Prosody and Intonation in Non-Bantu Niger-Congo Languages: an Annotated Bibliography
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The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17Th-First Half of the 18Th Century
The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Siedina, Giovanna. 2014. The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:13065007 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA © 2014 Giovanna Siedina All rights reserved. Dissertation Advisor: Author: Professor George G. Grabowicz Giovanna Siedina The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century Abstract For the first time, the reception of the poetic legacy of the Latin poet Horace (65 B.C.-8 B.C.) in the poetics courses taught at the Kyiv Mohyla Academy (17th-first half of the 18th century) has become the subject of a wide-ranging research project presented in this dissertation. Quotations from Horace and references to his oeuvre have been divided according to the function they perform in the poetics manuals, the aim of which was to teach pupils how to compose Latin poetry. Three main aspects have been identified: the first consists of theoretical recommendations useful to the would-be poets, which are taken mainly from Horace’s Ars poetica. -
Meter of Classical Arabic Poetry
Pegs, Cords, and Ghuls: Meter of Classical Arabic Poetry Hazel Scott Haverford College Department of Linguistics, Swarthmore College Fall 2009 There are many reasons to read poetry, filled with heroics and folly, sweeping metaphors and engaging rhymes. It can reveal much about a shared cultural history and the depths of the human soul; for linguists, it also provides insights into the nature of language itself. As a particular subset of a language, poetry is one case study for understanding the use of a language and the underlying rules that govern it. This paper explores the metrical system of classical Arabic poetry and its theoretical representations. The prevailing classification is from the 8th century C.E., based on the work of the scholar al-Khaliil, and I evaluate modern attempts to situate the meters within a more universal theory. I analyze the meter of two early Arabic poems, and observe the descriptive accuracy of al-Khaliil’s system, and then provide an analysis of the major alternative accounts. By incorporating linguistic concepts such as binarity and prosodic constraints, the newer models improve on the general accessibility of their theories with greater explanatory potential. The use of this analysis to identify and account for the four most commonly used meters, for example, highlights the significance of these models over al-Khaliil’s basic enumerations. The study is situated within a discussion of cultural history and the modern application of these meters, and a reflection on the oral nature of these poems. The opportunities created for easier cross-linguistic comparisons are crucial for a broader understanding of poetry, enhanced by Arabic’s complex levels of metrical patterns, and with conclusions that can inform wider linguistic study.* Introduction Classical Arabic poetry is traditionally characterized by its use of one of the sixteen * I would like to thank my advisor, Professor K. -
The Study of Word Accent and Stress: Past, Present and Future
1 The study of word accent and stress: past, present and future Harry van der Hulst 1 Introduction 2 Terminological and substantive distinctions 3 Stress typology and areal distribution 3.1 Stress types and their formal analysis 3.2 The areal distribution of stress types 3.3 Learnability (and acquisition) 4 Summing up: Marks and exponents 5 The role of the lexicon and morphology 5.1 Lexical marking 5.2 Affix classes 6 Intonational pitch accents 7 Non-primary stress 7.1 Sources of non-primary stress 7.3 Non-primary stress and intonation 8 Problems in the study of word stress 9 Database applications 9.1.1 StressTyp 9.1.2 Stress Pattern Database 9.1.3 StressTyp2 10 The chapters in this volume 11 Conclusions and perspectives for future research References 1 2 1 Introduction This volume contains 10 chapters that all originated from presentations at the First or Second Word Accent Conference held at the University of Connecticut on April 30th, 2010 and December 3, 2011, respectively. The first conference brought together phonologists who share an interest in the study of word stress, based on broad typological surveys. 1 In several cases, such surveys have taken the form of digital databases which contain information about stress properties in large numbers of languages. In particular, two such databases ( StressTyp and Stress Pattern Database ) are publicly available on the WWW. 2 While the chapters in this volume are based on public talks, the (‘hidden’) goal of the first conference was to develop a grant proposal which would allow the architects of these databases to merge the two resources into one system, to be named StressTyp2 .3 Beyond merger, the goal was to enrich the information, both in terms of depth (detail of encoding) and breadth (number of languages) and to improve quality and accessibility of the data. -
The Poetry Handbook I Read / That John Donne Must Be Taken at Speed : / Which Is All Very Well / Were It Not for the Smell / of His Feet Catechising His Creed.)
