scholarly journals Tendencies in Noun Stress in the Southern Aukštaitian Subdialects in Handwritten Sources of the 1950s and 1960s

2012 ◽  
Vol 22 (27) ◽  
pp. 219-231
Author(s):  
Vilija Ragaišienė

The article deals with variously stressed nouns that were discovered in the 1950s and 1960s in handwritten sources of the southern Aukštainian subdialects in the archive of dialects of the Language History and Dialectology Department of the Institute of the Lithuanian Language. Data on the nouns and noun forms of the southern Aukštaitians, collected from almost the entire area under study, i.e., fifty-five inhabited settlements, demonstrate two tendencies: stress variance and oxytogenesis.Summarising the collected data, it was established that nouns with the same stem (o, io, ā, ē, ā, i, u and u) are most often stressed in two ways in the southern Aukštaitian area, e.g., kaklas (2/4), žmogùs (4) / žmõgus (2), and others.Words with non-productive i, u, u and consonant stems can also have separate parallels with other stems, or parallel forms of other separate stems, e.g.: vags (4), sing. gen. vagiẽs / vãgio, cf. nom. vãgys / vagia, šuvà (4), sing. gen. šuñs / šunès / šuniẽs / šùnio, etc.The abundance of the variants discovered in these handwritten sources of rather small volume demonstrates the intensity of stress variance in the southern Aukštaitian area in the 1950s and 1960s, which is corroborated by two facts. First, most of the forms of the words with variable stress in the sources under study appear several or even many times. Second, quite a few forms of such nouns were discovered within the same subdialect. Despite all this, nouns in the southern Aukštaitian subdialects are not stressed interchangeably, but according to one accentual paradigm. From two stress variants used in the subdialects, one is main, the other a parallel variant. The nouns in the handwritten sources are stressed in two ways, most often according to the paradigms of stem and mobile accentuation, e.g., bróliai / brolia, sõdžius (2) / sodžiùs (4), etc. The appearance of nouns with dual stress in the southern Aukštaitian subdialects and the tendency towards oxytogenesis are primarily related to the accentual and semantic models of two plurals, simple and collective, which are being reconstructed, e.g., pelis, pl. peliai / collect. pl. peilia.The stress on the singular instrumental endings and/or of the plural accusative forms of nouns with acute stems might also be related to the collective plural. The existence of such forms can be determined by the levelling of the accentual paradigm, cf., pėda, pėd, pėdám(s), pėdùs, pėdas. The possibility that the discussed forms could have been inherited, i.e., could have originated from the oxytonic paradigm, should not be discounted. Undoubtedly, noun accentuation might have been influenced by the factors of stem interaction: the existence of homonymous forms, levelling of the morpho(no)logic paradigm, the conformity of the system, etc. There is also no doubt that the accentuation analogue had an influence as well (especially that of productive stems on unproductive ones).

2020 ◽  
Vol 105 (5) ◽  
pp. 89-104
Author(s):  
Heidrun Kämper

The authentic as a category of description and value is on the one hand an element of public discourse in order to constitute authenticity and truthfulness in various everyday contexts, on the other hand represents a central object of cultural studies. The functional difference in use resulting from this diversity of the concept is included in the following contribution, which is on the one hand in the context of the research network “Historical Authenticity” of the Leibniz Scientific Association. On the other hand, the considerations are derived from a planned research project on a linguistic social history 1933 to 1945. Newer developments in use and changes in the semantic structure of authentic and the word family are reconstructed in order to answer the question of authenticity as a social construct. On the basis of this finding on the general use of authentic/authenticity, considerations follow, concerning the handling of such language data in the context of language history writing, which are not authentic in the strict sense, i. e. genuine and original. It is about the predicate “authentic” in terms of language data. More precisely, the category “authentic” is placed as a valuation term in the context of language history with the question: What is an authentic language date?


Author(s):  
Cathy Curtis

In 1942, at age twenty, after a vision-impaired and rebellious childhood in Richmond, Virginia, Nell Blaine decamped for New York. Operations had corrected her eyesight, and she was newly aware of modern art, so different from the literal style of her youthful drawings. In Manhattan, she met rising young artists and poets. Her life was hectic, with raucous parties in her loft, lovers of both sexes, and freelance design jobs, including a stint at the Village Voice. Initially drawn to the rigorous formalism of Piet Mondrian, she received critical praise for her jazzy abstractions. During the 1950s, she began to paint interiors and landscapes. By 1959, when the Whitney Museum purchased one of her paintings, her career was firmly established. That year, she contracted a severe form of polio on a trip to Greece; suddenly, she was a paraplegic. Undaunted, she taught herself to paint in oil with her left hand, reserving her right hand for watercolors. In her postpolio work, she achieved a freer style, expressive of the joy she found in flowers and landscapes. Living half the year in Gloucester, Massachusetts, and the other half in New York, she took special delight in painting the views from her windows and from her country garden. Critics found her new style irresistible, and she had a loyal circle of collectors; still, she struggled to earn enough money to pay the aides who made her life possible. At her side for her final twenty-nine years was her lover, painter Carolyn Harris.


