The Discourse And Discourse Analysis

The Discourse And Discourse Analysis The chapter elaborates the theoretical frameworks used in the present study. It covers the elaboration of mass media, fear and the theories of representation. This chapter also explains Discourse Analysis, the concept of Critical Discourse Analysis, Van Leeuwens framework-discourse as a recontextualization of social practice which is followed by Van Leeuwens notion of representing social actors and action (2008) and Kress and Van Leeuwens theory on Reading Image (2006). 2.1 Mass Media Mass media have become an important part of human life. People can not imagine how they would live without media, such as television, newspaper, magazine, or internet. Mass media today cover global phenomenon such as the programs on health risks, political elections, royal weddings, armed conflict, financial crises, and natural or man-made disaster. However, mass media are not free from ideology (ibid). Any reality (this may include fear) showed in mass media possibly adopts the perspective of dominant groups or the owner of mass media (Van Dijk, 1995). Thus, the following will discuss the concept of fear and mass media with CDA as the tools of analysis to unearth the ideology in particular online news (Kompas.com Detik.com). Here, CDA is very useful to discover hidden messages behind news as part of media discourse (Van Dijk, 1995). The construction of fear in news could also be revealed by employing CDA as the tool of analysis. To start the investigation of fear in the Indonesia online news, the concept of fear and mass media is discussed in the following section. 2.2 Mass Media and Fear Mass media also have potential to arouse and shape emotions locally as well as globally (Doveling, Scheve, Konjin, 2010).The examples are falling in love with one of the characters in a film, shedding tears in a dramatic event, shouting out loud to soccer player who fails to score, and many more. Those examples about specific characters and events are exclusively known via the media, although the audiences or the readers of the media have never met the characters or experienced the events yet. However, the audiences are moved by these examples emotionally. It is the reason why mass media have the potential to play with emotions while in fact nothing real needs to be going on. So, mass media are technically construed means to convey messages, yet they do not have emotions themselves (Doveling, Scheve, Konjin, 2010). Fear as noun is defined as an unpleasant often strong emotion caused by anticipation or awareness of danger; an instance of this emotion; a state marked by this emotion; anxious concern; profound reverence and awe especially toward God and reason for alarm (Merriam Webster Online Dictionary, 2012). Meanwhile, fear can also be regarded as a verb (transitive and intransitive). Merriam Webster Dictionary defines fear as follow: Transitive verb archaic : frighten archaic : to feel fear in (oneself) to have a reverential awe of to be afraid of : expect with alarm Intransitive verb to be afraid or apprehensive Fear pervades in mass media because mass media play a large role in shaping public agendas by influencing what people think about (Shaw and McCombs 1977 cited from Altheide et all, 1999). discourse of fear. It is defined as the pervasive communication, symbolic awareness and expectation that danger and risk are the central feature of the effective environment (Altheide et all, 1999) Altheide et all (1999) elaborate that there are three objects to help discovering fear in mass media. The objects are frame, theme, and discourse. The third object to reveal fear in mass media is through discourse. The investigation of construction fear in discourse is the focus in this study. Thus, the theory of representation which is a departing point to explain discourse and CDA is described in the next part. 2.3. Representation Representation as uncountable noun is the way that someone or something is shown or described while as a countable noun; while as countable noun, representation is understood as a sign, picture, or model of something (Cambridge Advance Learners dictionary 3rd Edition). The same view is also proposed by Longman Advanced America Dictionary which describes representation (countable or uncountable noun) as a way of showing or describing something in art, literature, newspaper, television, etc. Understanding representation is important since this theory can reveal how fear is represented in the online news media. Stuart Halls theory of representation is one of the prominent theories of representation. Hall does not define representation as just a way something described or shown but he goes deeper by defining representation as the production of meaning through language (Hall. 1997 p.1). He argues that language is able to construct meaning since it operates in operates as representational system (Hall, 1997 p.1). In representational system (language), signs are used to symbolize or represent objects, people, or events in real world (Hall, 1997). Moreover, signs can also represent imaginary, fantasy or abstract things (Hall, 1997 p.17), such as the concept of fear. Furthermore, there are two general models of representation; Ferdinand De Saussures and Michael Foucaults approaches to representation. Saussures model is semiotic model that can be defined as the link between the