Abstract
AbstractIn the present article, I propose some initial topics for the typological-comparative study of semantic parallelism, which also serve as an analytical axis to study semantic parallelism in traditional kakataibo chants. These basic topics are the structure of the cotext, lexical and grammatical type of parallel units, type of semantic relations between parallel units, number of parallel units per pair of lines, and associated phenomena such as recurrent or fixed pairing and diphrasism. Following this initial proposal, I postulate that the cotext in Kakataibo semantic parallelism is a repeated morphosyntactic structure that does not exhibit ellipsis or increasing, the number of parallel units can be one to three slots and one pair is more productive, parallel units are related by semantic fields such as kinship terms and colors. Furthermore, I analyze the interaction of semantic parallelism in the continuous creation of lines with two other poetic forms, enjambment and repetition, and I postulate that semantic parallelism is a compositional strategy due to its high productivity for line composing.
Highlights
In the present article, I propose some initial topics for the typological-comparative study of semantic parallelism, which serve as an analytical axis to study semantic parallelism in traditional kakataibo chants
I postulate that the cotext in Kakataibo semantic parallelism is a repeated morphosyntactic structure that does not exhibit ellipsis or increasing, the number of parallel units can be one to three slots and one pair is more productive, parallel units are related by semantic fields such as kinship terms and colors
I analyze the interaction of semantic parallelism in the continuous creation of lines with two other poetic forms, enjambment and repetition, and I postulate that semantic parallelism is a compositional strategy due to its high productivity for line composing
Summary
Kakataibo is a Panoan language spoken in the Peruvian amazon. Its speakers live in the departments of Huánuco and Ucayali. Regarding the dialectological distribution of the language, Zariquiey (2011b) proposed five dialects grouped into two main branches: Lower Aguaytía, Upper Aguaytía, Sungaroyacu, San Alejandro and Nokamán†. The traditional kakataibo chants analyzed in the present article come entirely from the Lower Aguaytía variety and I recorded them in Mariscal Cáceres and Yamino. The phonological inventory of Kakataibo from Lower Aguaytía is composed of 15 consonants and 6 vowels. With regards to its syntax, following Zariquiey (2018), Kakataibo is a postpositional and agglutinating language that shows high levels of synthetic verbal morphology. Kakataibo distinguishes between closed and open word classes. The following are closed classes: pro-forms, postpositions, numerals and quantifiers, interjections and onomatopoeic words. Kakataibo has a rich switch-reference system and it uses nominalizations systematically in discourse
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