Dialectal Forms Research Articles

A Transgression for the Sake of God—‘Averah Li-shmah: A Tale of a Radical Idea in Talmudic Literature

The Babylonian Talmud (BT) attributes the idea of committing a transgression for the sake of God to R. Naḥman b. Isaac (RNBI). RNBI's statement appears in two parallelsugyotin the BT (Nazir 23a; Horayot 10a). Eachsugyahas four textual witnesses. By comparing these textual witnesses, this paper will attempt to reconstruct the sugya's earlier (or, what some might term, original) dialectical form, from which the two familiar versions of the text in Nazir and Horayot evolved. This article reveals the specific ways in which, value-laden conceptualizations have a major impact on the Talmud's formulation, as we know it today.

A hybrid system for code switch point detection in informal Arabic text

How to detect the switch between a standard and a dialectal form of a language in written text and why this is important for natural language processing tasks.

CONTEMPORARY TRENDS OF DEVELOPMENT AND EXPOSITION OF FOLKLORE TALE

Though nowadays the folklore tale is not told to that extent it used to, it continues its development in literature. Author approaches to folklore material is currently quite different starting from literary adaptation to language expositions. Only a few collections of folklore tales created through literary adaptations have been recorded in recent decades. They contain both high–quality adaptations close to material with unique author approaches (S. Qocharyan, L. Khechoyan) and completely new adaptations created with extraordinary principles (G. Babayan). Some authors give new meaning or contemporary interpretations to the plots of famous folklore tales (A. Voskanyan, A. Ohanyan, N. Adalyan). Besides literary adaptations, the collections drawn up by folklorists take up a large place in the contemporary literary market, where folklore material is subjected to language expositions, while non–understandable and abstruse dialectal forms are mitigated (A. Nazinyan, N. Hakobyan, A. Ghaziyan, S. Vardanyan). Such popular collections are very favorable to put folklore material into circulation once again.

Dialectic Form Finding of Passive and Adaptive Shading Enclosures

Form finding describes the process of finding a stable equilibrium shape for a system under a specific set of loads, for a set of boundary conditions and starting from an arbitrary initial geometry. However, form finding does not traditionally involve performance constraints such as energy-related criteria. Dialectic form finding is an extension of the process integrating energy-related design aspects. In this paper, dialectic form finding is employed as an approach for designing high performance architectural systems, driven by solar radiation control and structural efficiency. Two applications of dialectic form found shading enclosure structures, a passive and an active one, are presented. The first application example is a site-specific outdoor shading structure. The structure is based on a louver system designed to provide protection from ultraviolet radiation over a pre-defined target only when required, promoting natural lighting and ventilation. The second application example is a shape-shifting modular façade system that adapts its opacity in response to environmental fluctuations. The system can thus improve the environmental performance of a building. Moreover, the system explores elastic deformations for shape changes, reducing actuation requirements. These examples highlight the potential of the dialectic form-finding strategy for the design of high performance architectural integrated structures.

Narrating the Inadmissible: Storytelling and Dialectical Form in Barefoot Heart and Children of the Fields

Narrating the Inadmissible: Storytelling and Dialectical Form in Barefoot Heart and Children of the Fields

Evolving linguistic identities among the Italian-American youth: Perceptions from linguistic autobiographies

Observations and discussions concerning the form and use of Italian and dialects in geographical and social space have a long tradition, beginning with Dante’s De vulgari eloquentia and culminating in seemingly endless debates of the Questione della lingua up to the modern age. Numerous writers have expressed opinions concerning stylistic choices of language and dialects in their works. While these debates were aimed frequently at the question of what constitutes Italy’s standard language and how dialects and alloglot minority languages ought to be treated, fewer texts address individual perceptions of language practice and individual language histories. This gap began to be filled with Nencioni’s (1983) trailblazing linguistic autodiachrony, and by the narratives of other scholars of linguistics, such as Renzi (2002) and Francescato (1982). In addition, linguistic autobiographies written by students at Italian universities generally point to the continued vitality of Italian dialects in Italian society. This article focuses on linguistic autobiographies written by Italian-American students. Based on a small corpus of short linguistic biographies written in Italian linguistics courses, it aims at studying perceptions of evolving linguistic identities among Italian-American youth, with an emphasis on the second generation. The texts address changing linguistic behavior and attitudes, from childhood through adulthood, pondering exposure to Italian dialects, standard Italian, English and other languages. Despite differences among dynamically evolving individual identities, second-generation Italian-American youth tends to value non-standard varieties, particularly through the memory of their childhood dialects. They also appear to value multilingualism in the urban environment. Writing short linguistic autobiographies was considered a challenge by their authors and, despite their approximations, deliberate omissions and memory lapses, valued as a step toward greater language awareness.

