Linguistic Variation in Entry Level College Textbooks for Spanish
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The Spanish Pronominal Clitic System
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositorio Institucional de la Universidad de Alicante The Spanish pronominal clitic system Luis Pineda Ivan Meza Instituto de Investigaciones en Matemáticas Division of Informatics Aplicadas y en Sistemas (IIMAS) University of Edinburgh Universidad Nacional Autónoma de México [email protected] (UNAM) [email protected] Resumen: En este artículo se presenta un modelo del sistema de pronombres clíticos del español. Se presenta una revisión detallada del fenómeno incluyendo la llamada “subida de clíticos” tanto simple como compleja, así como el fenómeno relacionado de los reflexivos, y también las formas impersonales de la pasiva-refleja y la impersonal-activa. Se presenta también un análisis del estatus representacional de los pronombres clíticos y se postula un modelo dual en el que mientras los enclíticos son inflexiones, los proclíticos se realizan como unidades léxicas independientes y por lo mismo son clíticos propiamente. Se presenta también la formalización del modelo en Head- driven Phrase Structure Grammar (HPSG); para esto la maquinaria estándar de HPSG se extiende con un esquema de combinación sintáctica, la regla Head-Proclitic Rule y el principio de clíticos. Este principio establece que en las oraciones bien formadas que incluyen pronombres clíticos todo dominio clítico se encuentra bajo el alcance de un clítico fonológico. Estas nociones se introducen también en el presente artículo. En particular, los dominios clíticos se forma sobre las operaciones de cliticización, composición y subsumsión de clíticos, que también se presentan en este artículo. La teoría ha sido validada mediante la programación de un sistema prototipo en el ambiente Linguistics Knowledge Building (LKB), el cual también se describe en el presente artículo. -
Diferencias Entre El Español Peninsular Y Rioplatense En El Uso De Los Pronombres Personales
Filozofická fakulta Masarykovy univerzity Ústav románských jazyků a literatur Bakalářská diplomová práce DIFERENCIAS ENTRE EL ESPAÑOL PENINSULAR Y RIOPLATENSE EN EL USO DE LOS PRONOMBRES PERSONALES Michaela Šichová Vedoucí práce: Mgr. Ivo Buzek, Ph.D. Brno 2009 Prohlašuji, že jsem diplomovou práci vypracovala samostatně s využitím uvedených pramenů a literatury a že se její verze tištěná shoduje s verzí elektronickou. ……………………………. Ráda bych poděkovala panu doktoru Buzkovi za vedení mé bakalářské práce, za cenné rady a pomoc, které mi při její vypracování poskytl. 3 Índice 1. Introducción............................................................................................................................5 2. Pronombres.............................................................................................................................6 2.1. Características generales de los pronombres...................................................................6 2.2. Clasificación de los pronombres......................................................................................7 3. Pronombres personales..........................................................................................................9 3.1. Características de los pronombres personales.................................................................9 3.2. Formas de los pronombres personales...........................................................................10 3.2.1. Posición de los pronombres átonos y tónicos.......................................................13 -
Language and Dialect Contact in Spanish in New York: Toward the Formation of a Speech Community
