Morphosyntactic Transfer from a Spoken Heritage Dialect to the Standard Variety

2020 ◽  
Vol 17 (2) ◽  
pp. 202-233
Author(s):  
Reem Faraj
Keyword(s):  
Heritage Language ◽  
Native Speakers ◽  
Control Groups ◽  
Heritage Speakers ◽  
Standard Arabic ◽  
The Third ◽  
Third Person ◽  
The Subject ◽  
The Third Person ◽  
Modern Standard

This study examines cases of morphosyntactic transfer from Syrian Arabic to Modern Standard Arabic (MSA) in the production of heritage speakers who are not only bilingual (L1 Syrian Arabic, L2 English), but also diglossic; Syrian Arabic is their heritage language (HL), and MSA is the form they learned in school. Two control groups, native speakers of Syrian Arabic and learners of MSA, were also included. The proposal presented here is that adolescent heritage speakers of Syrian Arabic have a more developed Syrian Arabic grammar, which results in- transfer to MSA, and that degree and duration of input-output and exposure to both varieties impact the type and number of non-target forms in the production of the studied heritage group. The goal is to find the extent of such transfer, how it is manifested, and whether it is also related to sentence and subject type or other factors. The focus of this study is verbs in SV and VS sentences in MSA, where the subject is a nominal DP and the verb is in the third person. The agreement patterns in VS and SV sentences are asymmetrical in MSA but they are not in Syrian Arabic. The SV order in MSA reflects different agreement patterns with both genders and all three numbers, whereas in Syrian Arabic there is one default non-singular verb form. In this paper I provide a formal account of the differences among the agreement patterns in MSA and Syrian Arabic within the Minimalist framework. Using this approach, a morphosyntactic transfer of agreement features from Syrian Arabic to MSA is argued to be a transfer of T0 features. The results demonstrate that errors in the MSA verb produced by the heritage speakers differ from those of MSA learners and that more than half of the heritage speakers’ errors are compatible with morphosyntactic agreement forms in Syrian Arabic. These findings provide evidence for transfer from Syrian Arabic to MSA. It is possible that when three linguistic systems are competing (L1, L2, and L3) and where L1 is the most dominant, L2 is less developed than L1 but more developed than L3, and L2 and L3 are typologically close, transfer takes place from L2 to L3. More research to address this question is needed. The study contributes to the understanding of agreement in heritage speakers’ production and the phenomenon of transfer in bilingual and diglossic situations.

GENRE OF IN MODERN TATAR LITERATURE: FEATURES OF FUNCTIONING (BASED ON THE MATERIAL OF R. GABDULKHAKOVA'S "SMALL" PROSE)

2021 ◽  
pp. 83-90
Author(s):  
В.Р. Аминева
Keyword(s):  
Space Time ◽  
Moral Truth ◽  
First Person ◽  
The Third ◽  
Third Person ◽  
The Subject ◽  
Lyrical Subject ◽  
The Individual ◽  
The Relationship ◽  
The Third Person