Dichotomies, dialectics and dilemmas: New directions for critical leadership studies?

This article builds on Fairhurst and Connaughton’s proposals for future research agendas in leadership studies by critically examining three key themes in the leadership literature: dichotomies, dialectics, and dilemmas. The first section argues that mainstream leadership research frequently relies on conceptual dichotomies which are often multiple, inter-related, and proliferating. Critiques of dichotomization are suggestive of more dialectical forms of analysis and these are discussed in the second section. Dialectical studies can surface important questions about organizational power relations, paradoxes and contradictions that are typically under-explored within mainstream leadership studies. The third section proposes an additional, future research theme for critical perspectives, namely whether and if so why, how, and with what consequences leaders may engage in discourses of denial regarding the dilemmas and tensions of organizational life. The article concludes by arguing that re-framing leadership dichotomies as multiple, intersecting dialectics can open up fresh lines of enquiry and generate important insights about the complex and situated relations of power and identity that comprise leadership and followership dynamics.

Методика и критерии идентификации полонизмов литовского языка

The methodology and criteria of identification of Polish loanwords in Lithuanian
 The article examines the methodology and criteria of identification of Polish loan words in Lithuanian. Also etymology, peculiar developments, and trends in the infiltration of these borrowings are discussed. The following conclusions are proposed based on our analysis: 1) Polonisms in Lithuanian can be divided into three groups, based on the principles of (α) establishing the primary source of the variants of the Lithuanian word (through areal distribution), and (β) the words’ phonetic, morphological and semantic identity (correlated with the modulation of α). Also taken into account are peculiarities in the usage of the primary forms (not necessarily in the inherited layer) on the West Slavic ground, and their secondary variants in the East Slavic languages (based on the influence of factors α and β). The resulting three groups are: I. mo n o g e n i c (i.e. homogenous, not represented in the vocabulary of the East Slavic languages (based on factor α)), II. i n d e t e r m i n a t e (due to the presence of variants of loanwords from Polish in East Slavic vocabulary (factor α) in different time periods), III. a l t e r n a t i v e (III.1. forms belonging to the inherited layer, characteristic of Polish and one of the East Slavic languages (with regard to factor α); III.2. doublet variants of foreign origin, derived from a different primary source; III.3. Semipolonisms). 2) The kg digraph is one of the crucial characteristics that allows Polish loanwords in Lithuanian to be divided into the monogenic, indeterminate, and alternative. It is attested in the structure of Old Belorussian lexemes, and it reflects the phonetic feature of the Belorussian explosive velar consonant г /g/ in loanwords and in words of the inherited layer, in combinations with other consonants: зг, дзг, and джг. 3) Spirantization of the West Slavic sonant *ȓ (> ř /ź/ or /ś/), when the temporal factor is taken into account (the process operated till the 17th c.), is a feature of paramount importance as it allows Lithuanian words to be identified and attributed to either Polish or Belorussian. 4) The phenomenon of vocalization of the Polish lateral sonant ł (the shift to /ṷ/), also known as vavation, is reflected in those loanwords in Lithuanian which belong to a later period, in dialectal forms, and also in Belorussian lexemes, and it regulates the division of borrowings into Polonisms and Belorussianisms. 5) When attributing loanwords based on differences in vowels, it is their place in the system that should be considered, not their pronunciation. 6) The etymological status of the borrowing is determined by a match between the semantic value of the word in Lithuanian, and the original form in the West and/or East Slavic languages. 7) The fact that the Polish etymon is itself of East Slavic origin, has no influence on the establishing of the status of Polonism for a borrowing into Lithuanian (so-called secondary Polonisms).

