Why has Quora moderation removed my question?
Like Konstantinos Konstantinides said, if we don’t know what the question was, we can’t help.
But the right place to get help is likely:
Like Konstantinos Konstantinides said, if we don’t know what the question was, we can’t help.
But the right place to get help is likely:
There’s a slight factor, which Chris Lo has already pointed out in comments, but it’s only slight.
Spanish does not have length contrast in vowels or consonants. As a result it is syllable-timed, and it is spoken quite fast.
Italian has audible vowel length differences (stresses vs unstressed), and also long and short consonants. That makes it spoken a bit slower, and there’s more phonetic variety, which (for me) makes it a bit easier to pick out words.
Supplemental to the list given by David Rosson (ah, your American bias is showing, David 🙂
Oh, and phoneticians’ papers look just like psychology papers. Four pages long, with graphs. Historical linguists’ papers are old-school chatty. Syntax papers have at least some pretence of rigour. The style of the papers lines up to the kinds of science (or Geistwissenschaft) their subdisciplines aspire to be.
Greek is all about the formulaic expressions. If you’re the guest in a Greek wedding, you must say:
Now, if you’re the bride and groom… actually, if you’re the bride and groom, you don’t traditionally say all that much, and I’m not aware of a formulaic expression of welcome to a wedding. The generic καλώς ορίσατε “welcome” will do, if you have to say anything; but my recollection is that newlyweds mostly just beam a lot, and dance.
I’m sure I’ve answered this here already.
Positive politeness strategies are culturally approved ways of interacting with other people, that involve doing good things for them. They concentrate on eliminating distance between people.
Negative politeness strategies are culturally approved ways of interacting with other people, that involve not doing bad things to them. They concentrate on preserving distance between people.
Positive politeness strategies include:
Negative politeness strategies include:
Cultures have preferences for positive or negative politeness strategies. And cultures take the wrong politeness strategies very badly.
I’m sure you’ve recognised a stereotype or two in one column or the other; maybe even in both.
I understood the words and the phrases, but I had to be edified by some online links, and I’ve got an advantage in that I know why Jakobson said it the way he did.
Exec summary: there is one takeaway message for poets:
FORM MATTERS
The rest is of concern to linguists.
Selection and Combination
In structuralist linguistics, there are two structural mechanisms underlying how language works.
The syntagmatic relationship is about how words and phrases are combined to produce larger meanings. It’s syntax.
The paradigmatic relationship is about which words can be used in the slots of sentences. It’s the relationship between all nouns, or all verbs, or all adjectives. It’s lexicon.
Meaning in structural linguistics is tied up the paradigmatic relationship. Once you’ve worked out which words do the same syntactic job (nouns, verbs, pronouns), you can focus on the meaning differences between those words. In fact, the meaning of those words is defined by the available options in the paradigmatic relationship: dog = not a cat; me = not you.
That focusing on the meaning differences within an equivalence class (words doing the same job in a sentence) is the principle of equivalence.
Functions of language
Jakobson’s enduring contribution to linguistics is identifying the core functions of language. Communication is not the only function. Two functions that Jakobson pointed out, that needed pointing out, were the phatic function (keeping the channel open: “hello”, “how are you”, “ok?”), and the poetic function.
The poetic function is not just poetry: in fact, it’s not even just literature. A lot of humour is covered by the poetic function.
But the important thing about the poetic function is, that the form you use is a big part of the point of what you’re saying. It’s not just about the meaning of the words; it also about the fact that the words have metre, or rhyme, or punning similarities, or similar sounds. And so on.
The two axes
Remember: in structural linguistics, meaning is tied up with the choices of words: the paradigmatic relation. (The axis of selection.) If you use a choice of a different word, you’re expressing a different meaning. While there is also a component of meaning in the syntagmatic relation (how you put sentences together), it’s not felt to be as interesting: we’ve got nouns, we’ve got verbs, there’s a limited way of putting them together. (Remember, this is pre-Chomsky.)
Jakobson is a structuralist, and he wants to say that the poetic function of language cares about language form. So he says it in structuralist terms: We’ve been telling you that meaning is all about the axis of selection. But in poetic language, the syntagmatic relation (the axis of combination) is also a critical component of the meaning. The fact that you’ve put together words that rhyme, or that words that form a metre, or words that echo each other is just as important in the overall meaning as your initial choice of words (the strict meaning you intended to convey as a plain text communication).
We saw the principle of equivalence is how you work out the meaning of words: me = not you, dog = not cat. Different metres have different meanings too. So do different rhyming schemes. So there is a principle of equivalence at work in poetic structures as well. But it is a principle of equivalence that works on how words are put together, rather than just choices of words. So poetic language projects the principle of equivalence, from the axis of selection, to the axis of combination.
O RLY?
I have to say that, even without switching on Chomskian understandings of language, this is a specious way of thinking about language: different sentence structures also generate different meanings out of the combination of meaningful words, and there’s nothing intrinsically poetic about that. Semantics is propositional, not just lexical, and rhetorical, not just propositional.
But structuralist linguistics was the last time literature scholars and linguists were on speaking terms. So it was an important message for literature scholars to take in from structuralist linguistics, that poetic language is all about how you put words together, and that how you put words together separates poetic language from normal language.
Eutychius Kaimakkamis’ is the most complete answer; I’ll only add:
Ethnologue lists 113 languages for Vanuatu, two extinct: Vanuatu
Vanuatu has the highest language density of any country on the planet: one language per 2,000 people.
When last I checked, Vanuatu was also the last frontier for a large number of undocumented or underdocumented languages. Ethnologue is compiled by SIL International, which coordinates missionary linguists. The SIL has done a lot of work in Papua New Guinea, and relatively few academic linguists have (although it is becoming a default destination for Australian linguists, now that they’ve run out of Aboriginal languages to document). But SIL missionaries have not been welcome in Vanuatu.
Do you want practicality, or do you want historical accuracy?
Historical accuracy first. I’ve check Philomena Probert’s Ancient Greek Accentuation, and Vox Graeca. We know that the switch to stress accent must have happened by Gregory of Nazianzus (4th century): his poetry uses stress and not pitch accent as a base. We suspect that the Alexandrians were having to notate pitch accent because it was starting to die out; but we don’t know that for a fact. So the Gospel writers may or may not have had pitch accent, rather than stress accent.
Practicality:
So you could use pitch accent, but I wouldn’t bother. Do accent, but keep it to stress.
EDIT: Per Philip Newton’s request: that would mean pronouncing all the different pitch accents (circumflex, acute, grave) the same way, as a stress accent.
Remember: language always has a social context. Always.
Language as it is practiced does not line up according to what is rational. It is about what is most aligned to the speakers’ ideology, and what represents the least imposition to speakers.
I’ll add that the threshold for words is much higher than phrases. Coup is no longer regarded as French, even though coup d’état might be. Neither is sortie. You’re left with raison d’être. And that’s not a commonplace expression.