Introduction his book is for anyone who wants to read poetry with a better understanding of its craft and technique ; it is also a textbook T and crib for school and undergraduate students facing exams in practical criticism. Teaching the practical criticism of poetry at several universities, and talking to students about their previous teaching, has made me sharply aware of how little consensus there is about the subject. Some teachers do not distinguish practical critic- ism from critical theory, or regard it as a critical theory, to be taught alongside psychoanalytical, feminist, Marxist, and structuralist theor- ies ; others seem to do very little except invite discussion of ‘how it feels’ to read poem x. And as practical criticism (though not always called that) remains compulsory in most English Literature course- work and exams, at school and university, this is an unwelcome state of affairs. For students there are many consequences. Teachers at school and university may contradict one another, and too rarely put the problem of differing viewpoints and frameworks for analysis in perspective ; important aspects of the subject are omitted in the confusion, leaving otherwise more than competent students with little or no idea of what they are being asked to do. How can this be remedied without losing the richness and diversity of thought which, at its best, practical criticism can foster ? What are the basics ? How may they best be taught ? My own answer is that the basics are an understanding of and ability to judge the elements of a poet’s craft. Profoundly different as they are, Chaucer, Shakespeare, Pope, Dickinson, Eliot, Walcott, and Plath could readily converse about the techniques of which they are common masters ; few undergraduates I have encountered know much about metre beyond the terms ‘blank verse’ and ‘iambic pentameter’, much about form beyond ‘couplet’ and ‘sonnet’, or anything about rhyme more complicated than an assertion that two words do or don’t. -
Syllable Structure and Stress in Dutch Linguistic Models
Syllable Structure and Stress in Dutch Linguistic Models The publications in this series tackle crucial problems, both empirical and conceptual, within the context of progressive research programs. In particular, Linguistic Models will address the development of formal methods in the study of language with special reference to the interaction of grammatical components. Series Editors: Teun Hoekstra Harry van der Hulst Michael Moortgat Other books in this series: 1 Michael Moortgat, Harry van der Hulst and Teun Hoekstra (eds.) The scope of lexical rules 2 Harry van der Hulst and Norval Smith (eds.) The structure of phonological representation. Part I. 3 Harry van der Hulst and Norval Smith (eds.) The structure of phonological representation. Part II. 4 Gerald Gazdar, Ewan Klein and Geoffrey K. Pullum (eds.) Order, Concord and Constituency 5 W. de Geest and Y. Putseys (eds.) Sentential Complementation 6 Teun Hoekstra Transitivity. Grammatical Relations in Government-Binding Theory 7 Harry van der Hulst and Norval Smith (eds.) Advances in Nonlinear Phonology Syllable Structure and Stress in Dutch Harry van der Hülst INL, Leiden 1984 FORI S PUBLICATIONS Dordrecht - Holland/Cinnaminson - U.S.A. Published by: Foris Publications Holland P.O. Box 509 3300 AM Dordrecht, The Netherlands Sole distributor for the U.S.A. and Canada: Foris Publications U.S.A. P.O. Box C-50 Cinnaminson N.J. 08077 U.S.A. C IP-DATA KONINKLIJKE BIBLIOTHEEK, DEN HAAG Hülst, Harry van der Syllable Structure and Stress in Dutch/Harry van der Hülst. - Dordrecht [etc.]: Foris Publica- tions. - (Linguistic Models; 8) Also published as thesis Leiden. ISBN 90-6765-037-4 bound ISBN 90-6765-038-2 paper SISO *837 UDC 803.931-4/5 Subject headings: Syllable Structure; Dutch Language/Stress; Dutch Language. -
Reduplication in Leti.Pdf
Reduplication in Leti Harry van der Hulst and Marian Klamer 0. Introduction In this article we present an analysis of reduplication facts in Tutukeian-Letinese, Leti for short.1 We will show that the facts are rather straightforward once it is understood how Leti reduplication interacts with two independent phonological processes of the language: metathesis and fusion. After some preliminary remarks about syllable and root structure in Leti in section 2, section 3 offers a brief discussion of the metathesis and fusion facts, following and somewhat modifying an analysis proposed in Van der Hulst & Van Engelenhoven 1995 (henceforth VDH and VE). In section 4 we turn to the reduplication data. Leti is an Austronesian (Central Malayo-Poiynesian) language and is spoken on the island of Leti which is situated off the easternmost tip of Timor. The language has about 600 speakers, the majority of whom are around sixty to seventy years old. The data analyzed in this article come from Van Engelenhoven (1995). 2. Basic phonology In this section we provide some basic facts about the phonological structure of Leti. For a more detailed description we refer to Van Engelenhoven (1995) and to VDH and VE. The segmental inventory of Leti (excluding a few loan phonemes) is displayed in (1). The high vowels I'll and /u/ occur as glides /y/ and /w/ if they do not form the syllable peak and precede a non-high vowel. 1 We are grateful to Aone van Engelenhoven for answering some questions we had about the redupli cation patterns. Linguistics in the Netherlands 1996, 109—120. -
