Compound Adjectives Research Articles

Review of Meys (1975): Compound Adjectives in English and the Ideal Speaker-Listener

Review of Meys (1975): Compound Adjectives in English and the Ideal Speaker-Listener

Marking and Propositional Effects in Associations to Compounds

Most of the single-word responses to twoor three-word compound stimuli were nouns, whether the compounds were of adjectives or nouns. Content coding revealed that the responses to compound adjectives were positive or negative on the semantic feature 'evaluation' depending on whether the stimulus words had been unmarked or marked ones respectively. It is argued that marking and evaluation are correlated because marked words usually describe less usual states and that all associations have as their basis a semantically deep propositional structure in which the stimulus is the predicate and the response the subject.

SLIPS AND SEPARATIONS

Inasmuch as “left” and “right” pertain to lateral situations it is proposed that “lateral” be deleted from the compound adjectives employed in such terms as “right-lateral slip faults”. Instead, the simpler and clearer expressions such as “left offset,” “right wrenching,” “left slip,” “right separation,” etc., are better. The terms “sinistral” or “dextral” may be substituted for “left” and “right,” but the confusion currently taught that “sinistral” when applied refers to slip, whereas “left-lateral” refers to separation should be avoided.

Current English: Conducted by the NCTE Committee on Current English Usage*: Logic and Analogy in Some Adjectival Compounds

Current English: Conducted by the NCTE Committee on Current English Usage*: Logic and Analogy in Some Adjectival Compounds

Current English: Logic and Analogy in Some Adjectival Compounds

Current English: Logic and Analogy in Some Adjectival Compounds

The Declension of Latin Compound Adjectives

The Declension of Latin Compound Adjectives

Virgil and the Homeric Epithet

When the poet Martial regrets that he cannot express the name of his friend Ěărĭnus in Latin verse and suggests with some irony that a Greek poet, to whom nothing is impossible, would not have had the same difficulty, he illustrates his envious complaint by quoting the first two words of Iliad, v. 31—TAρεζ, xAρεζ, that is the name Ares with variant quantities:dicunt ărĭnon tamen poetae,sed Graeci, quibus est nihil negatumet quos TAρεζ, xAρεζ, decet sonare.But had Martial been able to cite in his hendecasyllables the whole of that line of Homer, namelyTAρεζ, xAρεζ, βρoτoλoγiγέ, μiαiϕνε, τεiχεσiπλῆτα,he could have pointed to a much more formidable obstacle than mere quantitative incompatibility which lay in the path of every Latin poet who, almost without exception, turned for inspiration and guidance to Greek originals. The strength of this Homeric line lies in its memorable compounds, here chancing to increase in length as the line proceeds: the line is almost of the type called by the Greeks ‘rhopalic’, bludgeon-like, growing progressively in thickness towards the butt-end. Homer's music is not merely ‘winged'; it is ‘strong-wing'd’. The God of War is here called βρoτoλoιγóς, ‘mortal-plaguing’: μıαıøóνoς, ‘blood-polluted’: τειχεσιπλἡτης, ‘battlement-storming’—all these breathless mouthfuls within three-quarters of one hexameter line. Latin is usually regarded as a succinct language, a speech employing fewer words to express an organized idea than most tongues. But it would be futile to attempt to enclose within the compass of four and a half feet of a Latin hexameter the connotation of the three Greek compound adjectives, with their sixfold content—the notions of plague and mankind, pollution and murder, sacker and walled cities.

Compound adjectives in Shelley And Keats

Compound adjectives in Shelley And Keats

Greek Compound Adjectives with a Verbal Element in Tragedy

A General treatment of Greek compounds seems much to be desired. It would have to be undertaken by one who had an up-to-date philological equipment, to which I cannot lay claim. But rather with the hope of eliciting discussion on the subject and learning from others I offer the following observations, and in further study of the subject should be grateful to anyone who would advise as to the exact statistics that may be desirable over and above what I give below. I was led to the subject by a feeling that the treatment of many individual compounds by editors was far from satisfactory, and that possibly a collection of the material might help to bring out the exact meaning of some of the well-known difficulties in the Tragedians. One is dealing here with a highly developed and somewhat arbitrary poetic idiom, and it may perhaps be impossible, as one must admit from the outset, always to make precise the poet's meaning, but it is worth while to make the attempt.

Compound Adjectives in Early Latin Poetry

Compound Adjectives in Early Latin Poetry

V.—Pre-Roman Bronze Votive Offerings from Despeñaperros, in the Sierra Morena, Spain

Before entering upon the consideration of the subject matter of this paper, I would mention that I found some difficulty in selecting an appropriate title for it. It appeared to me that although a generally descriptive title, perforce composed of several long names strung together, or of compound adjectives made up of such words as Greek, Phœnician, and Iberian, would be more correct, it might, at the same time, and without some previous knowledge of the subjects dealt in during the course of the paper, prove to be confusing. I hesitated between “Iberian” and “Pre-Roman.” I think that “Iberian” would, in some respects, have been a more appropriate title, because Iberian influences, both in a geographical and an ethnical sense, undoubtedly predominate, not only in the votive objects themselves, but also in other expressions of that phrase in art with which I am about to deal. “Iberian” is, however, so often and so loosely employed to denote anything and everything that comes from Hispania, that I finally decided upon “Pre-Roman.” It should, however, not be taken in this instance as the chronological definition of a period which ends with the Roman occupation of Spain in 200 B.C., because it may, and undoubtedly does, extend into several subsequent centuries; but rather as indicating that the influences which predominated in the inception of the offerings in no way derive from the Romans, and that they are traceable to pre-Roman times in the Peninsula.

Extraordinary compound adjectives in poetry

Extraordinary compound adjectives in poetry