forms of expression used by language (signifier) and the mental concept with them (signified) (Hall, 1997). The second model is Foucaults model to representation. In contrast with Saussures model, Foucault (in Hall 1997 p.44) sees discourse as the system of representation (not language). He argues that meaning and meaningful practices are constructed in discourse, so it implies that nothing meaningful outside discourse (Foucault in Hall, 1997 p.44). Foucault is, then, defined discourse as a way of representing the knowledge about a particular topic at a particular historical monument. From this definition, it can be inferred that Foucault model of representation is historically and context specific where certain power and ideology are involved in producing discourse and knowledge. So far, the discussion of representation has elaborated how meaning is constructed. Two views are raised; meaning is constructed in Language (Saussures model of representation) or Discourse (Foucaults model of representation). This study, then, employs Foucaults model of representation (in Hall, 1997) since this model is more relevant to the tool of analysis of the study which is Critical Discourse Analysis (Van Leeuwens Framework, 2008). The model is chosen since the model of representation is more attached to the concept of knowledge, power, and ideology which are also the main notions of CDA. In order to enrich the understanding of discourse and critical discourses analysis, the elaboration of these concepts is explained in the following section. 2.4. Discourse and Discourse Analysis Discourse often means as an extended stretch of connected speech or writing a text (Van Leeuwen in Wodak and Meyer, 2009). However, some scholars develop a more profound definition of discourse; one of them is Foucault who defines discourses as socially constructed way of knowing some aspect of reality which can be drawn upon when that aspect of reality has to be represented. (Foucault, 1977 cited in Wodak and Meyer, 2009). From different point of view, Fairclough defines discourse as the representation of the world (Fairclough, 2003:124). It involves the representation of processes, relations and structures of the material worlds, the mental world of thought, feelings, beliefs, and the social world (Fairclough, 2003:124). He also distinguished discourse from text since discourse is used to refer to the whole process of social interaction while text is only the output of that process (Fairclough, 1989:24). These two scholars definitions of discourse give implication that discourse is not a just mere connected speech or writing. The notion of discourse raises the concept of reality, knowledge and power (Foucalt 1977 in Wodak and Meyer 2009) and the concept of world representation and social interaction (Fairclough 1989 and 2003). The discussion of discourse raises the question of how discourse is analyzed. Dicourse Analysis is, then, the process of analysis which aims to reveal the relationship between text and the elements of social practice in the society (Paltridge, 2006:2). Zellig Harris is first scholar who introduced the term Discourse Analysis in 1952. He defines Discourse Analysis as a way of analyzing connected speech and writing (Paltridge, 2006:2). Harriss study deals with the examination of language beyond the level of sentence and the investigation of relationship between linguistic and non-linguistic behavior. Afterward, the development of Discourse Analysis influences some areas of applied language study. One of these areas is Critical Discourse Analysis (abbreviated as CDA). CDA was developed based on the fact that the values which underlie texts are often hidden (Paltridge, 2006). The critical approach to Discourse Analysis will help reveal some of these hidden values. Corresponding to this, Fairclough (1992) also states that CDA focuses on how a discourse is produced in relation to power and ideology as well as the effects of the discourse on social identities, relations, knowledge and beliefs. Therefore, this study is geared toward investigating the construction of fear in online news media from discourse perspective (Altheide, 1999). The study is aim to reveal what the construction of fear signifies. These significations may lead to the relation of power, hidden values and ideology in the construction of fear. These significations are also the main notions of CDA. Thus, the more detailed explanation of CDA is explained in the following section. 2.5. Critical Discourse Analysis Paltridge (2006) elaborates Critical Discourse Analysis (CDA) as the examination of the use of discourse in relation to its socio-cultural phenomena. It examines the way language is used in the discourse and social and cultural situation where it occurs. Distinctively, Van Dijk explains that CDA is a type of discourse analysis which studies the way social power abuse, dominance and inequality are enacted, reproduced and resisted by text and talk in the social and political context. (2008:85). Thus, it can be inferred that one of main purposes of CDA is to try to understand, demonstrate, and resist social inequality. Furthermore, Fairclough and Wodak elucidate eight main principles of CDA. First, CDA addresses social problems by observing the linguistic forms. The concept of power relations are negotiated and performed through discourse is the second principle. The next one is that