Constraining abstractness: Phonological representation in the light of color terms

2004 ◽  
Vol 15 (3) ◽  
Author(s):  
Helen Fraser
Keyword(s):  
Phonological Representation ◽  
Color Terms

Linguistics Features of Three British Female Beauty Youtubers

2019 ◽  
Vol 7 (1) ◽  
pp. 22
Author(s):  
Rahma Aulia Indra ◽  
Rina Marnita ◽  
Ayumi Ayumi
Keyword(s):  
Specific Function ◽  
Linguistic Features ◽  
Color Terms ◽  
Female Beauty ◽  
Tag Questions

This article concerns with the characteristics of the language of three British female Youtubers. It is aimed in particular to find out women's linguistic features in their language based on Lakoff's theory (1975) and the functions of each features according to Holme's theory (2013). The result of the study reveals  seven women's linguistic features  in the youtubers' language. They are (1) lexical hedges or fillers, (2) tag questions, (3) „empty‟ adjectives, (4) precise color terms, (5) intensifiers, (6) „superpolite‟ forms, and (7) emphatic stress. Among these features, the intensifiers. appears as the dominant one. The study also shows that each feature has specific function.

Morpheme contiguity

2017 ◽  
Author(s):  
Eva Zimmermann
Keyword(s):  
Phonological Representation

One new constraint family argued for in this book are constraints ensuring a ‘morph-contiguous’ projection of prosodic nodes. It is argued that the phonological representation of a morpheme strives to be contiguous across different tiers, i.e. phonological elements affiliated with one morpheme avoid being dominated by a phonological element that is affiliated with another morpheme. It is shown how different patterns of phonologically predictable allomorphy involving MLM follow from such a preference. This constraint type also allows the solution of a general opacity problem that OT-accounts assuming floating prosodic nodes face. The relevant constraint demanding morph-contiguous mora licensing ensures that an epenthetic mora is inserted in contexts where a vowel would otherwise only be dominated by a mora with a different morphological affiliation. This constraint predicts an interesting typology of languages where all or only some vowels undergo morphological lengthening. As is shown with several examples, this typology is indeed borne out.

Sylvia Plath and White Ignorance

Janus Head ◽  
2007 ◽  
Vol 10 (1) ◽  
pp. 137-155
Author(s):  
Ellen M. Miller ◽  
Keyword(s):  
Middle Class ◽  
White Woman ◽  
White Women ◽  
Phenomenological Study ◽  
Sylvia Plath ◽  
Color Terms ◽  
Women Writing ◽  
White Ignorance

Sylvia Plath wrote in the midst of growing racial tensions in 1950s and 1960s America. Her work demonstrates ambivalence towards her role as a middle-class white woman. In this paper, I examine the racial implications in Plath's color terms. I disagree with Renee Curry's reading in White Women Writing White that Plath only considers her whiteness insofar as it affects herself. Through a phenomenological study of how whiteness shifts meaning in this poem, I hope to show that Curry's negative estimation is only partly right. I suggest that embodiment is a problem for Plath in general, and this contributes to her inability to fully examine other bodies.

The Historical Change in the Role of the Two Hungarian Words for Red (Piros and Vörös) and Their Visual Semantics

2020 ◽  
Vol 65 (1) ◽  
pp. 285-302
Author(s):  
Beáta Bálizs
Keyword(s):  
Research Methods ◽  
International Research ◽  
Historical Change ◽  
Color Terms ◽  
Color Term ◽  
Linguistic Research ◽  
Red Color ◽  
History Of ◽  
Hungarian Language

The present study summarizes the key findings of a multi-year interdisciplinary investigation, performed using specific (ethnographic, anthropological, and linguistic) research methods, into the two color terms mentioned in the title. Originally intended as empirical research involving all Hungarian color terms and individual community-dependent relationships with colors, it was eventually supplemented by a text-based examination of the history of the color terms piros and veres/vörös. A further objective was to answer questions raised in the course of international research concerning the reason for the existence of two color terms with similar meanings in the Hungarian language to denote the red color range. Earlier studies had already suggested that the modern use of vörös, which has more ancient roots in the Hungarian language, may be related to the fact that this color term was previously used more extensively. However, the present research is unique in demonstrating the substantial changes that have taken place in the Hungarian language in relation to the role and meaning of these color terms. It has already been established that the two color terms switched places historically, and that piros today fulfills precisely the same function that for centuries belonged to veres/vörös, until the color term piros began to gain ground in the 19th century.