LANGUAGE AND DIALECT CONTACT IN SPANISH IN NEW YORK: TOWARD THE FORMATION OF A SPEECH COMMUNITY RICARDO OTHEGUY ANA CELIA ZENTELLA DAVID LIVERT Graduate Center, University of California, Pennsylvania State CUNY San Diego University, Lehigh Valley Subject personal pronouns are highly variable in Spanish but nearly obligatory in many contexts in English, and regions of Latin America differ significantly in rates and constraints on use. We investigate language and dialect contact by analyzing these pronouns in a corpus of 63,500 verbs extracted from sociolinguistic interviews of a stratified sample of 142 members of the six largest Spanish-speaking communities in New York City. A variationist approach to rates of overt pro- nouns and variable and constraint hierarchies, comparing speakers from different dialect regions (Caribbeans vs. Mainlanders) and different generations (those recently arrived vs. those born and/ or raised in New York), reveals the influence of English on speakers from both regions. In addition, generational changesin constrainthierarchiesdemonstratethat Caribbeansand Mainlandersare accommodating to one another. Both dialect and language contact are shaping Spanish in New York City and promoting, in the second generation, the formation of a New York Spanish speech community.* 1. INTRODUCTION. The Spanish-speaking population of New York City (NYC), which constitutesmorethan twenty-five percent of the City’stotal, tracesitsorigins to what are linguistically very different parts of Latin America. For example, Puerto Rico and Mexico, the sources of one of the oldest and one of the newest Spanish- speaking groups in NYC respectively, have been regarded as belonging to different areasfrom the earliesteffortsat dividing Latin America into dialect zones(Henrı ´quez Uren˜a 1921, Rona 1964). -
Malandain / De Falla L'amour SORCIER Created on 18 March 2008 at the Grand Théâtre De Luxembourg
L'AMOUR SORCIER Malandain / De Falla L'AMOUR SORCIER Created on 18 March 2008 at the Grand Théâtre de Luxembourg. Coproduction Grand Théâtre de Luxembourg, Théâtre Victoria Eugenia de San- Sebastian, Opéra Théâtre de Saint-Etienne, Grand Théâtre de Reims, l’Onde de Vélizy -Villacoublay, Opéra de Vichy, CCN-Ballet Biarritz, Les Amis de Ballet Biarritz. Ballet for 16 dancers Length: 25’ music Manuel de Falla choreography Thierry Malandain sets and costumes Jorge Gallardo lighting design Jean-Claude Asquié Without divesting l’Amour Sorcier completely of its picturesque Andalucian features, it is to the perennial cycle of life and death that I am attracted. Through this choice and following Amour Sorcier takes place in the abode of a viewpoint that makes the subject universal, L’gypsies of Andalucia, in an atmosphere the principal roles will in part be interpreted of superstition and sorcery. There we’ll see by the whole company. Finally, the stage the love of Candelas and Carmelo troubled is covered with petals the color of burning by the apparition of the ghost of a young man cinders. Black roses that love has run away who before his death was Candelas’ fiancé. from, until it comes back. The curse will definitively be broken when Thierry Malandain Candelas manages to redirect the jealous attention of the ghost toward another young girl. In bringing closer the dead and the living, this legend borrows from other traditional tales, such as those that relate to the invitation of the dead to rituals that celebrate the coming of spring. Ceremonies, that in their role of regeneration of the world, used fire as a symbol of the supremacy of light over darkness. -
Female Flamenco Artists: Brave, Transgressive, Creative Women, Masters
Ángeles CRUZADO RODRÍGUEZ Universidad de Sevilla Female flamenco artists: brave, transgressive, creative women, masters... essential to understand flamenco history Summary From its birth, in the last third of nineteenth century, and during the first decades of the twentieth, flamenco has counted on great female leading figures -singers, dancers and guitar players-, who have made important contributions to that art and who, in many cases, have ended their lives completely forgotten and ruined. On the other hand, in Francoist times, when it was sought to impose the model of the woman as mother and housewife, it is worth emphasizing another range of female figures who have not developed a professional career but have assumed the important role of transmitting their rich artistic family legacy to their descendants. Besides rescuing many of these leading figures, this article highlights the main barriers and difficulties that those artists have had to face because they were women. Keywords: flamenco history, women, flamenco singers, flamenco dancers, guitar