Taraldsen’s generalization in diachrony : evidence from a diachronic corpus

International audienceWe present the first large scale quantitative investigation of the syncretisation of verbal subject agreement in Medieval French and test a classic analysis which relates non-syncretic agreement and null subjects as parts of the same grammar (e.g. Rizzi 1986, Adams 1987, Alexiadou & Anagnostopoulou 1998, Roberts 2010, Sheehan to appear). We show that agreement syncretisation and the emergence of overt pronominal subjects proceeded at the same rate. On the Constant Rate Hypothesis of Kroch (1989), which states that a grammatical change has the same rate in different contexts, these results are compatible with the traditional analysis. However, we show that this analysis also generates a number of predictions which are not borne out by the quantitative data. We conclude that a more complex model of interaction of subject and inflection parameters is needed

The erhu and its role as a vehicle for syncretic music performance in Singapore : a thesis presented in fulfillment of the requirements for the degree of Master of Philosophy in Music at Wellington Conservatorium of Music, Massey University, Wellington, New Zealand

This thesis examines the erhu, a bowed lute from China and its development as a vehicle for syncretic music-making in Singapore. Chapter One considers the erhu's status in Chinese culture and focuses on the differences between how the erhu was perceived by the "proletariat" of the early twentieth century contrasted with the imperialists of that time. A central assumption in this study is that erhu music-making in Singapore is inextricably bound with the traditions of both Western and Chinese culture. This concept is introduced in Chapter Two, with a discussion on musical syncretism. The erhu is a member of the huqin string family and is one instrument in the new ensemble idiom of the Singapore Huqin Quartet. This ensemble is the first to have huqin set up together in the manner of a Western string quartet. This ensemble has been influential on and contributes to a broad range of musical happenings in Singapore. It also represents one development of erhu as "world music". Phoon Yew Tien, who writes for the Singapore Huqin Quartet, is introduced. Chapter Three encompasses the different instruments that make up the huqin family, as played by the Singapore Huqin Quartet (which will be referred to as the SHQ in abbreviation). It also looks at the development of the modern Chinese orchestra. Chapter Four provides the descriptions and characteristics of the erhu and its performance techniques. In Chapter Five, eminent musical figures such as Liu Tian Hua and Hua Yan Jun (also known as Abing) will be discussed. Their music composed for the erhu has become an important part of the repertoire of the SHQ. The concluding chapter outlines differences between Western and Chinese music and looks at the merging of the two. A product of this merger is the compositions of distinguished Singapore composer, Phoon Yew Tien. His works are a fine example of the erhu's musical qualities and demonstrate the compositional potential of the SHQ's syncretic idiom with the merging of the Chinese and Western art-music forces. A musical composition by Phoon viewed in a compositional perspective summarizes the possibilities of further development of this style

Chinese Religious Syncretism in Macau

In this paper I address the phenomenon of syncretism with respect to Chinese religions. An analysis of the syncretism that takes place between the three major Chinese religious traditions is first done in its personal and social dimensions. The social structure of Chinese religion is then used as a framework to understand how Buddhism and Daoism were made compatible with Confucianism. All this will serve as a background for the case study of Macau, where Chinese religious syncretism is very much alive. Three popular religious festivals are celebrated annually and simultaneously on the eighth day of the fourth lunar month, namely, zuilongjie (醉龍節) Feast of the Drunken Dragon, tangongdan (譚公誕) Tam Kung Festival and fodanjie (佛誕節) Feast of the Buddha

Syntacticizing blends : the case of English wh-raising

This paper aims at analysing English structures in which a wh-moved subject triggers agreement both in the clause it is extracted from and in the immediately higher clause. This pattern is only accepted by some native speakers, and it is also attested in corpora. Although the relevant structures could at first sight be analysed as extragrammatical ‘blends’, we propose that they are in fact part of certain speakers’ linguistic competence, and hence generated by the grammar of those speakers. Adopting the approach to subject extraction developed in Rizzi & Shlonsky (2007), we suggest that extracted subjects can exceptionally be ‘hyperactive’ (Carstens 2011), and thus take part in A-relations (case and agreement) in more than one clausal domai