discourse represents society and culture. Ideologies are produced and reflected in the use of discourse is the fourth principle. The fifth one regards discourse as historical which means that a discourse cannot be separated from discourses before it. The concept of CDA mediates text and society is the sixth principle. Next Principle, CDA is interpretative and explanatory. Last principle, discourse is a form of social action (Fairclough and Wodak, 1997, cited in Van Dijk, 2008:86). These eight main principles of CDA construct the basis for CDAs aim which is to gain a good understanding of how language functions in constituting or transferring knowledge or in exercising power (Wodak and Meyer, 2009). In order to achieve this understanding, CDA requires an interdisciplinary approach. Thus, CDA is not attempted to provide one specific theory. Researches in CDA are varied and come from different theoretical backgrounds. They are also concerned with different data as well as different methodologies. Theo Van Leeuwen is one of the CDA researchers who contributes his approach to CDA. His framework of discourse as the recontextualization of social practice is greatly affected by four important notions from Bernstein, Foucault, Halliday, and Martin (Van Leeuwen, 2008). Thus, the present study employs Van Leeuwens framework of discourse as the recontextualization of social practice (2008) as the main tool of analysis. This study focuses on how social actors and social actions are represented in the construction of fear. Van Leeuwens framework of CDA is also used to reveal what the construction of fear signifies (the power relation, hidden values and ideologies). The elaboration of Van Leeuwens approach to CDA is, then, presented in the next section. 2.6. Van Leeuwens Framework: Discourse as the Recontextualization of Social Practice Van Leeuwen (2008) explains discourse as outlines for the interpretation of reality. His framework on discourse presents methods for reconstructing these outlines through text analysis. It is based on four important notions from four theorists. It is built on Bernsteins concept of recontextualization, Hallidays theory of Transitivity, Foucaults theory of discourse, and Martins theory of activity sequences. (Van Leeuwen, 2008). First, the frameworks based on Bernstein concept of representation (1996). Bernstein defines recontextualization as one of the three fields of pedagogic devices (Bernstein, 1996, cited in Van Leeuwen 2008). It lies between the field of knowledge production and reproduction. The field production of new knowledge takes place in higher education institutions. The recontextualization of knowledge takes place in institutions which interpret education policies into curriculum. Furthermore, the reproduction of knowledge mostly takes place in schools. Bernstein argues that recontextualization regulates rule for delocating a discourse, for relocating it, for refocusing it. (cited in Van Leeuwen, 2008), Thus, it can be inferred that from Bernsteins perpective, recontextualization is shifted from its original position of production to another position where it is changed as it is related to other discourses. However, Van Leeuwen employs this concept in a more general sense. He also associates it to the theory of discourse constructed by Foucault. In Foucaults sense, discourse is a socially constructed knowledge of some social practices (Foucault, 1977, cited in Van Leeuwen, 2008:6). At this point, discourses are seen as the resource of representing social practices in text. It implies that texts can be used to reconstruct discourses. Subsequently, Van Leeuwens framework is also based on Martins concepts of the field of discourse, using lexical cohesion analysis to construct activity sequences-sequences of represented activity (Cited in Van Leeuwen, 2008:5). In building his framework, Van Leeuwen is motivated by the work of Martin concerning the represented activities, roles, setting, etc. Although Martins example is in the form of procedural text, Van Leeuwen argues that all texts should be interpreted as representation of social practices that consist of series of represented activities (van Leeuwen, 2008). 2.7. Representing Social Actors Theo Van Leeuwen (2008) has built an analysis framework regarding the representations of social actors in a text. The following section explains these categories further. 2.7.1. Inclusion and Exclusion In a text, not all of the social actors are presented directly for the readers to see; sometimes the readers have to infer them in one or two places, and sometimes the social actors are not at all present in the text. Whenever the social actors are present in a text, it is called inclusion; and whenever they are absent, it is called exclusion (Van Leeuwen , 2008). Excluded social actors can either be backgrounded or suppressed. If they are backgrounded, it means they can still be referred to somewhere in the text. However if the social actors are suppressed, it means they are not mentioned at all in the text. If the social actors are included in the text, we shall then see their role allocation, whether they are playing an active or passive role, whether they are presented generically or specifically, presented as an individual or as belong in a group, presented as unspecified or specified, referred to by name or category, referred to personally or impersonally, or