players 1. Introduction Flamenco is an art in which, from the beginning, there has been an important gender segregation. Traditionally women have been identified with dancing, which favours body exhibition, while men have been related to guitar playing and to those flamenco styles which are considered more solemn, such as seguiriya. Nevertheless, this type of attitudes are based in prejudices without a scientific base. Re-reading flamenco history from gender perspective will allow us to discover the presence of a significant number of women, many of whom have been forgotten, whose contribution has been essential to mold flamenco art as we know it now. -
The Beginner's Guide To
THE BEGINNER’S GUIDE TO SPANISH EVERYDAY VOCABULARY AND GRAMMAR TO HELP YOU SURVIVE IN SPANISH (AND THEN SOME!) TABLE OF CONTENTS CHAPTER 1 Greetings CHAPTER 2 Personal Pronouns CHAPTER 3 Definite and Indefinite Articles CHAPTER 4 Verb Conjugation CHAPTER 5 Stem-changing Verbs CHAPTER 6 Numbers 1-100 CHAPTER 7 Ser vs. Estar CHAPTER 8 Negation CHAPTER 9 Asking Questions CHAPTER ONE GREETINGS GREETINGS While you may know “hola”, there are a number of other common Spanish greetings. Spanish speakers use different greetings depending on the time of day, including: Buenos días (good morning) Buenas tardes (good afternoon) Buenas noches (good evening/good night) Note: You can also say “Buenas” or “muy buenas” a shortened version of the above three greetings, suitable in any informal situation. There are, of course, other ways of greeting someone. Formal greetings use the formal form “usted”, including: ¿Cómo está usted? (How are you?) ¿Cómo le va? (How’s it going?) ¿Qué hace? (What are you doing?) Informal greetings use the informal form “tu”, including: ¿Cómo estás? (Hello, how are you?) ¿Cómo te va? (How’s it going?) ¿Qué haces? (What are you doing?) Another extremely common informal greeting is ¿Qué tal? which roughly means “What’s up?” Common responses to these questions include: Bien, gracias. / Muy bien. (Well, thanks. / Very well.) Como siempre. (As always.) Más o menos. (Okay, so-so.) Todo bien. (All good, great.) Nada. (Nothing.) When meeting someone for the first time, you can say “mucho gusto” (nice to meet you) or “encantado/encantada” (how do you do). GREETINGS When leaving somewhere, you can use the same expressions to say goodbye as you used to say hello, given the time of day: Buenos días (good morning) Buenas tardes (good afternoon) Buenas noches (good evening/good night) Other common ways to say goodbye include: Adiós (Bye) Hasta luego/hasta más tarde (See you later) Hasta mañana (See you tomorrow) Hasta pronto (See you soon) Hasta la próxima (Until next time) Hasta ahora (See you in a minute) Nos vemos. -
The Other/Argentina
The Other/Argentina Item Type Book Authors Kaminsky, Amy K. DOI 10.1353/book.83162 Publisher SUNY Press Rights Attribution-NonCommercial-NoDerivatives 4.0 International Download date 29/09/2021 01:11:31 Item License http://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://www.sunypress.edu/p-7058-the-otherargentina.aspx THE OTHER/ARGENTINA SUNY series in Latin American and Iberian Thought and Culture —————— Rosemary G. Feal, editor Jorge J. E. Gracia, founding editor THE OTHER/ARGENTINA Jews, Gender, and Sexuality in the Making of a Modern Nation AMY K. KAMINSKY Cover image: Archeology of a Journey, 2018. © Mirta Kupferminc. Used with permission. Published by State University of New York Press, Albany © 2021 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, contact State University of New York Press, Albany, NY www.sunypress.edu Library of Congress Cataloging-in-Publication Data Names: Kaminsky, Amy K., author. Title: The other/Argentina : Jews, gender, and sexuality in the making of a modern nation / Amy K. Kaminsky. Other titles: Jews, gender, and sexuality in the making of a modern nation Description: Albany : State University of New York Press, [2021] | Series: SUNY series in Latin American and Iberian thought and culture | Includes bibliographical references and index. -
An Exploration of the Complexity of Familiar Address in Chilean Spanish
