scholarly journals Looking into Segments

Author(s):  
Sharon Inkelas ◽  
Stephanie S Shih

This paper outlines Q theory, in which the traditional segment (consonant, vowel) is decomposed into a string of three ordered subsegments, or q, representing the onset, target, and offset of the segment. The postulation of subsegmental structure permits the representation of complex (contour) segments as well as subtle contrasts in segment-internal changes of state. Q Theory synthesizes insights from Autosegmental Phonology, Aperture Theory, and Articulatory Phonology in a representation that standard phonological constraints can refer to. Q theory is supported by arguments that subsegments act independently and need to be independently referenced by the phonological grammar. Embedded into Agreement by Correspondence Theory, Q theory permits the analysis of contour assimilation as well as contour formation, both in the tonal and segmental domains. 

2019 ◽  
Vol 50 (1) ◽  
pp. 137-196 ◽  
Author(s):  
Stephanie S Shih ◽  
Sharon Inkelas

We develop a novel optimization approach to tone. Its grammatical component consists of the similarity- and proximity-based correspondence constraint framework of Agreement by Correspondence theory (ABC). Its representational component, Q Theory, decomposes segments ( Q) into temporally ordered, quantized subsegments ( q), which comprise unitary sets of distinctive features, including tone. ABC+Q unites phonological alternations and static lexical patterns, as we illustrate with a programmatic survey of core tonal phenomena: assimilation, dissimilation, lexical tone melodies, and consonant-tone interaction. ABC+Q surmounts long-standing problems for autosegmental-era, multitiered representational approaches to tone, and unites tonal and segmental phonology under the modern umbrella of correspondence theory.


2020 ◽  
pp. 1-25
Author(s):  
Adam Jardine ◽  
Nick Danis ◽  
Luca Iacoponi

We use model theory to rigorously evaluate Q-Theory as proposed in Shih and Inkelas 2019 as an alternative to Autosegmental Phonology. We find that Q-Theory is remarkably similar to Autosegmental Phonology, contra some of Shih and Inkelas's claims. In particular, Q-Theory does not eschew the association relation, in Q-Theory the tone-bearing unit is the vowel, and Q-Theory and Autosegmental Phonology are equivalent in terms of the constraints they can express. However, this formal analysis clarifies the truly novel contribution of Q-Theory, which is the empirical claim that all segments are tripartite.


Phonology ◽  
2020 ◽  
Vol 37 (4) ◽  
pp. 617-655
Author(s):  
Alessandro Jaker ◽  
Paul Kiparsky

Dene (Athabaskan) verbs are widely known for their complex morphophonology. The most complex patterns are associated with two conjugation markers, /s/ and /n/, which are associated with a floating H tone to their immediate left. In this paper, we provide an analysis of /θe/ and /ɲe/, the reflexes of the /s/ and /n/ conjugations in Tetsǫ́t’ıné. Whereas previous accounts of these conjugations have relied heavily on morphological conditioning, we show that, once level ordering, autosegmental phonology and metrical phonology are brought to bear on the problem, morphological conditioning is not required. Within the framework of Stratal OT, we propose the Domain Reference Hypothesis, by which phonological constraints may only refer to morphological domains and their edges. In addition, we show that in Tetsǫ́t’ıné there is a correlation between phonological opacity and morphological structure, as predicted by the Stratal OT model.


2018 ◽  
Vol 3 (1) ◽  
pp. 9
Author(s):  
Karee Garvin ◽  
Karee Garvin ◽  
Myriam Lapierre ◽  
Myriam Lapierre ◽  
Sharon Inkelas

This paper presents two case studies of segment-internal timing distinctions which motivate Q Theory, in which each segment (Q) is represented as a string of featurally uniform subsegments (q), e.g. (q1 q2 q3), corresponding to the informal concepts of onset, target, and offset (Inkelas & Shih 2013, 2016, 2017, Shih & Inkelas 2014). We argue, based on Panará and Hungarian, that this representational richness is motivated by the need to represent phonologically tripartite segments, as well as segment-internal timing distinctions that are phonologically contrastive. In addition to supporting existing Q theory architecture, we also argue for expanding the repertoire of Q Theory further to include phonologically long segments, such as geminates.