The triglossic relationship of Zezuru, Karanga and other Shona dialects in the speech and writing of Shona as a language in Zimbabwean primary schools

The research has endeavoured to highlight the problems of the triglossic relationship of Zezuru, Karanga and other Shona dialects in the speech and writing of Shona language in Zimbabwean schools. It focused on how Zezuru as a high variety Shona dialect has adversely affected the performance of learners writing 'O' level Shona examinations in Secondary school. The current Shona orthography lacks some sounds from other dialects and this makes it incapable of handling adoptives from other dialects and basing Shona writing on one dialect kills the other dialects and in turn the Shona language. The current Shona orthography based on two major dialects, that is Zezuru and Karanga, does not distinguish all the significant sounds that are distinguished by Ndau, Korekore, Manyika and Karanga and hence the Shona alphabet does not recognize and represent other speech forms of other Shona dialects. This linguistic situation coupled with orthographic problems causes low passes in Shona at 'O' level. Hence, one proposes, language awareness campaigns, use of Shona in the teaching of practical criticism and grammar and that the government gives value to other Shona dialects.

Some Strategies of Concealment in Hardy’s Language

The focus of this analysis on three major novels of Thomas Hardy: Tess of the D’Urbervilles, The Return of the Native and Far From the Madding Crowd will study aspects of language, phonetics and stylistics in these three books. Manipulating language effectively entails a certain level of education. In general, formal English, or at least “Standard” English, is used in narrative text, dialogues or poems. However, in Hardy’s novels, the words are not only written, but they can be read orally and we find a gap, even a paradox between what is written and what is said. All through the novels, this ambiguity is strengthened by various language registers. Words are means of both written and oral communication. Fitted together, they create sounds and give to Hardy’s sentences a second meaning. Indeed, Hardy’s heroes and heroines fit into their rural landscape and try to cross the line which symbolically divides them from worldly, urban society, by correcting their pronunciation or code of language. A reel of words weaves its way through those outward cultures or language groups. Through both silent and audible forms of communication, words may reveal hidden links within this microsociety. Consequently, Hardy’s words might be seen as a series of letters or literary missives, whose purpose is to convey a message to the reader. Some methods and techniques of assembling letters and sounds to represent specific dialectal forms of expression will provide the core of this article.

Dialect, interaction and class positioning at school: from deficit to difference to repertoire

Sociolinguists have been fighting dialect prejudice since the 1960s, but deficit views of non-standard English are regaining currency in educational discourse. In this paper I argue that the traditional sociolinguistic response – stressing dialect systematicity and tolerance of ‘difference’ – may no longer be effective by questioning a key assumption that both deficit and difference approaches share, namely that there exist discrete varieties of English. Based on an empirical study of the language of working-class children in north-east England, I demonstrate that non-standard dialects of English do not have a discrete system of grammar that is isolated from other varieties; rather local dialect forms interact with a range of semiotic resources (including standard forms) within speakers’ repertoires. Interactional analyses of the children's spontaneous speech highlight this hybridity, as well as the social meanings behind the linguistic choices children make. I conclude by addressing educational responses to non-standard dialect in the classroom, suggesting that it is not the presence or absence of non-standard forms in children's speech that raises educational issues; rather, educational responses which problematise non-standard voices risk marginalising working-class speech, and may contribute to the alienation of working-class children, or significant groups of them, within the school system.