whether they appear in more than one social practice at the same time (Van Leeuwen , 2008). Therefore, one way to reveal the construction of fear is to see how actors are represented in the discourse. It is important to reveal the representation of social actors since actors play vital role in creating meaning (fear) (Hall 1997, Altheide 1997, Bell, 2003). The exclusion and inclusion of the social actors in the discourse is able to reveal the relation of power and hidden values and ideology in the construction of fear in online news. The following figure is the network of representing social actor. Nomination Inclusionionion Exclusion ionion Supression Backgrounding ionion Activation ionion Passivationionion Participationionion Circumstatialization ionion Possesivation Impersonalization ionion Personalization ionion Determination Indetermination Genericization Specificization Abstraction Objectivation Individualization Assimilation Association Disassociation Differentiation Indifferentiation Categorizationh Single Determination Overdetermination Collectivization Aggregation Functionalization Identification Appraisement Formalization Informalization Titulation Detitulation Semiformalization Inversion Symbolization Connotation Distillation Classification Rel. Iden Physical Iden. Honorification Affiliation Anachronim Deviation FIGURE 1 Social Actor Network (Van Leeuwen, 2008:52) 2.7.2. Role Allocation Role Allocation in Van Leeuwens Framework of representing social actors is the role give to the actor to play in the representation (Van Leeuwen, 2008). The first role allocation is that social actors in a text can either be activated or passivated. Activation and passivation of the social actors can be realized through participation, circumstantialisation and possessivation. When social actors participate in a given activity, participation occurs. While, Circumstantialisation happens when social actors are put within the circumstance. Furthermore, Possessivation happens when social actors become the possession of others (Van Leeuwen 2008). When social actors are passivated, they can either be subjected or beneficialised. Subjected social actors are treated as objects in the representation, while beneficialised social actors are the ones who benefits, either positively or negatively, from the action (Van Leeuwen , 2008). 2.7.3. Genericisation and Specification Talking about genericisation and specification means talking about whether the social actors are represented as classes, or as specific individuals which can be identified. Genericisation can be realized through the plural without article, the singular with the definite article, or mass nouns (a group of participants). Meanwhile specification can be realized through specific nouns or using numerative before the noun. In addition, mass nouns can also signify specification if the tense is not present tense (Van Leeuwen , 2008) 2.7.4. Assimilation and Individualisation The third distinction of role allocation is assimilation and individualization. This role allocation concern about whether the social actors are represented as groups or individuals. The difference lies in the singular and plural form of the social actors. Genericisation and specification can represent social actors either in singular or plural form. Meanwhile, assimilation represents social actors as groups, represents them in plural form. Individualization, The reference of social actors as individuals is called Individualization. Individulaized social actors always be represented them in singular form. Furthermore, assimilation consists of two types; aggregation and collectivization. Aggregation is understood as quantifying groups of participants and treats them as statistics, while collectivization does not. Aggregation is also realized by the presence of definite or indefinite quantifiers which either functions as the numerative or as the head of nominal group. Meanwhile, Collectivization can be realized by a mass noun or a noun denoting a group of people (Van Leeuwen , 2008). 2.7.5. Association and Dissociation A further distinction of the social actor is association and disassociation. It deals when social actors or a group of social actors represented in a text as forming a group, however the group is never labeled. Association can be realized through parataxis, circumstance of accompaniment, possessive pronouns and possessive attributive clauses with verbs such as have and belong (Van Leeuwen , 2008). 2.7.6. Indetermination and Differentiation The notion of indetermination and differentiation deals with whether or not social actors are represented as unspecified or specified. Indetermination, which anonymizes social actors, can be realized through indefinite pronouns and generalized exophoric reference, while differentiation can be realized through specific adjectives (Van Leeuwen , 2008). 2.7.7. Nomination and Categorization Nomination occurs when social actors are represented based on their unique identities, while categorization occurs when they are represented based on their identities and functions which they share with others. Nomination is generally realized by proper noun, in the form of formal (surname only, with or without honorifics), semiformal (given name and surname) or informal (given name only) (Van Leeuwen , 2008). 