2009 ◽  
pp. 70-93
Author(s):  
V. Manevich

The paper considers the monetary dynamic model developed by J. Tobin, the leader of Keynesian economic thought in 1970-1990. Particularly, the author examines q-theory of investment proposed by Tobin which allows to expose the relationship between supply of monetary assets and investment in real capital. Application of various tools of monetary and financial policies is also considered in its different forms. The author aspires to use Tobin's model for the analysis of processes existing in the Russian economy and to test theoretical propositions and relationships elaborated by Tobin on Russian statistics.


2014 ◽  
Vol 31 (1) ◽  
pp. 91-124
Author(s):  
Michael Dorfman

In a series of works published over a period of twenty five years, C.W. Huntington, Jr. has developed a provocative and radical reading of Madhyamaka (particularly Early Indian Madhyamaka) inspired by ‘the insights of post- Wittgensteinian pragmatism and deconstruction’ (1993, 9). This article examines the body of Huntington’s work through the filter of his seminal 2007 publication, ‘The Nature of the M?dhyamika Trick’, a polemic aimed at a quartet of other recent commentators on Madhyamaka (Robinson, Hayes, Tillemans and Garfield) who attempt ‘to read N?g?rjuna through the lens of modern symbolic logic’ (2007, 103), a project which is the ‘end result of a long and complex scholastic enterprise … [which] can be traced backwards from contemporary academic discourse to fifteenth century Tibet, and from there into India’ (2007, 111) and which Huntington sees as distorting the Madhyamaka project which was not aimed at ‘command[ing] assent to a set of rationally grounded doctrines, tenets, or true conclusions’ (2007, 129). This article begins by explicating some disparate strands found in Huntington’s work, which I connect under a radicalized notion of ‘context’. These strands consist of a contextualist/pragmatic theory of truth (as opposed to a correspondence theory of truth), a contextualist epistemology (as opposed to one relying on foundationalist epistemic warrants), and a contextualist ontology where entities are viewed as necessarily relational (as opposed to possessing a context-independent essence.) I then use these linked theories to find fault with Huntington’s own readings of Candrak?rti and N?g?rjuna, arguing that Huntington misreads the semantic context of certain key terms (tarka, d???i, pak?a and pratijñ?) and fails to follow the implications of N?g?rjuna and Candrak?rti’s reliance on the role of the pram??as in constituting conventional reality. Thus, I find that Huntington’s imputation of a rejection of logic and rational argumentation to N?g?rjuna and Candrak?rti is unwarranted. Finally, I offer alternate readings of the four contemporary commentators selected by Huntington, using the conceptual apparatus developed earlier to dismiss Robinson’s and Hayes’s view of N?g?rjuna as a charlatan relying on logical fallacies, and to find common ground between Huntington’s project and the view of N?g?rjuna developed by Tillemans and Garfield as a thinker committed using reason to reach, through rational analysis, ‘the limits of thought.’


2017 ◽  
Vol 2 (2) ◽  
pp. 66-70
Author(s):  
N. A. Vaschuk ◽  
◽  
M. U. Prudenko ◽  
N. S. Hloba ◽  
A. A. Kurbel

2013 ◽  
pp. 66-75
Author(s):  
Anna Opiela

This article analyses poetic visions, based on synesthesia and referring to Swedenborg’s correspondence theory, evoked by listening to music. In these visions the musical impressions are in some way sanctified and they contribute to the development of the spiritual area. This aesthetic phenomenon is noticeable in Balzac’s novels. The music for him is the light penetrating the listener’s soul and a means of accessing divine mysteries. Similarly, in George Sand’s works music is the inspiration to create soulful poetic visions and the character of Consuelo who, by her singing, is vouchsafed by divine revelations.


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