From: Peter T. Daniels
Message: 633
Date: 2001-11-13
>I woke this morning to 66 messages. I'll try answering questions that
> * Lars Marius Garshol
> |
> | Now we're getting somewhere. What is a segment?
>
> * Peter Constable
> |
> | If you're familiar with the notion of a phoneme,
>
> I'm not, unfortunately. (That's why I asked for good introductions to
> phonetics.) They seem to be like letters, but subtly different. (The
> description I looked at said they were different, but not how.)
>
> | that is close to the notion of a segment. In phonology and
> | phonetics, the simplifying assumption is made that the speech stream
> | can be segmented into discrete units.
>
> A linguistic dictionary told me[1] that segments are any kind of
> speech fragment. Is that correct?
> | Each of these would be atomic in the sense that is something thatIt's not the smallness, it's the simultaneity. [b], for instance, has
> | can be more or less independently articulated. There are also
> | aspects of phonology that are "supra-segmental". These are
> | characteristics of the speech stream that can span multiple
> | segments: e.g. stress, tone, intonation.
>
> So, if we return to Daniel's restated definition of featural scripts,
> which was a script "in which graphic elements correlate with features
> of pronunciation, i.e. notions smaller than the segment," this seems
> to start to make some kind of sense.
>
> Features of pronunciation are so small they can't be independently
> articulated, and if the characters of a script have graphic elements
> that correlate with such tiny features of pronunciation they are
> featural. Right?
> The question then becomes: what features of speech are so tiny you*All* features cannot be articulated separately.
> can't articulate them on their own? Is it things such as that a sound
> is labial, palatal, or velar? So if a script uses, say, a hook at the
> top of a character to say that it represents a labial sound you have a
> featural script?
> * Lars Marius GarsholThey're not classes, they're types. It's a typology. You might even say
> |
> | Mainly because the modifications used to indicate the vowels are not
> | entirely systematic. There is a system, but it has deviations which
> | must be learned. Thinking about it I guess I agree that despite them
> | Ethiopic fits the class "abugida" better than it does "syllabary".
>
> * Peter Constable
> |
> | As Peter D mentions, these classes don't have fixed boundaries, and
> | the objects are not classified by a set of strictly required
> | criteria. The classes have prototype definitions (see Lakoff's
> | "Women, fire and dangerous things" for further discussion), and the
> | best we can do is point to prototypical examples.
>
> Now I am confused. If this is true, why are the definitions of these
> classes given in WWS, and also in response to my questions, given in
> terms of the properties of scripts, and not in terms of prototypes?
> Peter Daniels has kept describing his typology as historically based,I didn't do that. I said that when I noticed the distinctions between
> but I've so far failed to understand what he means by that, given that
> none of his definitions even refer to historical aspects of the scripts.
> Also, his types have instances that are historically (or genetically)
> distant, so what's historically based about his typology I just don't
> know.