Thesis (M.A.)--Abilene Christian University, 1987. / Abstract. Includes bibliographical references (leaves 111-119).

Phonological interactions among sonorant sounds, and between sonorants and obstruents, are widespread in Romance languages. In this dissertation, I examine in detail such interactions in two dialects of Sardinian (Italo-Romance), Campidanese and Nuorese, showing that sonorant relationships differentiate the synchronic grammars of these dialects. The synchronic patterning of nasals and liquids, and how these two sonorant subclasses interact with obstruents, is significantly different between the two dialects. In particular, nasals trigger phonological nasalization of vowels and of the rhotic in Campidanese but not in Nuorese. The arguments for a phonological analysis of vowel nasalization in Campidanese are reviewed, expanded, and tested against an acoustic study. The historical traces of interaction between /n/ and /r/ in this dialect are linked to the synchronic rhotic nasalization process highlighted by an acoustic study of fieldwork data. In Nuorese, on the other hand, /n/ does not initiate phonological nasalization either of vowels or of the rhotic, and it is the target of total assimilation when followed by any segments but an oral stop. Nasals in the two dialects thus pattern in two very different ways phonologically: nasals are process triggers in Campidanese and process targets in Nuorese. The rhotic also shows distinct patterns in the two dialects, interacting with /n/ in Campidanese and with /s/ in Nuorese. The two dialects, with those asymmetries, thus display complementary sonorant patterns. I argue that a model able to capture such complementarity of patterns is the theory of the contrastive hierarchy (Dresher 2008). The Campidanese and Nuorese sonorant patterns, so radically different, lead one to question whether sonorants form a homogeneous phonological class cross-linguistically. Campidanese and Nuorese show that the make-up of such a class appears to be language-specific. Since the sonorant class is a universal class of sounds, its heterogeneity, in turn, questions the notion of phonological classhood at large. The data and the analysis presented in this dissertation thus feed the debate around phonological classhood. According to the theoretical model adopted in the present dissertation, the language-specific make-up of a class of sounds is all that can be labeled a ‘phonological’ class. Classes of sounds can be described in phonetic terms, but classes phonetically defined do not necessarily amount to phonological classes.

Phonological interactions among sonorant sounds, and between sonorants and obstruents, are widespread in Romance languages. In this dissertation, I examine in detail such interactions in two dialects of Sardinian (Italo-Romance), Campidanese and Nuorese, showing that sonorant relationships differentiate the synchronic grammars of these dialects. The synchronic patterning of nasals and liquids, and how these two sonorant subclasses interact with obstruents, is significantly different between the two dialects. In particular, nasals trigger phonological nasalization of vowels and of the rhotic in Campidanese but not in Nuorese. The arguments for a phonological analysis of vowel nasalization in Campidanese are reviewed, expanded, and tested against an acoustic study. The historical traces of interaction between /n/ and /r/ in this dialect are linked to the synchronic rhotic nasalization process highlighted by an acoustic study of fieldwork data. In Nuorese, on the other hand, /n/ does not initiate phonological nasalization either of vowels or of the rhotic, and it is the target of total assimilation when followed by any segments but an oral stop. Nasals in the two dialects thus pattern in two very different ways phonologically: nasals are process triggers in Campidanese and process targets in Nuorese. The rhotic also shows distinct patterns in the two dialects, interacting with /n/ in Campidanese and with /s/ in Nuorese. The two dialects, with those asymmetries, thus display complementary sonorant patterns. I argue that a model able to capture such complementarity of patterns is the theory of the contrastive hierarchy (Dresher 2008). The Campidanese and Nuorese sonorant patterns, so radically different, lead one to question whether sonorants form a homogeneous phonological class cross-linguistically. Campidanese and Nuorese show that the make-up of such a class appears to be language-specific. Since the sonorant class is a universal class of sounds, its heterogeneity, in turn, questions the notion of phonological classhood at large. The data and the analysis presented in this dissertation thus feed the debate around phonological classhood. According to the theoretical model adopted in the present dissertation, the language-specific make-up of a class of sounds is all that can be labeled a ‘phonological’ class. Classes of sounds can be described in phonetic terms, but classes phonetically defined do not necessarily amount to phonological classes.

