Introduction: how Scotland translates

No abstract available

What's in a compound? Review article on Lieber and Štekauer (eds) 2009. 'The Oxford Handbook of Compounding'

The Oxford Handbook of Compounding surveys a variety of theoretical and descriptive issues, presenting overviews of compounding in a number of frameworks and sketches of compounding in a number of languages. Much of the book deals with Germanic noun–noun compounding. I take up some of the theoretical questions raised surrounding such constructions, in particular, the notion of attributive modification in noun-headed compounds. I focus on two issues. The first is the semantic relation between the head noun and its nominal modifier. Several authors repeat the argument that there is a small(-ish) fixed number of general semantic relations in noun–noun compounds (‘Lees's solution’), but I argue that the correct way to look at such compounds is what I call ‘Downing's solution’, in which we assume that the relation is specified pragmatically, and hence could be any relation at all. The second issue is the way that adjectives modify nouns inside compounds. Although there are languages in which compounded adjectives modify just as they do in phrases (Chukchee, Arleplog Swedish), in general the adjective has a classifier role and not that of a compositional attributive modifier. Thus, even if an English (or German) adjective–noun compound looks compositional, it isn't

Ancient Greek and the category of verbal periphrasis

This paper discusses which constructions in Ancient Greek consisting of a finite verb and a participle belong to the category of „verbal periphrasis‟. By applying various criteria of periphrasticity to a corpus of examples, I show that only a limited number of constructions can be considered fully periphrastic. I consider these constructions to be the central members of a prototypically organized category

First verbs : On the way to mini-paradigms

This 18th issue of ZAS-Papers in Linguistics consists of papers on the development of verb acquisition in 9 languages from the very early stages up to the onset of paradigm construction. Each of the 10 papers deals with first-Ianguage developmental processes in one or two children studied via longitudinal data. The languages involved are French, Spanish, Russian, Croatian, Lithuanien, Finnish, English and German. For German two different varieties are examined, one from Berlin and one from Vienna. All papers are based on presentations at the workshop 'Early verbs: On the way to mini-paradigms' held at the ZAS (Berlin) on the 30./31. of September 2000. This workshop brought to a close the first phase of cooperation between two projects on language acquisition which has started in October 1999: a) the project on "Syntaktische Konsequenzen des Morphologieerwerbs" at the ZAS (Berlin) headed by Juergen Weissenborn and Ewald Lang, and financially supported by the Deutsche Forschungsgemeinschaft, and b) the international "Crosslinguistic Project on Pre- and Protomorphology in Language Acquisition" coordinated by Wolfgang U. Dressler in behalf of the Austrian Academy of Sciences

Perceptual adjustment to time-compressed Speech: a cross-linguistic study

revious research has shown that, when hearers listen to artificially speeded speech, their performance improves over the course of 10-15 sentences, as if their perceptual system was "adapting" to these fast rates of speech. In this paper, we further investigate the mechanisms that are responsible for such effects. In Experiment 1, we report that, for bilingual speakers of Catalan and Spanish, exposure to compressed sentences in either language improves performance on sentences in the other language. Experiment 2 reports that Catalan/Spanish transfer of performance occurs even in monolingual speakers of Spanish who do not understand Catalan. In Experiment 3, we study another pair of languages--namely, English and French--and report no transfer of adaptation between these two languages for English-French bilinguals. Experiment 4, with monolingual English speakers, assesses transfer of adaptation from French, Dutch, and English toward English. Here we find that there is no adaptation from French and intermediate adaptation from Dutch. We discuss the locus of the adaptation to compressed speech and relate our findings to other cross-linguistic studies in speech perception

Organic without Boundaries. IFOAM Celebrating 40 years, 1972-2012

Publication commemorating IFOAM's 40th anniversary, 1972-201

Reflections on Hindi and history

textIn this paper, I consider historical periods, linguistic categories, and social theories in relation to Hindi in order to trace out the character and trajectory of the language. From sixteenth-century courtly contexts, to the adoption of the Devanagari script in the twentieth century by nationalists, Hindi has a polyvalent and yet specific history. I discuss these contexts in which social contact led to linguistic change and in which Hindi acquired many of the lexical, syntactical, and phonological characteristics by which it is recognized today. I conclude with a section that considers the motif of language and power, and I suggest that the production of knowledge and power in language use, offers both the means of distinction and expression or, in another sense, of hierarchy and communitas. A thread that runs throughout the paper is attention to the contexts in which language use enables elaboration and in which elaboration is eschewed in order to attain social unity. Pursuing a descriptive historical-linguistic project, I neither affirm nor deny the politics of such language use, but rather I indicate the ways in which actors and agents use Hindi to help articulate their agency.Asian Studie

Theatre Noise Conference

Three days of Performances, Installations, Residencies, Round Table Discussions, Presentations and Workshops More than an academic conference, Theatre Noise is a diverse collection of events exploring the sound of theatre from performance to the spaces inbetween. Featuring keynote presentations, artists in residence, electroacoustic, percussive and digital performances, industry workshops and installations, Theatre Noise is an immersive journey into sound