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 5-14-2010 The New Voseo Culto: An Exploration of the Complexity of Familiar Address in Chilean Spanish Patrick Roy Rouse University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Rouse, Patrick Roy, "The New Voseo Culto: An Exploration of the Complexity of Familiar Address in Chilean Spanish" (2010). University of New Orleans Theses and Dissertations. 1118. https://scholarworks.uno.edu/td/1118 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. The New Voseo Culto: An Exploration of the Complexity of Familiar Address in Chilean Spanish A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts In Romance Languages By Patrick R. Rouse B. A., The University of Southern Mississippi, 1999 May 2010 © 2010, Patrick R. -
The Social Meaning of Variable Polite Leísmo in Mexico City
THE SOCIAL MEANING OF VARIABLE POLITE LEÍSMO IN MEXICO CITY Valentyna Filimonova Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Departments of Linguistics and Spanish & Portuguese, Indiana University November 2020 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy Doctoral Committee ______________________________________ Committee Co-chairperson: Manuel Díaz-Campos, PhD ______________________________________ Committee Co-chairperson: Joseph Clancy Clements, PhD ______________________________________ César Félix-Brasdefer, PhD ______________________________________ Julie Auger, PhD ______________________________________ Tania Leal, PhD Date of Defense: August 28, 2020 ii Valentyna Filimonova THE SOCIAL MEANING OF VARIABLE POLITE LEÍSMO IN MEXICO CITY Language is intricately complex and powerful. Even the smallest words, like the le pronoun in Spanish, are capable of meaning so much beyond their dictionary definition. This specific pronoun, roughly meaning a formal ‘you’, is found at the intersection of language, context, and society, with implications for understanding language and culture under the broader perspective of human behavior. This dissertation is the first variationist sociolinguistic study with experimental pragmatic component exploring the variable polite leísmo phenomenon in Spanish, focusing on the linguistic treatment of our various socially distant interlocutors. Furthermore, it is the first study to look at the production and perception of polite leísmo in interactive settings in search for its social meaning and value in Mexico City. Due to the complex implications of the variation found with this pronoun as direct object (Aijón Oliva, 2006; Parodi, Luna & Helmer, 2012; RAE 2010), the study makes use of complementary theoretical and methodological approaches common to the areas of morphosyntax, pragmatics, and sociolinguistics. -
The Changing System of Costa Rican Pronouns of Address: Tuteo, Voseo, and Ustedeo”
1 Article to appear as: Michnowicz, Jim, Despain, Scott & Gorham, Rebecca. In press. “The changing system of Costa Rican pronouns of address: tuteo, voseo, and ustedeo”. To appear in S. Rivera-Mills and M.I. Moyna (Eds.). Forms of address in the Spanish of the Americas. Amsterdam: John Benjamins. This version may differ from the final published article. Please reference the published version. The changing system of Costa Rican pronouns of address: tuteo, voseo, and ustedeo Jim Michnowicz, Scott Despain, & Rebecca Gorham North Carolina State University Abstract The present study examines the reported use of three forms of address (tú, vos, usted) in Costa Rican Spanish. Previous studies have indicated three phenomena of interest: 1. Usted is used with [+solidarity] interlocutors (Moser, 2010b); 2. While tuteo has been historically absent, some studies suggest an increase in tuteo use among young speakers (cf. Quesada Pacheco, 2010); and 3. Older studies indicated that younger speakers were increasing their use of vos, the default informal pronoun in Costa Rica (cf. Vargas, 1974). Based on surveys with 209 participants, the present results indicate an increase in ustedeo among younger speakers, a result that contradicts earlier studies. Correspondingly, reported voseo is decreasing among younger speakers. Possible explanations for this pattern include the socio-political history of Costa Rica, as well as a linguistic reaction against the influx of voseo- using Nicaraguan immigrants in recent decades. Finally, no clear evidence of expanding tuteo is found, at least for the survey data analyzed here. Further data and conclusions are discussed. 1. Introduction1 Previous research has identified Costa Rican Spanish as possessing a binary system of pronouns of address, with vos as the familiar pronoun expressing solidarity, and usted as the 1 The authors wish to thank the audience at Spanish Linguistics in North Carolina 2013, the editors and the three anonymous reviewers for their feedback on this article. -