Salvaging Dialect and Cultural Cross-Dressing in McKay’s Constab Ballads

Research Article| March 01 2013 Salvaging Dialect and Cultural Cross-Dressing in McKay’s Constab Ballads Paul Peppis Paul Peppis Search for other works by this author on: This Site Google Twentieth-Century Literature (2013) 59 (1): 37–78. https://doi.org/10.1215/0041462X-2013-2008 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Paul Peppis; Salvaging Dialect and Cultural Cross-Dressing in McKay’s Constab Ballads. Twentieth-Century Literature 1 March 2013; 59 (1): 37–78. doi: https://doi.org/10.1215/0041462X-2013-2008 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsTwentieth-Century Literature Search Advanced Search The text of this article is only available as a PDF. Copyright © Hofstra University2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Graikų dialektai senojoje atikinėje komedijoje

The present article deals with the Greek dialects in Old Attic Comedy. Aristophanes is the greatest representative of this genre and the one whose complete plays have been preserved. The works of his contemporary comic poets have survived in fragments. The author of this article analyses some dialectal features of comediographs such as Apollophanes, Crates, Eupolis, Epilycus, Strattis, Aristophanes. The fragments of Old Comedy are difficult to interpret because sometimes excerpts are badly battered, the dramatic context is missing, and we do not know who is speaking the fragmentary lines that have survived. The analysis of dialectal forms shows that Greek comediographs were interested in dialects. The representation of different dialects was customary in Old Attic Comedy. Comic writers used non-Attic dialects to make their personages more realistic or to make a mock of them. Many dialectal forms in comedies contain comicality, irony, parody, intertextuality or are paratragic and might be borrowed from a tragedy, lyric or epos. In the comedies Lysistrata and Acharnians, Aristophanes reproduces Laconian, Megarian, and Boiotian speeches. He had to pick out a convincing number of the most peculiar features present to these dialects to the audience. The phonologic and morphologic features of the dialectal words in comedies generally accord with epigraphic records.

System und Systemkritik – Witz und Ironie als philosophische Methode beim frühen Friedrich Schlegel

Abstract. The conceptions of wit and irony of the early Friedrich Schlegel together constitute a philosophically ambitious form of early-romantic dialectic. This dialectic was directed especially against the closed philosophical system of Fichte, and tries to show a third way between the abandonment of a system and a closed system. The result is an open system, which can accommodate historical change and an infinite approach to the absolute. The article discusses the origin of this third way in romantic irony, and Schlegel’s critique of Fichte, as well as the role poetry and the fragment as a form of philosophical discourse plays for Schlegel’s dialectic.

‘s>z’ as a gradual sound change - focusing on the interpretation of the dialectal forms -

‘s>z’ as a gradual sound change - focusing on the interpretation of the dialectal forms -

Dialectical Envisioning:Daniel Derondaand British Ethical Idealism

AbstractDaniel Derondaoften comes across as a more futuristic novel than the rest of George Eliot’s oeuvre. Its moral idealism tends to puzzle the reader for being too metaphysical and ethereal. So far, Eliot’s general idealism has been discussed in terms of her engagement with philosophers such as Feuerbach, Spinoza, Auguste Comte, J. S. Mill, and Herbert Spencer. In this article, the same issue is explored by way of historical significance rather than direct influence. By readingDaniel Derondain the context of British ethical idealism, especially the writings of F. H. Bradley and T. H. Green, I argue that the novel contributed significantly to a major development of Victorian moral philosophy. In particular, the novel deploys a dialectical language of speculation that helped to shape a shift of interest to a more metaphysical approach to moral ideals. Addressing issues such as the fallibility of present judgment, the importance of integration rather than antithesis, and the heuristic value of a teleological future,Daniel Derondaself‐consciously tests out the validity of a dialectical form of moral envisioning. To readDaniel Derondathis way can help define a crucial aspect of Eliot’s thinking that cannot be easily or sufficiently articulated in such terms as scientific positivism and German idealism, though both of which have been important in shaping Eliot’s other novels beforeDaniel Deronda. In creating independently an ethical idealism that is equally metaphysical but intellectually less restrictive than that of Bradley or Green,Daniel Derondashows not only the convergence of literary and philosophical writings but also the importance of considering literary works for the study of Victorian moral philosophy.