2.7.8. Functionalization and Identification When social actors are categorized, they can either be represented by means of functionalization or identification. Functionalization occurs when social actors are represented based on what they do; or blatantly put, what they function as, while identification occurs when social actors are represented based on what they are. (Van Leeuwen , 2008). Functionalization is usually realized in one of the following ways: first by a noun formed from verb by adding suffixes, such as -er in interviewer; second by a noun denoting a place or tool closely associated with an activity through suffixes, such as -ist in violist; and third by compounding nouns denoting places or tools closely related with an activity and highly generalized categorizations, such as compounding swords and man into swordsman. In addition, identification has three types, namely classification, relational identification and physical identification. Classification happens when social actors are represented based on their class, age, gender, race, religion, etc. Relational identification happens when social actors are represented based on their relationship or kinship with others. It can be realized by possessive pronoun, postmodifying phrase, or genitive. Physical identification happens when social actors are represented based on their physical characteristics (Van Leeuwen , 2008). 2.7.9. Impersonalisation and Personalisation Impersonalisation and personalization deal with whether social actors are represented as human beings or not. All of the aforementioned categories of social actors representation fall into personalization, because all of them represent social actors as having the quality of human beings. On the other hand,impersonalisation does not represent social actors as having the quality of human beings. Moreover, impersonalisation is divided into two types, namely abstraction and objectivation. Abstraction occurs when social actors are represented by means of quality assign to them, and objectivation occurs when social actors are represented by a place or thing closely related either with the person or with the action in which they are engaged. If they are represented by a place, it is called spatialization; if they are represented by their utterance, what they say or what they write, it is called utterance autonomization; if they are represented by the instrument or tool they use for action, it is called instrumentialization; and if they are represented by a part of their body, it is called somatization. In addition, Leeuwen noted that impersonalisation can background the identity and/or role of social actors, can lend impersonal authority or force to an activity or quality of a social actor, and can add positive or negative connotations to an activity or utterance of a social actor. Impersonalizing social actors takes the audiences focus or attention away from the social actors themselves, emphasizing on the abstract concept, quality or object that is assigned to them (Van Leeuwen , 2008). 2.7.10. Overdetermination Overdetermination occurs when social actors are represented as participating, at the same time, in more than one social practice. It is one of the ways in which texts can legitimize practices. There are four kinds of overdetermination, namely inversion, symbolization, connotation and distillation (Van Leeuwen , 2008). Inversion happens when social actors are connected to two practices which are each others opposite. A well-known example for this, as mentioned by Leeuwen as well, is The Flintstones. The Flintstones family is depicted as people from pre-historic era, as seen from their clothes that are made of animals hides and their house that is made from rocks and stones, yet they do activities that are common in modern era, like watching television, playing bowling and hanging out in a night club. Symbolization happens when fictional social actors stand for actors in non-fictional social practices. Distillation is the combination of generalization and abstraction. It connects social actors to several social practices by abstracting the same feature from social actors involved in these several practices (Van Leeuwen , 2008). This present study utilizes this role allocation in the chosen online news article as the main analysis of the social actor. As mentioned before, the analysis of role allocation aims to reveal how representations of the social actors are allocated in the discourse. This allocation, then, reveals the power relation, hidden values and ideologies in representing social actors in the discourse of fear. 2.8. Representing Social Action The main question that encourages Van Leeuwen in constructing the social action network is that What are the ways in which social action can be represented in English discourse? (2008:3). He believes that the representational choices of actions in the discourse contain meanings that could help to understand the whole discourse. The next section presents the main ways in which social action can be transformed in a discourse (Van Leeuwen , 2008). 