На материале произведений современной татарской писательницы Р. Габдулхаковой выявляются конститутивные черты жанра парча в современной татарской литературе. Охарактеризованы жанровые разновидности парчи в творчестве Р. Габдулхаковой, которые соответствуют двум направлениям сюжетного движения: от внешнего к внутреннему или от единичного к универсальному и двум типам повествования - от 1-го или от 3-го лица. Художественное завершение в парчах первого типа определяется постижением некой нравственной истины, вытекающей из лично пережитой лирическим субъектом ситуации, в парчах второго типа оно создается переходом от отдельных явлений к их суммирующему итогу. Сделан вывод о том, что внутреннюю меру жанра определяет характер соотношения повествовательной фабулы и обобщающей ее «концовки». Описаны свойственные этому жанру пространственно-временные отношения и принципы организации субъектной сферы. Структурообразующая роль в парчах Р. Габдулхаковой отводится субъективно-лирическому началу в повествовании. В произведениях писательницы проявились как особенности ее творческой индивидуальности, так и типологические черты женской прозы в целом с ее повышенной эмоциональностью, автобиографичностью и проникновенностью. Большинство миниатюр Р. Габдулхаковой написаны от первого лица и представляют сознание женщины, сосредоточенной на переживании своего одиночества и «холода жизни», безответной любви и позднего раскаяния, боли утраты, преследующей каждого человека после ухода матери. Парчи, написанные от третьего лица, раскрывают сознание человека, знающего о существовании объективных закономерностей и пытающегося найти личный выход из безнадежных ситуаций. В творчестве Р. Габдулхаковой парча функционирует как синтетический жанр, вбирающий в себя элементы других жанровых форм. On the material of works of the modern Tatar writer R. Gabdulhakova the constitutive features of the genre of the parcha are revealed. Genre varieties of parcha in the work of R. Gabdulkhakova are characterized, which correspond to two directions of plot movement: from the external to the internal or from the individual to the universal, and two types of narrative-from 1 or 3 persons. Artistic completion in the parcha of the first type is determined by the realization of a certain moral truth arising from the situation personally experienced by the lyrical subject, in the parcha of the second type it is created by the transition from individual phenomena to their summing result. It is concluded that the internal measure of the genre determines the nature of the relationship between the narrative plot and its generalizing "ending". Space-time relations and principles of organization of the subject sphere peculiar to this genre are described. The structure-forming role in the parcha of R. Gabdulkhakova is assigned to the subjective-lyrical beginning in the narrative. The works of the writer manifested both the features of her creative individuality and the typological features of female prose in general with its increased emotionality, autobiography and penetration. Most of R. Gabdulhakova’s miniatures are written in the first person and represent the consciousness of a woman focused on experiencing her loneliness and “cold life”, unrequited love and late repentance, the pain of loss that haunts every person after leaving her mother. Рarcha written in the third person reveal the consciousness of a person who knows about the existence of objective laws and tries to find a personal way out of hopeless situations. Allegorical or symbolic imagery at the same time turns a personal scenario - into a typical, universal human one. In the work of R. Gabdulhakova parcha functions as a synthetic genre, incorporating elements of other genre forms.

Subject-verb agreement in Newfoundland French

1994 ◽  
Vol 6 (3) ◽  
pp. 239-253 ◽  
Author(s):  
Ruth King
Keyword(s):  
Relative Pronoun ◽  
Gender Agreement ◽  
Verb Agreement ◽  
Number Marking ◽  
The Third ◽  
Grammatical Variation ◽  
Third Person ◽  
The Subject ◽  
Plural Subject ◽  
The Third Person

ABSTRACTIn Newfoundland French the verb does not agree in number with a plural subject in one particular construction–subject relative clauses–but rather displays default singular marking. Agreement is made with the subject relative pronoun, which does not have a morphological feature for number associated with it. This absence of a number feature results in a form consistently spelled out as homophonous with the third-person singular. Gender agreement transmitted in subject relatives containing a predicate adjective is evidence that number marking is at issue, not agreement in general. An exception to this pattern is the (variable) marking of plural agreement in the il y en a construction, explained in terms that are independent from the analysis of the default singular. Newfoundland French agreement is then compared with data from other French varieties, and the approach taken in this study is compared with those of other studies of grammatical variation.

Blind Men Speaking of Colors: Paul's Recollection and the Self-Image of Early Thirteenth-Century Theologians

2014 ◽  
Vol 107 (4) ◽  
pp. 425-446
Author(s):  
Ayelet Even-Ezra
Keyword(s):  
Thirteenth Century ◽  
The Body ◽  
The Self ◽  
First Person ◽  
Knowledge Of God ◽  
The Third ◽  
Self Image ◽  
Third Person ◽  
The Subject ◽  
The Third Person

In the Second Epistle to the Corinthians, Paul writes: It is doubtless not profitable for me to boast. I will come to visions and revelations of the Lord: I know a man in Christ who fourteen years ago—whether in the body I do not know, or whether out of the body I do not know, God knows—such a one was caught up to the third heaven. And I know such a man—whether in the body or out of the body I do not know, God knows—how he was caught up into Paradise and heard inexpressible words, which it is not lawful for a man to utter. Of such a one I will boast; yet of myself I will not boast, except in my infirmities. (2 Cor 12:1–5 nkiv) This brief and enigmatic account is caught between multiple dialectics of power and infirmity, pride and humility, unveiling and secrecy. At this point in his letter Paul is turning to a new source of power in order to establish his authority against the crowd of boasting false apostles who populate the previous paragraphs. He wishes to divulge his intimate, occult knowledge of God, but at the same time keep his position as antihero that is prevalent throughout the epistle. These dialectics are enhanced by a sophisticated play of first and third person. The third person denotes the subject who experienced rapture fourteen years ago, while the first person denotes the narrator in the present. Only after several verses does the reader realize that these two are in fact the same person. This alienation allows Paul the intricate play of boasting, for “of such a one I will boast, yet of myself I will not boast.”