Past participles of strong verbs in Jutland Danish: A real-time study of regionalization and standardization

The article presents a real-time study of standardization and regionalization processes with respect to the use of past participles of strong verbs in the western part of Denmark. Analyses of a large corpus of recordings of informants from two localities show that the use of the dialectalenform of the past participle suffix has been in decline during the last 30 years. Theenforms are replaced by three other forms, one of which is (partly) dialectal, one regional and one standard Danish. The study indicates that a regionalization process has taken place prior to the time period studied, but that it has now been overtaken by a Copenhagen-based standardization process. The study also shows interesting differences between the two localities, arguably due to the geographical location and size, and to the status of the different participle forms in the traditional local dialects.

Topical Roots of Formal Dialectic

Formal dialectic has its roots in ancient dialectic. We can trace this influence in Charles Hamblin’s book on fallacies, in which he introduced his first formal dialectical systems. Earlier, Paul Lorenzen proposed systems of dialogical logic, which were in fact formal dialectical systems avant la lettre, with roles similar to those of the Greek Questioner and Answerer. In order to make a comparison between ancient dialectic and contemporary formal dialectic, I shall formalize part of the Aristotelian procedure for Academic debates. The resulting system will be compared (1) with Van Eemeren and Grootendorst’s system of rules of Critical Discussion (the pragma-dialectical discussion procedure), which must, however, first itself be reconstructed as a formal dialectical system, and (2) with a Hamblin-type system, and (3) a Lorenzen-type system. When drawing comparisons, it will become clear that there is a line to be drawn from Aristotle to formal dialectic and pragma-dialectics, extending to contemporary computational models of argument.

Hesitation Strategies in an Oral L2 Test among Iranian Students Shifted from EFL Context to EIL

English as an international language emphasizes on learning different major dialect forms; in particular, it aims to equip students with the linguistic tools to communicate internationally. English is no longer merely used by native speakers but by all those who come to use it.The study reported in this paper was conducted in the population of Iranian students in the academic context of Malaysia who have learned English as a foreign language in their home country, but after immigrating to the multi lingual country of Malaysia have to use it as an International language to communicate not only with the academician but also with the common people. This shift of English language application had led them to a confusion, which reveals in in their performance, although they are not quite aware of the involving reasons.Therefore, this study examined this mismatch between EFL and EIL oral performance from the angle of hesitation, and investigated the hesitation strategies Iranian university students use while they are speaking English. It focused on the frequency and distribution of pauses, pauses and fillers, and fillers in the speech of 12 Persian speakers of English, students in a public university in Kuala Lumpur, Malaysia, participating in an oral test consisting of three parts to study whether the type of questions affect the hesitation strategies they employ or not. The data collected was collected and analyzed qualitatively and quantitatively, and the results indicated that Persian speakers of English follow different pausing conventions which varied by the change in the context of the questions.

Art as Abstract Machine: Guattari's Modernist Aesthetics

Felix Guattari was a modernist. He not only liked a lot of modernist artists, but his ‘aesthetic paradigm’ found its generative diagram in modern art. The most important aspect of this diagram was its insistence on the production of the new, the way it produced a utopian projection of a ‘people to come’, and so a politics whose only horizon was the future. Also important for Guattari's diagram of the ‘modern’ were the forces of abstraction, autonomy and immanent critique. Together these elements construct an artwork that is radically singular and separate, composed of a-signifying, a-temporal and invisible forces, sensations that go beyond our human conditions of possibility. In this Guattari's modernism must be understood as being quite different from his co-option by contemporary art theorists influenced by post-Operaist thought. Post-Operaism understands politics as ‘being-against’, a dialectical form of negation that finds its political condition of possibility in what already exists. Because such thought sees modern art as being entirely subsumed by the institutions and markets that contain it, art itself must be negated in order for aesthetic powers to become political. This has lead post-Operaist thought to align itself strongly with the avant-garde positions of institutional-critique and art-into-life, or ‘non-art’. Guattari's modernism takes him in a very different direction, affirming modern art despite its institutional enframing, because art is forever in the process of escaping itself. This makes modern art the model in Guattari's thought for politics itself.