Matatu ◽  
2006 ◽  
Vol 33 (1) ◽  
pp. 115-134 ◽  
Author(s):  
Chantal Zabus

The essay shows how Ezenwa–Ohaeto's poetry in pidgin, particularly in his collection (1988), emblematizes a linguistic interface between, on the one hand, the pseudo-pidgin of Onitsha Market pamphleteers of the 1950s and 1960s (including in its gendered guise as in Cyprian Ekwensi) and, on the other, its quasicreolized form in contemporary news and television and radio dramas as well as a potential first language. While locating Nigerian Pidgin or EnPi in the wider context of the emergence of pidgins on the West African Coast, the essay also draws on examples from Joyce Cary, Frank Aig–Imoukhuede, Ogali A. Ogali, Ola Rotimi, Wole Soyinka, and Tunde Fatunde among others. It is not by default but out of choice and with their 'informed consent' that EnPi writers such as Ezenwa–Ohaeto contributed to the unfinished plot of the pidgin–creole continuum.


Quest ◽  
1979 ◽  
Vol 31 (1) ◽  
pp. 114-122 ◽  
Author(s):  
Patricia A. Eisenman ◽  
C. Robert Barnett
Keyword(s):  

Aschkenas ◽  
2021 ◽  
Vol 31 (1) ◽  
pp. 187-200
Author(s):  
Hans-Harald Müller

Abstract Arnold Zweig and Walter A. Berendsohn, who were in correspondence with each other between 1909 and 1968, continuously sought to convert the other to their beliefs. Around 1910 Zweig wanted to convert Berendsohn to Zionism as coined by Buber, while his views changed after his exile in Palestine, when he tried to win Berendsohn over to communism. Berendsohn, for his part, wanted to convince Zweig of social democracy around 1910, but after traveling Palestine in the 1950s tried to convince Zweig of Zionism. Viewed retrospectively, both appear as idealistic German intellectuals whose eagerness to reform society in 1910 led them in very different directions due to their individual experiences especially in and after the Second World War.


2020 ◽  
Vol 6 (1-2) ◽  
pp. 55-78
Author(s):  
Simon Morley

I look at the impact of Zen Buddhism on western painters during the 1950s and 1960s, focusing on the monochrome in particular, in order to create a historical context for the consideration of transcultural dialogue in relation to contemporary painting. I argue that a consideration of Zen can offer a ‘middle way’ between conceptions of the monochrome (and art in general) often hobbled by models of interpretation that function within a binary opposition between ‘literalist/sensory’ on the one hand, and ‘intellectual/non-sensory’ readings on the other.


2020 ◽  
pp. 1-18
Author(s):  
Vilija Ragaišienė

The article analyses the dialectal material collected in the area of the West Aukštaitian of the Kaunas subdialect in the written sources of the 1950s and 1960s at the Dialect Archive of the Geolinguistic Centre of the Institute of the Lithuanian Language.        Based on the data in written sources the goal is to describe the peculiarities of the accentuation of the West Aukštaitian adjectives of this period and to discuss the tendencies of their accentuation.        The stress of the singular forms of the disyllabic u-stem adjectives of the masculine gender may have come down from old times. Maintaining the root accent of these forms is related to the forms the neuter gender of the stressed stem (suñku, šviẽsu) and the adjectives of the old o-stem (suñkas : suñkus).The pronunciation of polysyllabic adjectives in the West Aukštaitian subdialect of Kaunas is characterized by different accent tendencies. The accentuation of the derivatives with the suffix -inis, -ė varies most of the polysyllabic adjectives analysed in the article. More than a third of them are accented by two accentual paradigms – they have accentual parallel forms of the first and second accent paradigms. The accentuation of the derivatives with the suffixes -inis, -ė is only partly related to the accentuation of the root words. The accentuation of the adjectives discussed in the researched subdialects tends to be generalized by the second accent paradigm. The derivatives with the suffixes -ėtas, -a regardless of the accentuation of the root words, are usually accented by the second accent paradigm, cf. molétas, -a (: mólis 1), pūslétas, -a (: pūslẽ 4). Only the accent of the derivatives with the suffixes -uotas, -a can be linked to the accentuation status of the root words, cf. langúotas, -a (: lángas 3).The author of the article is of the opinion that the accentual variance of parallel derivatives with suffixes could have been determined not by one factor, but by a set of factors. The appearance of accentual variants is linked to semantics, the accentual and semantic model of two plurals and the accentual variance of the root words and is explained by the stress analogy of the same type of word formation.


Author(s):  
Wheeler Winston Dixon

This chapter provides a background on Terence Fisher's career that is regarded by most as that of a journeyman director and by French critics that argued that Fisher was a master filmmaker since the 1950s. It looks at the efforts of David Pirie and others who brought about the first serious critical appraisal of Fisher's work beginning in the late 1960s. It also describes Fisher as the greatest Gothic filmmaker of the second half of the 20th century and British equivalent in terms of style and seriousness of the great American myth-master, John Ford. The chapter mentions The Curse of Frankenstein, in which Fisher creates a real, believable world, and does superb work with Peter Cushing, Christopher Lee, and the other members of the cast. It talks about Fisher's admission toward the end of his life about he had very little affection for science fiction.


2018 ◽  
Vol 2 (2-3) ◽  
pp. 7-24 ◽  
Author(s):  
Lejf Moos

Two perspectives on local and global societies, and therefore also on education, are explored and discussed in this paper. On one hand, society as a civilisation is producing an outcome-based discourse with a focus on marketplaces, governance, bureaucracies and accountability. On the other hand, society focuses on cul-ture through arts, language, history, relations and communication, producing a democratic Bildung dis-course. At a global level, I see those discourses shaping discourses of world citizenship and of global mar-ketplace logics with technocratic homogenisation. Those trends and tendencies are found through social analytic strategies in these categories: context of discourses, visions, themes, processes, and leadership.


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