Cette thèse se propose d'étudier le phénomène littéraire défini comme la «nouvelle vague sarde», et plus particulièrement les formes et les raisons du mélange linguistique sarde/italien, qui caractérisent les œuvres des écrivains sardes publiées entre 1995 et 2010. A travers une analyse diachronique et synchronique de la littérature de la Sardaigne nous voulons montrer qu'on ne peut pas parler d'une vraie nouveauté ni d'une tendance unitaire telle qu'on puisse parler d’une «vague». En effet, cette «renaissance littéraire sarde» correspond à l'exploit simultané de quelques auteurs, qui profitent d'un climat de forte vitalité, au niveau national, des langues régionales, mais, surtout, d'une nouvelle liberté expressive, inaugurée par les romans de Sergio Atzeni au milieu des années 1990. Même s'il existe des différences remarquables parmi les formes et les effets liés au mélange linguistique utilisé dans les romans pris en examen, cette caractéristique du panorama littéraire contemporain sarde met en évidence une attention spéciale, de la part des auteurs, pour la langue parlée sur l'île dans les époques racontées, qu'il s'agisse du sarde ou de l'italien régional sarde. De plus, le choix du mélange de sarde et d’italien souligne la valeur attribuée aux formes expressives typiques de la Sardaigne, dans le cadre d'une représentation des particularités et des problématiques internes, liées aux relations entre le progrès et la tradition. / This thesis aims to study the literary phenomenon called «Sardinia nouvelle vague» and more particularly the forms and reasons of linguistic mixture between Sardinian and Italian, which characterize the works of Sardinian writers published between 1995 and 2010. Through a diachronic and synchronic study of Sardinian literature we want to show that we are not talking about something new. In fact, the "Sardinian literary renaissance" is the exploit of some authors who take advantage of a climate of strong national vitality, of regional languages, but, above all, a new freedom of expression, inaugurated by the works of Sergio Atzeni in the mid 90s. Despite significant differences in the forms and effects of mixture of language used in novels examined, this feature of the contemporary Sardinian literary scene marks a special attention by the authors to the language spoken on the island in different eras portrayed, whether it's Sardinian, regional Sardinian or Italian. Moreover, the choice of the mix of Sardinian and Italian emphasizes the value attributed to the forms of expression typical of Sardinia as part of a representation of the peculiarities and internal issues, related to the relationship between progress and tradition.

This thesis tests the Interclausal Relations Hierarchy (VV: 209) vis-à-vis first hand data on eight complex verbal constructions of Sardinian, namely: 1. Campidanese ai / Logudorese-Nuorese àere a + infinitive, lit. 'to have to' + infinitive (hereafter also inf.), expressing future time reference; 2. Campidanese dèppi(ri) / Logudorese-Nuorese dèppere/dèvere + inf., lit. 'must' + inf., expressing both deontic modality and future time reference; 3. Campidanese fai / Logudorese-Nuorese fàghere a + inf., lit. 'to do to' + inf., in the sense of 'to be possible/allowed to do something'; 4. Campidanese fai / Logudorese-Nuorese fàghere + inf., lit. 'to do to' + inf., meaning 'make someone do'; 5. Campidanese lassai / Logudorese-Nuorese lassare/ (dassare) + inf. meaning 'let someone do'; 6. Campidanese torrai a, (po) / Logudorese-Nuorese torrare a + inf., lit. 'to return to', meaning both 'go back to + inf.' and 'do something again‟; 7. Campidanese andai / Logudorese-Nuorese andare a + inf., meaning 'to go to'; 8. Campidanese (am)megai / Logudorese-Nuorese (am)megai de/a + inf., lit. originally meaning perhaps 'pretend' or 'threaten' or 'have an aim', but nowadays meaning 'to be doing', 'to have the intention to'. The hierarchy ranks complex verbal constructions from the most cohesive to the least cohesive, both syntactically and from a semantic point of view. There is a a meaningful prediction of the hierarchy, i.e., the tightest syntactic linkage realizing a particular semantic relation should be tighter than the tightest syntactic linkage realizing looser semantic relations (VVLP: 483). Almost all the constructions respect this prediction, with the exception of megai de + infinitive. In this case it is possible that its syntax crystallised whilst its semantics developed further. In addition, our data display diatopic, i.e., geolinguistic variation. We use Virdis' (1988: 805) phonetic map to analyse our morphosyntactic data. We obtain a number of maps which show that morphosyntactic phenomena are in general more widespread than phonetic isoglosses, that is, they are common to the three main varieties of Sardinian: Campidanese, Logudorese and Nuorese.

