoning province in Northeast China. According to Song (1963), four lexical tones are observed in citation form, i.e. 312, 34, 213 and 53 (henceforth Old Dalian). Our first-hand data obtained from a young female speaker of Dalian (henceforth Modern Dalian) suggests an inventory of three lexical tones, i.e. 51, 35 and 213. The lexical tone 312 in Old Dalian, derived from Ia (Yinping), is merging with 51, derived from III (Qu), in the modern system. This variation across decades is consistent with dialects spoken in the neighboring Shandong province, where a reduced tonal inventory of three tones is becoming more and more frequent. However, the tone merger in Modern Dalian is incomplete.
    [Show full text]
  • The Phonology of Shaoxing Chinese
    The Phonology of Shaoxing Chinese Published by LOT phone: +31 30 253 6006 Trans 10 fax: +31 30 253 6000 3512 JK Utrecht e-mail: [email protected] The Netherlands http://wwwlot.let.uu.nl Cover illustration: A mural painting of Emperor Gou Jian of the Yue Kingdom (497-465 B.C.) (present-day Shaoxing). The photo was taken by Xiaonan Zhang in Shaoxing. ISBN 90-76864-90-X NUR 632 Copyright © 2006 by Jisheng Zhang. All rights reserved. The Phonology of Shaoxing Chinese PROEFSCHRIFT ter verkrijging van de graad van Doctor aan de Universiteit Leiden, op gezag van de Rector Magnificus Dr. D.D. Breimer, hoogleraar in de faculteit der Wiskunde en Natuurwetenschappen en die der Geneeskunde, volgens besluit van het College voor Promoties te verdedigen op dinsdag 31 januari 2006 klokke 15.15 uur door JISHENG ZHANG geboren te Shaoxing, China in 1955 Promotiecommissie promotor: prof. dr. V.J.J.P. van Heuven co-promotor: dr. J.M. van de Weijer referent: prof. dr. M. Yip (University College London) overige leden: prof. dr. C.J. Ewen dr. M. van Oostendorp (Meertens Instituut) dr. N.S.H. Smith (University of Amsterdam) Dedicated to my mother who gave me my life and brought me up on this ancient land –– Shaoxing. Contents Acknowledgements ...................................................................................... xi 1 Background............................................................................................1 1.1 Introduction ...............................................................................................1 1.2 Methodology
    [Show full text]
  • Complete Paper
    Complexity, Naturalness, and Explanatory Power: The Case of Seenku Argument-Head Tone Sandhi Laura McPherson 1. Introduction* When faced with complex alternations, linguists are faced with a dilemma: Given that complex phenomena rarely lend themselves to simple analyses, where is the analytical complexity best justified? Is it better supported in the phonology proper, in the morphology, or in some combination of grammatical components? With phrasal alternations, the question becomes more complicated still, as the role of syntax must also be considered. This paper probes the question of analytical complexity using data from argument-head tone sandhi in Seenku (Western Mande, Burkina Faso). These complex tonal changes occur phrasally, between a head and its internal argument, and depend on phonological, morphological, and syntactic factors. I compare a phonological and lexical approach to the data, arguing that the lexical approach is to be preferred on the grounds of naturalness and explanatory power, and it allows the phonological component to remain restrictive. The Seenku case is reminiscent of another famous tone sandhi debate in the literature, the infamous Taiwanese Min tone circle (Chen 1987, Tsay and Myers 1996, Zhang and Lai 2008, etc.). The basic data are shown in (1): 55 (1) 44 à 33 51 21 In Taiwanese, base tones (T) become their sandhi variants (T’) in non-final position, where domains are determined by syntactic structure (Chen 1987, Hsiao 1991). The data present a challenge to phonological accounts due to the presence of a circular chain shift (counterfeeding opacity). Nevertheless, phonological analyses have been proposed, deploying modifications to regular markedness-based phonology such as contrast preservation (Lubowicz 2003), anti-faithfulness (Alderete 2001), or both; see Horwood (2000), Hsieh (2005), Barrie (2006), and Thomas (2008).
    [Show full text]
  • Prosodic Hierarchy and Nasalization in Taiwanese
    Prosodic Hierarchy and Nasalization in Taiwanese Ho-hsien Pan † National Chiao Tong University, Taiwan E-mail: [email protected] carries tone [33] at context position, while the syllable /kun ABSTRACT 33/ ‘near’ that carries tone [33] in juncture position turns to tone [31] in context position. Due to the recursive nature of This study investigated nasalization process from final tone sandhi rule, the surface form [kun 33] means ‘near’ if nasal to initial voiced stops across intermediate phrase it is at the juncture position, but surface form [kun 33] boundary, word boundary, tone group boundary, and means ‘king’ in context position. To determine the context syllabic boundary in Taiwanese. The degree of nasalization and juncture tonal values, tone sandhi group boundary must was investigated with nasal airflow data collected from four be determined first. Therefore the location of tone group native Taiwanese speakers producing sentences with final boundary is a very important cue during lexical processing nasal at the end of second syllable and initial voiced stops at in Taiwanese. Tone sandhi group boundary is an important the third syllable. Results showed that the peak nasal and unique prosodic boundary in Taiwanese. This study airflow across intermediate phrase boundary was the investigated the ranking of tone group boundary in prosodic earliest in time for all four subjects, and the highest in hierarchy by studying the degree of nasalization across amplitude for subject HFY and HYH. The amplitude of boundaries of different strengths. peak nasal airflow across tone group boundary was stronger than that across syllabic boundary. In fact the nasal peak 2.
    [Show full text]