Cognitive Phonology
Harry van der Hulst Cognitive Phonology Cognitive Phonology Harry van der Hulst University of Connecticut ([email protected]) 1. Introduction Phonology is usually thought of as the study of the ‘sound systems’ of languages. In this article I will make an attempt to explain what that means for me and why I refer to the approach that I favor as ‘cognitive’. Frankly, I have no idea how phonology could ever be anything but cognitive. However, there is a certain view that explanation in this domain must be crucially built upon our understanding of how sounds are produced and perceived. I do not dispute that insight into linguistic sound systems can be derived from such understanding. My point is that some fundamental properties of sound systems cannot be understood in this way, but rather must come from theories about the cognitive representations that underlie sound systems. Hence ‘cognitive phonology’. As we will see, phonology, being cognitive, is not fully encapsulated in the mind, as there must also be a system for externalizing the phonological representations. In section 2 I first discuss what it means to say someone knows linguistic sound events. Section 3 argues for a strong parallelism between grammatical components (phonology, syntax and semantics) and contains a brief excursion on the evolution of language. Sections 4 and 5 home in on the phonological component, discussing static (i.e. phonotactic) and dynamic (i.e. allomorphy) phenomena, respectively. In section 6, I argue that even though the phonological system is non-derivational and constraint-based, two levels (in different planes) are necessary. -
Sappho's Aesthetics by Lauren R. W. Vanderdeen Submitted in Partial
Sappho’s Aesthetics by Lauren R. W. Vanderdeen Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia August 2020 © Copyright by Lauren R. W. Vanderdeen, 2020 ἀεροβατῶ καὶ περιφρονῶ τὸν ἥλιον. ii Table of Contents Abstract .............................................................................................................................. iv Acknowledgments............................................................................................................... v Chapter 1. Introduction ....................................................................................................... 1 (i) Lyric poetry: problems and contexts .......................................................................... 2 (ii) Ideas of beauty .......................................................................................................... 3 Chapter 2. Beauty................................................................................................................ 6 (i) Situating κάλος in Sappho .......................................................................................... 6 (ii) Adjacent aesthetic language .................................................................................... 17 (iii) “the most beautiful thing on the dark earth” .......................................................... 27 Chapter 3. Nature .............................................................................................................. 34 (i) Fullness -
The Poems of Catullus As They Went to the Printer for the first Time, in Venice 400 Years Ago
1.Catullus, Poems 1/12/05 2:52 PM Page 1 INTRODUCTION LIFE AND BACKGROUND We know very little for certain about Catullus himself, and most of that has to be extrapolated from his own work, always a risky procedure, and nowadays with the full weight of critical opinion against it (though this is always mutable, and there are signs of change in the air). On the other hand, we know a great deal about the last century of the Roman Republic, in which his short but intense life was spent, and about many of the public figures, both literary and political, whom he counted among his friends and enemies. Like Byron, whom in ways he resembled, he moved in fashionable circles, was radical without being constructively political, and wrote poetry that gives the overwhelming impression of being generated by the public aªairs, literary fashions, and aristocratic private scandals of the day. How far all these were fictionalized in his poetry we shall never know, but that they were pure invention is unlikely in the extreme: what need to make up stories when there was so much splendid material to hand? Obviously we can’t take what Catullus writes about Caesar or Mamurra at face value, any more than we can By- ron’s portraits of George III and Southey in “The Vision of Judgement,” or Dry- den’s of James II and the Duke of Buckingham in “Absalom and Achitophel.” Yet it would be hard to deny that in every case the poetic version contained more than a grain of truth. -
Authors' Preface