A Special Use of the Third Person Singular Pronoun

1999 ◽  
Vol 28 (1) ◽  
pp. 3-22
Author(s):  
Xu Liejiong
Keyword(s):  
Relative Clause ◽  
The Third ◽  
Third Person ◽  
New Type ◽  
The Subject ◽  
The Third Person

The special use of the 3rd person singular pronoun ta in Chinese distinguishes itself in that (i) its antecedent NP can be [±animate] and (ü) in that the antecedent can be plural as weIl as singular. Syntactically, the antecedent occurs typically as a sentence topic, a subtopic (i.e. topic within VP), as the object of ba, the subject of bei or the head of a relative clause. Semantically, a verb that takes such a pronoun as its object must be a predicate involving the features of disposal, telicity, irrealis and agentivity. This pronoun cannot be identified with any of the pronominal categories known from the literature, but it represents a new type: the D-pronoun.

Knowledge of Forms of Address in Polish Heritage Speakers

2018 ◽  
Vol 15 (1) ◽  
pp. 116-144
Author(s):  
Izolda Wolski-Moskoff
Keyword(s):  
Heritage Language ◽  
Native Speakers ◽  
The United States ◽  
Social Contexts ◽  
Verbal Morphology ◽  
Heritage Speakers ◽  
Limited Knowledge ◽  
The Social ◽  
L2 Learners ◽  
Third Person

Limited knowledge of formal registers has been deemed one of the common characteristics of heritage speakers (Polinsky & Kagan, 2007). Because their exposure to the heritage language is generally limited to contact with immediate family, the language of heritage speakers may lack the elements normally acquired in formal settings. Polish formal forms of address, i.e., addressing all strangers and non-relative adults as pan “mister” or pani “madam,” as well as all the grammatical rules governing their use, such as third-person verbal morphology and the vocative case, are examples of such elements. The present study investigated receptive knowledge of formal forms of address in Polish heritage speakers in the United States. In this study, nine heritage speakers, four L2 learners, and six native speakers of Polish judged the acceptability of utterances addressed to various persons in various formal situations. The results indicate that heritage speakers exhibit limited knowledge of formal forms of address, both in terms of the grammar involved and the social contexts that call for them – with the latter divergence, in particular, potentially attributable to transfer from English. The responses of heritage speakers differ significantly not only from those of native speakers, but also of L2 learners of Polish, who outperformed heritage speakers in this task. Since the use of formal forms of address and the vocative case in contemporary Polish is limited to formal settings, the limited knowledge of these forms in heritage speakers may result from the insufficient input they receive.

The eternal manifestation of the Spirit through the Son: a hypostatic or energetic reality? Inquiry in the works of Gregory of Cyprus and Gregory Palamas

2020 ◽  
Vol 113 (3) ◽  
pp. 1041-1068
Author(s):  
Anne-Sophie Vivier-Mureşan
Keyword(s):  
20Th Century ◽  
Second Step ◽  
13Th Century ◽  
The Third ◽  
Third Person ◽  
The Subject ◽  
Orthodox Theology ◽  
The Third Person ◽  
The Trinity

AbstractThe theological formulation of the “eternal manifestation of the Spirit through the Son”, developed by the patriarch of Constantinople Gregory of Cyprus in the 13th century, has been the subject of numerous studies in the 20th century and played an important role in the renewal of Trinitarian Orthodox theology. The interpretations are however diverging. Most theologians see in this formulation the manifestation of the uncreated energy, which would have been formalized later by Gregory Palamas. Others understand it as a hypostatic reality concerning the third Person of the Trinity. This paper contributes to the discussion by re-analyzing the main texts of Gregory of Cyprus and of Gregory Palamas on this matter. In a first step, we defend the thesis that in the thought of the Byzantine patriarch, this expression truly concerns the hypostasis of the Spirit. In a second step, we question the existence of the theme of an “eternal manifestation” of the uncreated energy in the work of Gregory Palamas.

scholarly journals The duration of word-final s in English: A comparison of regular-plural and pluralia-tantum nouns