A Cultural History Of Color in the Renaissance

2020 ◽  
Keyword(s):  
Cultural History ◽  
Performing Arts ◽  
Material World ◽  
Color Terms ◽  
Global Circulation ◽  
The World ◽  
Color Technology ◽  
History Of ◽  
Psychology Literature

A Cultural History of Color in the Renaissance covers the period 1400 to 1650, a time of change, conflict, and transformation. Innovations in color production transformed the material world of the Renaissance, especially in ceramics, cloth, and paint. Collectors across Europe prized colorful objects such as feathers and gemstones as material illustrations of foreign lands. The advances in technology and the increasing global circulation of colors led to new color terms enriching language. Color shapes an individual’s experience of the world and also how society gives particular spaces, objects, and moments meaning. The 6 volume set of the Cultural History of Color examines how color has been created, traded, used, and interpreted over the last 5000 years. The themes covered in each volume are color philosophy and science; color technology and trade; power and identity; religion and ritual; body and clothing; language and psychology; literature and the performing arts; art; architecture and interiors; and artefacts. Volume 3 in the Cultural History of Color set. General Editors: Carole P. Biggam and Kirsten Wolf

scholarly journals The basic color terms of Russian

Linguistics ◽  
1994 ◽  
Vol 32 (1) ◽  
Author(s):  
IAN DAVIES ◽  
GREVILLE CORBETT
Keyword(s):  
Color Terms ◽  
Basic Color ◽  
Basic Color Terms

Vowel raising in Basaa: a synchronic chain shift

Phonology ◽  
1996 ◽  
Vol 13 (2) ◽  
pp. 239-267 ◽  
Author(s):  
Deborah Schlindwein Schmidt
Keyword(s):  
Phonological Representation ◽  
Large Area ◽  
Bantu Languages ◽  
North East ◽  
The North ◽  
Equatorial Africa ◽  
Verb Forms ◽  
Vowel Raising

Like many of the zone A Bantu languages of western equatorial Africa, Basaa, which is spoken over a large area to the north-east and east of Douala, Cameroon, shows an inventory of seven surface vowels (Guthrie 1953). The Basaa forms cited in this article, all of which are found in the comprehensive Dictionnaire Basaa-Français (Lemb & de Gastines 1973), are transcribed using the vowel symbols in (1):These vowel symbols differ from those used by Guthrie only in that the hooks are eliminated from underneath his [i] and [u] and the dots are eliminated from underneath his [???] and [???]. I assume for these vowels the characteristics indicated in (1), where non-parenthesised feature specifications are a property of surface phonological representation and parenthesised feature specifications are default phonetic values. Following Hyman's (1988) analysis of Esimbi, another Cameroonian language containing these vowels in its inventory, I take [E] and [ɔ] to be low.The verb roots in (2) contain instances of each of the seven surface vowels of Basaa:Though bare verb roots may surface unsuffixed, suffixal extensions may also be added to give applied, passive, habitual, direct causative, indirect causative, simultaneous, associative, possessive, reversive, reflexive, stative and nominalised forms. Of interest to us is the vowel raising induced within the verb root when certain of these suffixal extensions are added. In (3) we see the CVC verb forms of (2) along with their corresponding applied and indirect causative forms:Other suffixal extensions that induce raising are the passive, direct causative, simultaneous, reversive and stative extensions. For example, these other suffixal extensions attach to /ten/, one of the verb roots in (3), to give [tina], [tinis], [tinha], [tinil] and [tiní], respectively.

The influence of spelling on the production and storage of words with allophonic variants of /h/ in Korean

2015 ◽  
Vol 37 (4) ◽  
pp. 757-780 ◽  
Author(s):  
JEONG-IM HAN ◽  
TAE-HWAN CHOI
Keyword(s):  
Picture Naming ◽  
Phonological Representation ◽  
Recall Task ◽  
Auditory Stimuli ◽  
Auditory Input ◽  
The Third ◽  
Korean Speakers ◽  
And Storage ◽  
Naming Tasks

ABSTRACTThis study examined the role of orthography in the production and storage of spoken words. Korean speakers learned novel Korean words with potential variants of /h/, including [ɦ] and ø. They were provided with the same auditory stimuli but with varying exposure to spelling. One group was presented with the letter for ø (<ㅇ>), the second group, the letter for [ɦ] (<ㅎ>), and the third group, auditory input only. In picture-naming tasks, the participants presented with <ㅇ> produced fewer words with [ɦ] than those presented with <ㅎ>. In a spelling recall task, the participants who were not exposed to spelling displayed various types of spellings for variants, but after exposure to spelling, they began to produce spellings as provided in the task. These results suggest that orthographic information influences the production of words via an offline restructuring of the phonological representation.

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