John Benjamins Publishing Company This is a contribution from Sign Language & Linguistics 17:2 © 2014. John Benjamins Publishing Company This electronic file may not be altered in any way. The author(s) of this article is/are permitted to use this PDF file to generate printed copies to be used by way of offprints, for their personal use only. Permission is granted by the publishers to post this file on a closed server which is accessible only to members (students and faculty) of the author’s/s’ institute. It is not permitted to post this PDF on the internet, or to share it on sites such as Mendeley, ResearchGate, Academia.edu. Please see our rights policy on https://benjamins.com/#authors/rightspolicy For any other use of this material prior written permission should be obtained from the publishers or through the Copyright Clearance Center (for USA: www.copyright.com). Please contact [email protected] or consult our website: www.benjamins.com Papers from the Sign Linguistics Underground Authors’ Preface Harry van der Hulsta and Sotaro Kitab aUniversity of Connecticut / bUniversity of Warwick This study came out of a discussion between Harry van der Hulst and Sotaro Kita in 1996. Kita was the leader of the “Gesture Project” at the Max Planck Institute for Psycholinguistics (MPI) in Nijmegen (The Netherlands). The Project mainly focused on gestures that spontaneously accompany speech, especially how psy- chological processes of gesture production and speech production are inter- linked. Van der Hulst, who was at the General Linguistics department at Leiden University (The Netherlands), initiated contact with Kita and suggested a system- atic exploration of differences and similarities between sign language and speech- accompanying gesture. -
A Featural Analysis of Mid and Downstepped High Tone in Babanki Pius W
Chapter 1 A featural analysis of mid and downstepped high tone in Babanki Pius W. Akumbu University of Buea, Cameroon In this study, I examine the occurrence of the surface Mid (M) and downstepped High (↓H) tone in Babanki, a Central Ring Grassfields Bantu language of Cameroon. Hyman (1979) has demonstrated that Babanki has two underlying tones, namely, High (H) and Low (L), and that on the surface, it contrasts three level tones, H, M, L, plus a downstepped High (↓H). There is also contrast between a falling (L) anda level low (Lo) tone before pause in the language. I demonstrate in this paper that the M tone is from two different phonological sources and derived by the regressive spread of the high register feature of a following H tone while ↓H is caused by the progressive spread of the low register feature of a preceding floating L tone. The M and ↓H tone are phonetically identical in the language but differ inthat↓H establishes a ceiling for following H tones within the same tonal phrase. 1 Introduction Part of the complexity of tone in Grassfields Bantu (GB) languages of Northwest Cameroon such as Babanki (a Central Ring GB language) is the lack of correspon- dence between underlying and surface tones as well as the presence of many floating tones. There is no underlying M tone in Babanki, yet it occurs onthe surface with the constraint that it must be followed by a H tone. Hyman (1979) has given a historical account of this M tone which is unnecessarily abstract as a synchronic analysis. -
Lyric Genres 57 Andrew Ford
Genre in Archaic and Classical Greek Poetry: Theories and Models Mnemosyne Supplements monographs on greek and latin language and literature Executive Editor C. Pieper (Leiden University) Editorial Board A. Chaniotis (Institute for Advanced Study, Princeton) K.M. Coleman (Harvard University) I.J.F. de Jong (University of Amsterdam) T. Reinhardt (Oxford University) volume 428 The titles published in this series are listed at brill.com/mns Genre in Archaic and Classical Greek Poetry: Theories and Models Studies in Archaic and Classical Greek Song, Vol. 4 Edited by Margaret Foster Leslie Kurke Naomi Weiss LEIDEN | BOSTON This is an open access title distributed under the terms of the CC-BY-NC-ND 4.0 License, which permits any non-commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Library of Congress Cataloging-in-Publication Data Names: Foster, Margaret, 1977- editor. | Kurke, Leslie, editor. | Weiss, Naomi A., 1982- editor. Title: Genre in archaic and classical Greek poetry : theories and models / edited by Margaret Foster, Leslie Kurke, Naomi Weiss. Other titles: Studies in archaic and classical Greek song ; v. 4. Description: Boston : Brill, 2019. | Series: Mnemosyne supplements, 0169-8958 ; volume 428 | Includes bibliographical references and index. Identifiers: LCCN 2019032900 (print) | LCCN 2019032901 (ebook) | ISBN 9789004411425 (hardback) | ISBN 9789004412590 (ebook) Subjects: LCSH: Greek poetry–History and criticism. | Literary form–History–To 1500. Classification: LCC PA3095 .G46 2019 (print) | LCC PA3095 (ebook) | DDC 881/.0109–dc23 LC record available at https://lccn.loc.gov/2019032900 LC ebook record available at https://lccn.loc.gov/2019032901 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”.