Trần Đức Thảo. A Marxist Theory of the Origins of Human Language

This paper will explore Trần Đức Thảo’s (Từ Sơn, Bắc Ninh, September 26th, 1917 – Paris, April 24th, 1993) work from historical, philosophical, and linguistic points of view. Most notably it will focus on Thảo’s Recherches sur l’origine du langage et de la conscience (1973). According to Marx and Engels, Thảo argued that language was originally constituted during collective cooperative activities. And he also suggested that human specific skills appeared for the first time with the production of first tools. To him, language arose as gestural and verbal indication involved in task-oriented cooperative activities already in hominid societies. Trying to integrate Piaget’s child development psychology with the findings of Spirkin’s anthropology, Thảo described six stages of evolution of genus Homo

Merengue: Dominican Music and Identity

Merengue—the quintessential Dominican dance music—has a long and complex history, both on the island and in the large immigrant community in New York City. In this ambitious work, Paul Austerlitz unravels the African and Iberian roots of merengue and traces its growth under dictator Rafael Trujillo and its renewed popularity as an international music. Using extensive interviews as well as written commentaries, Austerlitz examines the historical and contemporary contexts in which merengue is performed and danced, its symbolic significance, its social functions, and its musical and choreographic structures. He tells the tale of merengue\u27s political functions, and of its class and racial significance. He not only explores the various ethnic origins of this Ibero-African art form, but points out how some Dominicans have tried to deny its African roots. In today\u27s global society, mass culture often marks ethnic identity. Found throughout Dominican society, both at home and abroad, merengue is the prime marker of Dominican identity. By telling the story of this dance music, the author captures the meaning of mass and folk expression in contemporary ethnicity as well as the relationship between regional, national, and migrant culture and between rural/regional and urban/mass culture. Austerlitz also traces the impact of migration and global culture on the native music, itself already a vibrant intermixture of home-grown merengue forms. From rural folk idiom to transnational mass music, merengue has had a long and colorful career. Its well-deserved popularity will make this book a must read for anyone interested in contemporary music; its complex history will make the book equally indispensable to anyone interested in cultural studies.https://cupola.gettysburg.edu/books/1124/thumbnail.jp

The Vitality of Yoruba Culture in the Americas

How did Africans create homes for themselves and maintain ancestral practices after being forcefully taken across the Middle Passage as enslaved people into various regions of the New and Old Worlds? In the Americas, they found themselves in a place clearly distinct from African cultural and geographical landscapes and were forced to adapt to strange climates and contend with alien cultures unfamiliar to those of their homeland. Rather than being completely steamrolled by colonial pressure, however, Africans of various ethnicities actively contended with the diverse influences of the colonial context. Such practices have, in turn, shaped the continued cultural diversity of the Americas to this day. This paper explores the diffusion and vitality of Yoruba culture, in particular throughout the nineteenth century in Brazil, Haiti, Cuba, and Trinidad and Tobago, where Yoruba forms of religion, Roman Catholic sensibilities, and indigenous cosmographies formed hybridized spiritualties and worldviews. This paper interprets historical evidence alongside secondary sources and contemporary cases in order to evaluate how the conjunctural forces brought about by slavery, colonialism, and inter-culturation occasioned the formation of Yoruba Atlantic and Afro-Latinx religions such as Candomble, Santeria, and Voodoo, as well as Orisha practices. This paper also examines how such spiritualties and worldviews have contributed to the complex social and cultural composition of the Americas in the modern world. It pays special attention to the conflictual and creative energies surrounding cultural diffusion and cross-cultural migration. Although various African ethnicities were brought across the Atlantic, Yoruba cultural practices have survived with a sustained intensity