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Morphologization and the Boundary Between Morphology and Phonology in the Romance Languages  

Paul O'Neill

This article analyses, from a Romance perspective, the concept of morphologization and seeks to answer the following question: At what point does a historically proven phonological cause-and-effect relationship, whereby phonological feature X causes and determines phonological feature Y, cease to hold and the dephonologized Y element stand as a marker of some morphological distinction? The question is relevant to cases in which the original phonological conditioning element is still present and where it has disappeared. I explain that the answer to this question depends entirely on one’s conception of morphology and phonology. I argue against theories that adhere to the principle of lexical minimization and have a static conception of morphology, which is restricted to the concatenation of idiosyncratic morphemes. These theories are forced by their theoretical underpinnings, which are often ideological and not supported by robust empirical evidence, to explain morphologized phenomena as being synchronically derived by phonology. This approach comes at a huge cost: the model of phonology is endowed with powerful tools to make the analysis fit the theory and which ultimately diminishes the empirical content and plausibility of the phonological hypotheses; such approaches also constitute serious problems for language acquisition and learning. I argue for more dynamic and abstractive models of morphology, which do not impose strict restrictions on lexical storage. I ultimately view morphologization as an instance of morphologically conditioned phonology and uphold that there is no strict boundary between the phonology and morphology but both systems overlap and interact. I analyze data and phonological explanations of metaphony in nouns and verbs in Italo-Romance, plural formation in Spanish and Portuguese, the distribution of velar allomorphy in the Italian and Spanish verbs, and the distribution of verbal stress in Surmiran Romansh and Spanish. With reference to the latter, the contribution dedicates significant space exploring the extent to which the diphthong/monophthong alternation in Spanish, and different types of allomorphy in Surmiran Romansh, is a matter of phonologically conditioned allomorphy or morphologically conditioned phonology.

Article

Danish  

Eva Skafte Jensen

Danish is a North Germanic language, spoken by approximately 6 million people. Genealogically, it is related to the other Germanic languages, in particular the other North Germanic languages (Swedish, Norwegian, Icelandic, Faroese), but also, for example, German, Dutch, and English; typologically, Modern Danish is closer to Norwegian and Swedish than to any other language. Historically deriving from Proto-Germanic, Danish morphology once had three grammatical genders (the masculine, the feminine, and the neuter) and case inflection (nominative, accusative, dative, and genitive) in all nominal words; it also had inflection for mood, tense, number, and person in the verbal conjugations. In Modern Standard Danish, much of the traditional nominal and verbal inflection has disappeared. Instead, other kinds of morphosyntactic constructions and structures have emerged. Middle Danish and Modern Danish are typologically very different languages. One of the structural innovations linked to the typological change is that a syntactic subject becomes obligatory in Danish sentences. Correlated to this, Danish develops expletive constructions with det ‘it’ and der ‘there’. Another important point differentiating Middle Danish from Modern Danish concerns agreement. Traditional Indo-European agreement (verbal as well as nominal) has receded in favor of more fixed word order, both on the sentence level and internally within phrases. As part of this, Modern Danish has developed a set of definite and indefinite articles. The traditional three genders are reduced to two (common and neuter) and have developed new syntactic-semantic functions alongside the traditional lexically distributed functions. In the verbal systems, Danish makes use of two different kinds of passive voice (a periphrastic and an inflected one), which carry different meanings, and also of two different auxiliaries in perfective constructions, that is, have ‘have’ and være ‘be’, the latter doubling as an auxiliary in periphrastic passive constructions. Perfective constructions are made up by an auxiliary and the supine form of the main verb. Danish is a V2-language with a relatively fixed word order, often depicted in the form of the so-called sentence frame, a topological model designed specifically for Danish. Like most other Germanic languages, Danish has a rich set of modal particles. All these morphosyntactic features, Danish shares with Swedish and Norwegian, but the distribution is not completely identical in the three languages, something that makes the Mainland Scandinavian languages an interesting study object to the typologically interested linguist. Exclusive for Danish is the so-called stød, a suprasegmental prosodic feature, used as a distinctive feature. Modern Danish is strongly standardized with only little of the traditional dialectal variation left. From the end of the 20th century, in the larger cities, new sociolects have emerged, that is, multi-ethnolects. The new multi-ethnolects are based on a substrate of Danish with lexical features from the languages of Central Asia, the Middle East, and Africa. In addition to the lexical innovations, the multi-ethnolects are characteristic in intonation patterns different from Standard Danish, and they have morphosyntactic features different from Standard Danish, for example, in word order and in the use of gender.

Article

Iconicity  

Irit Meir and Oksana Tkachman

Iconicity is a relationship of resemblance or similarity between the two aspects of a sign: its form and its meaning. An iconic sign is one whose form resembles its meaning in some way. The opposite of iconicity is arbitrariness. In an arbitrary sign, the association between form and meaning is based solely on convention; there is nothing in the form of the sign that resembles aspects of its meaning. The Hindu-Arabic numerals 1, 2, 3 are arbitrary, because their current form does not correlate to any aspect of their meaning. In contrast, the Roman numerals I, II, III are iconic, because the number of occurrences of the sign I correlates with the quantity that the numerals represent. Because iconicity has to do with the properties of signs in general and not only those of linguistic signs, it plays an important role in the field of semiotics—the study of signs and signaling. However, language is the most pervasive symbolic communicative system used by humans, and the notion of iconicity plays an important role in characterizing the linguistic sign and linguistic systems. Iconicity is also central to the study of literary uses of language, such as prose and poetry. There are various types of iconicity: the form of a sign may resemble aspects of its meaning in several ways: it may create a mental image of the concept (imagic iconicity), or its structure and the arrangement of its elements may resemble the structural relationship between components of the concept represented (diagrammatic iconicity). An example of the first type is the word cuckoo, whose sounds resemble the call of the bird, or a sign such as RABBIT in Israeli Sign Language, whose form—the hands representing the rabbit's long ears—resembles a visual property of that animal. An example of diagrammatic iconicity is vēnī, vīdī, vīcī, where the order of clauses in a discourse is understood as reflecting the sequence of events in the world. Iconicity is found on all linguistic levels: phonology, morphology, syntax, semantics, and discourse. It is found both in spoken languages and in sign languages. However, sign languages, because of the visual-gestural modality through which they are transmitted, are much richer in iconic devices, and therefore offer a rich array of topics and perspectives for investigating iconicity, and the interaction between iconicity and language structure.