Morphology ◽  
2021 ◽  
Author(s):  
Marcel Schlechtweg ◽  
Greville G. Corbett
Keyword(s):  
Native Speakers ◽  
Empirical Studies ◽  
Acoustic Parameter ◽  
Standard View ◽  
British English ◽  
The Third ◽  
Third Person ◽  
Reading Study ◽  
The Third Person ◽  
Genitive Case

AbstractThe alveolar fricative occurs in word-final position in English in different grammatical functions. Nominal suffixes may indicate plurality (e.g. cars), genitive case (e.g. car’s) or plurality and genitive case in cumulation (e.g. cars’). Further, there are the third person singular verbal suffix (e.g. she fears) and the cliticized forms of the third person singular forms of have and be (e.g. she’s been lucky; she’s friendly). There is also non-affixal s (e.g. freeze (noun)). Against the standard view that all these types are homophonous, several empirical studies have shown that at least some of the fricatives listed can actually be differentiated in their duration. The present article expands this line of research and considers a further case, which has not been included in previous analyses: pluralia-tantum nouns (e.g. goggles). We report on a carefully controlled reading study in which native speakers of British English produced pluralia-tantum and comparable regular-plural nouns (e.g. toggles). The duration of the word-final fricative was measured, and it was found that the two do not systematically differ in this acoustic parameter. The new data are interpreted in comparison to relevant previous studies, and against the background of the similarities of pluralia-tantum and regular-plural nouns.

scholarly journals THE ANALYSIS OF FORMAL LINK IN WESTLIFE’S SONG

2019 ◽  
Vol 1 (2) ◽  
pp. 58-65
Author(s):  
Sijono Sijono ◽  
Thomas Joni Verawanto Aristo
Keyword(s):  
Qualitative Research ◽  
Discourse Structure ◽  
The Third ◽  
The World ◽  
Third Person ◽  
Deep Meaning ◽  
Field Notes ◽  
Song Lyric ◽  
The Subject ◽  
The Third Person

Formal is formal links referring to the fact inside the language, that consist of verb form, parallelism, ellipsis, referring expression, conjunction, substitution, and repetition. This study uses descriptive qualitative research in which the researcher just describe the result of the implementation from the instruments and the data is obtained from articles, literary works, field notes, and personal documents in the form of words or pictures rather than numbers. The object of this study is formal links and the subject is Westlife’s songs. The analysis is taken from twelve songs of Westlife in their “Back Home” album. From the whole data the researcher found that most of songs consist of more than one formal link. The formal links are; Verb Form, Referring Expression, Repetition, Parallelism, Conjunction, and Substitution. From those formal links the most used in Westlife’s songs is Referring Expression, it can be seen that referring expression dominate the others links in eight songs from twelve songs. The songs that are dominated by referring expression are Us Against the World, Something Right, I’m Already There, When I’m With You, Have You Ever, It’s You, Catch My Breath and the Easy Way. From the result of analysis it can be concluded that  Westlife’s songs has deep meaning which always referring with other words or elements and they avoid to repeat the identity of what they are sharing about again and again. To referring the meaning that they posted in their song’s lyric they used the third person pronouns like he, she, we, our, it, his, her, them. For the suggestion, the researcher recommends to the next researchers to analyze another part of discourse analysis such as discourse structure, discourse as dialogue, knowledge on discourse, etc.Keyword: Formal Link, Song Lyric, Weslife’s Song 

scholarly journals Problems of teaching verb categories (contact, version and passive voice) of the Georgian language to non-native speakers

2021 ◽  
pp. 208-217
Author(s):  
Nana Saganelidze ◽  
Keyword(s):  
Language Learners ◽  
Native Speakers ◽  
Second Person ◽  
Passive Voice ◽  
Indirect Contact ◽  
The Third ◽  
First Languages ◽  
Students First ◽  
Third Person ◽  
The Third Person