El Baile De Antonia Mercé: Lazo Entre Los Pueblos, ¡·
La Argentina 1911 EL BAILE DE ANTONIA MERCÉ: LAZO ENTRE LOS PUEBLOS, ¡·.. :··················W·····l!! PUENTE ENTRE LOS TIEMPOS l {\ . .• •~ .................... ~- n-..5T'I .. ·'.""T" ..... -••••••••R~. Ana Isabel Fernández Val buena: ...............................................................................................· Profesora de Dramaturgia. Instituto Superior de Danza "Alicia Alonso" : " " ................................................ · . l·Nadie en el mundol. ¡·ha sabido escribir en¡. ·lel viento dormido.l ¡·este arabesco de.~ lsangre y hueso como ~ ·~ Antonia Mercé. Por-.l lque une a su intui-l ¡ción nativa de la¡ · . ¡danza una inteligen-l ¡cia rítmica y una¡ ¡comprensión de las¡ Wormas de su cuerpo¡ ¡que solamente han¡ ~ tenido los grandes¡ ¡·maestros de la da nza .~ lespañola. ¡ -17- : .............................................. : Son palabras de Federico García Lorca dedi- una corriente intensa de amor por lo íntimo nuestro. Los hombres más cadas en 1930 a "La Argentina", excepcional selectos en las diferentes actividades de la cultura: filósofos, poetas, bailarina (1890 - 1936) hija de castellano y músicos, pintores y críticos han dedicado lo mejor de su empeño a andaluza, apodada así por su nacimiento en hacer lo mismo que la Argentina ha hecho con el baile: a comprender, Buenos Aires. De sus padres recibió su prime universalizar y purgar de localismo y ra formación en las filas de la compañía del patriotería el genio verdadero de España. Teatro Real y comenzó su andadura como Antonia Mercé consiguió que la Danza solista en los teatros de variedades en la pri- Española interesara a los creadores de su mera década del siglo XX. Los críticos dicen momento histórico de la misma manera que entonces de ella que "es una mocita que baila les había interesado la música . -
Subject Pronoun Usage Among Spanish Dialects John M. Lipski The
Subject pronoun usage among Spanish dialects John M. Lipski The Pennsylvania State University 1. Introduction Research on Spanish subject pronouns is complicated by a number of poorly-documented and sometimes mutually contradictory assumptions, all of which have been repeated for so long within different theoretical models—as well as in pre-theoretical descriptive studies—as to take on the status of received wisdom. Among these assumptions are: (1) Spanish is a null-subject language. This `prodrop' feature of Spanish is usually tied to the rich verb morphology of Spanish, which identifies the grammatical subject with a high degree of accuracy, rendering overt subject pronouns usually redundant. Comparisons between Spanish and English from the perspective of second language acquisition routinely mention lack of prodrop in English, together with the types of interference that can result from misapplication of L1 parameters in the acquisition of L2: (a) ungrammatical elimination of subject pronouns in English, and (b) categorical retention of overt subject pronouns in Spanish. The former misapplication produces immediate syntactic violations, and represents a discontinuous transition between grammaticality and ungrammaticality. The second case, retention of overt subject pronouns in Spanish, is more highly ramified, since prodrop in Spanish is in principle optional (except in the case of obligatorily null expletive subjects). Native speakers of Spanish, representing a broad spectrum of regional variants and dialects, are not always in agreement as to the desirability or even acceptability of null versus overt subject pronouns when presented with test utterances in which prodrop could apply, and observation of unmonitored speech reveals an equally great variation in actual production.