No description available.

В работе произведена попытка изучить Крымскую войну 1853-1856 годов с точек зрения противоборствующих сторон и рассмотреть ситуации, которые оставили след в культуре и массовом сознании населения Англии, Франции, Италии и России. Изучено как восприятие этой войны во всех указанных странах развивалось с 1853 года по 2006. / In my work I tried to study how the Crimean war of 1853-1856 is seen in participating countries and find out situations, that left marks in the culture and mass consciousness of people of England, France, Italy and Russia. Also in this work I studied how the perception of this war changed from 1853 to 2006.

This study analyses the various culture-specific items known as realia words from the Italian novel Accabadora, written by Michela Murgia (2009) and translated into Swedish by Barbro Andersson (2012). Moreover, this paper also examines the various translation strategies used in rendering the specific culture items and their grade of frequency based on Jan Pedersen’s model. Finally, this study aims at testing the validity of Pedersen’s translation strategy model mainly aimed for subtitling and audio-visual translations on a literary text. A total of 160 culture specific items were identified and further subcategorized based on Bruno Osimo’s (2011) classification of realia. The ethnographic, geographic, social-political categories as well as the Sardinian realia were mostly translated by means of source text-oriented strategies while the category of idiomatic expressions displayed a slightly different outcome in which the target-text strategies were the most predominant but still featured by source target-text oriented strategies. The most frequent translation strategy in the first category was retention and direct translation whereas in the category of idiomatic expressions, cultural substitution and paraphrase followed by retention were the most frequently used strategies. Finally, the possible reasons for the choice of source-text versus target-text oriented strategies were further discussed. / Questo studio analizza i vari termini culturospecifici conosciuti come "realia" rinvenuti nel romanzo di Michela Murgia (2009) tradotto in svedese da Barbro Andersson (2012). Inoltre, questa tesi intende esaminare le varie strategie traduttologiche adoperate in modo da rendere i realia nella traduzione in svedese e la loro frequenza basato sul modello di Jan Pedersen. L’ulteriore obiettivo di questo studio è di testare la validità del modello delle strategie traduttologiche di Pedersen, le quali sono principalmente disegnate per le traduzioni dei sottotitoli audio visivi su un romanzo letterario. Un totale di 160 termini culturospecifici sono stati individuati e categorizzati secondo la classificazione dei realia di Osimo Bruno (2011). I realia etnografici, geografici, socioeconomici insieme ai realia sardi sono stati tradotti principalmente applicando strategie rivolte verso l’adeguatezza mentre le espressioni idiomatiche hanno mostrato un risultato leggermente diverso in quanto è emersa una forte tendenza di strategie volte verso l’adeguatezza, ma allo stesso tempo caratterizzata da una forte presenza di strategie volte verso l’accettabilità. Le strategie più adoperate nella prima categoria sono risultate retention e direct translation mentre nella categoria delle espressioni idiomatiche hanno avuto la predominanza le strategie traduttologiche come cultural substitution e paraphrase seguita da retention. Infine, lo studio analizza i vari motivi di tali scelte traduttologiche rivolte verso l’adeguatezza anziché l’accettabilità.