Teaching Georgian to non-native speakers, it is important to focus on categories students' first languages lack or express them in a different way. The paper discusses the formation of indirect contact, neutral version, and passive voice in verbs. Infixes -in- and -evin- are used to form forms of indirect contact. They are added to infinitive forms without markers - -in- is used with stems containing vowels, and - evin- with stems without vowels. At the same time, prefix a- is added to verbs at the beginning, and the thematic marker -eb at the end. Like all other thematic markers, the latter disappears in the second series of conjugation. Deriving version forms is a little more complicated, as there are neutral version forms without markers and with the prefix a-, subjective and objective version forms with the prefix i- for the first and second persons and u- for the third person in both singular and plural forms. Neutral version is formed with the prefix a- in verbs with eb- and ob- thematic markers apart from several exceptions and verbs with the am- thematic marker, apart from one exception (as version is impossible in the third series of conjugation, examples are in the first and second series of conjugation): a-šen-eb-s - a-a-šena, a-tbob-s - ga-a-tbo, a-b-am-s - da-a-ba). Thematic markers make no difference in forming subjective and objective version forms. If a verb is semantically able to have subjective and/or objective versions, verbs in the first and second series of conjugation take forms of subjective and/or objective version. Forms of subjective version use prefix i-: c'ers – i-c'ers, dac'era – da-i-c'era. In forms of objective version, verbs take the prefix i- in the first and second person and u- in the third person, both singular and plural. Like in the forms of indirect contact, the aforementioned rule of using person markers can be put to use: m-i-c'ers is me, g-i-c'ers is šen, u-c'ers is mas/mat, gv-i-c'ers is čven, g-i-c'ert is tkven, u-c'eren isini mas/mat. As for the passive voice, it can be formed with prefixes (i- and e-), a suffix (-d) and without any markers. Thematic markers and the presence/absence of a vowel in the infinitive play a role in forming verbs in the passive voice. In the passive voice, prefixes are added to verbs with single stems (without thematic markers) and verbs with -av, -am, -op, -i thematic markers, those with vowel interchange, and some verbs with the -ob thematic marker. Verbs with a vowel in the infinitive form the passive voice the thematic stems of the second series of conjugation: xat’va – i-xat’eba, e xat’eba; breca – i-briceba, e-briceba, while stems without vowels form the passive voice from the infinitive without markers. There are several such verbs with -av and -eb thematic markers, verbs with -i, -am and -eb thematic markers and some verbs with the -ob thematic marker: šek’vr-a – i-k’vreba, e-k’vreba; da-d-eba – i-deba, e-deba; č'r-a – i-č'reba, e-č'reba; dadgm-a – i-dgmeba, e-dgmeba; ga-q’op-a – i-q’opa, e-q’opa; da-xrč-oba – i-xrčoba, exrčoba. Verbs with a vowel and the -eb thematic marker, apart from two exceptions, form the passive voice with the suffix -d from the thematic stem of the second series of conjugation: šen-eb-a – šen-d-eba. The passive voice is formed without markers from verbs with the -ob thematic markers. The thematic stems of the second series of conjugation are used as the roots: ga-tb-ob-a – tb-eb-a. The passive voice with suffixes (with the -d suffix) is formed only in verbs with the - eb thematic marker. The passive voice markers is formed only in some verbs with the -ob thematic marker. Other verbs can form the passive voice only with the i- and eprefixes. Verbs in the passive voice with the prefix e- have only two persons (emaleba is mas). Other passive voice forms can have only one person (imaleba is, c'itldeba is, idgmeba is, išleba is, iq’opa is, igrixeba is, xmeba is). The author hopes that this approach to these problems can help Georgian language learners.

Schijnen in gesproken Belgisch en Nederlands Nederlands

2019 ◽  
Vol 135 (3) ◽  
pp. 201-216
Author(s):  
Maurice Vliegen
Keyword(s):  
Recent Past ◽  
The Third ◽  
The Matrix ◽  
Third Person ◽  
The Subject ◽  
The Third Person

Abstract In the recent past a number of contributions have been published on the subject of Dutch seem and appear verbs. Special attention has been paid to the third person simple present of schijnt (‘seems’) in spoken Belgian and to some extent also in spoken Netherlandic Dutch (Van Bogaert & Colleman 2013). The authors propose a two way strategy – parataxis hypothesis and matrix hypothesis – in order to account for the realisations and positions of schijnt as in ’t schijnt sterven daar veel talen af (‘it seems many languages are expire there’) and … ze hebben – zo schijnt het – geen middelen … (they don’t have – as it seems – any means). However, it is argued here that the evidence for the matrix hypothesis is weak. As an alternative a derivation from the in spoken Belgian Dutch comparatively frequent construction naar het schijnt will be proposed.

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