2.7 Van Leeuwens Social Action Network This social action network presents the ways in which actions and reactions can be represented in discourse. Figure 1 shows the social action network that is developed by Van Leeuwen. Social Action Reaction Action Activation Deactivation Agentialization Deagentialization Abstraction Concretization Unspecified Cognitive Affective Perceptive Material Transactive Nontransactive Interactive Instrumental Semiotic Behavioral Nonbehavioral Single Determination Overdetermination Form specification Topic specification Rendition Quotation Objectivation Descriptivization Generalization Distillation Eventuation Existentialization Naturalization Symbolization Inversion FIGURE 2. The Social Action Network: The Representation of Actions and Reactions (Van Leeuwen, 2008:73) 2.9.1 Reactions Reactions is understood as the emotions and attitudes toward belong to these actions of the social actors (Van Leeuwen, 2008). Typically, a discourse presents the social actions along with the reactions following them. The way to differentiate the reactions from actions grammatically is by using the criteria in Hallidays transitivity theory of mental processes. According to Van Leeuwen (2008), there are four conditions of mental processes which distinct them from the processes that realizing actions (such as, material, behavioral, or verbal processes). Van Leeuwens argument in mental process is based on Hallidays theory of transitivity (`967-1968, 1985). He argues that the mental processes cannot be probed by a do question. Second, mental processes use the simple present form while material, behavioral, and verbal processes take the progressive present form. Third, the participant of a mental process, the senser, must be a human or is treated as competent of human mental processes. Conclusively, the object of the mental processes can be realized by a clause as well as by a nominal group. (Van Leeuwen, 2008 These four criteria, however in Van Leeuwens view, are not always fully adequate to identify the actions and reactions in the actual text (2008). It is because the identification of actions and reactions is bounded by the grammar of the clause and fails to provide recognition criteria for actions and reactions in the text that use other linguistic level such as nominal group. Another problem is that many reactions are not represented dynamically by mental process clause, for instance, they feared . They can also be represented statically by descriptive clause such as they were afraid. (Van Leeuwen, 2008:57). Halliday solves those problems through his theory of grammatical metaphor (1985). It covers the idea that the concept of mental process is realized literally when it is realized by the grammatical category of mental process; it is realized metaphorically when it is realized in other ways. For examples, it is realized by a static descriptive clause or by elements of nominal group. Those two ways of representing reactions-metaphorically or literally-suggest that there are different metaphors available for representing the reactions. Reactions can be formulated in a number of ways. They can be unspecified through verbs like react and respond denoting a reaction directly. They can also be specified; they are represented as particular types of reactions. In accordance to these, Halliday (cited in Eggins, 2004) differentiates three types of reactions: cognitive (verbs of thinking, knowing, understanding, etc.); affective (verbs of liking, fearing, etc.), and perceptive (verbs of seeing, hearing, perceiving, etc.). 2.9.2 Mat

Lucid Dreams. What are the possible benefits of lucid dreaming? Essays

Introduction Starting from the ancient times human was always interested in strange phenomenon of sleeping and especially in dreams. Dreams were described in different ways. For instance, dreams were explained psychologically like images of sub consciousness and feedback of neural processes in human’s brain. Spiritually, it was described like messages of god (C.S. Lewis, nd). Remarkable that not only human have ability to see dreams but several species of animals (Wilkerson R. 2003). For example, rat’s sleep is almost same as the human’s they have multiple stages of sleep starting from slow wave sleep to REM stage of sleep (Animals have complex dreams, 2001). Another fact is that living beings, including humans, have more REM sleep in younger age (Siegel, 2005). In summary, dreams are well known for strange, amazing and impossible thing to happen in them, but almost all people don’t actually realize that they are sleeping during the dream. To conclude, dream itself co uld be defined as the complexity of images and emotions that occur during certain stages of sleep ("Dream". The American Heritage Dictionary of the English Language, Fourth Edition. 2000). It is proved that dreams are linked with rapid-eye movement (REM) stage of sleep which occur every 1.5-2 hours of sleeping and with time progress they become longer. The REM stage usually includes rapid eye movement, heavier breath, increased pulse rate and temporary weakening of muscles (Dream Basics: Understanding Sleep, 2007). It seems that dream can happen not only in REM stages of sleep, but it’s easier to remember a dream by awaking during the REM stage (Dement 1957; Kleitman 1957; Hobson 2009). It is noticed that if the person lives with emotionally rich life and his hormon... .... In addition, every person could use such dreams in practical life not only to gain motivation or overcome social frights by themselves, but also to expand artistic side, and even to develop physically. But, lucid dreams are not so popular, despite the fact that there is plenty of information about what is needed to be done to get ability of viewing lucid dreams, it means that advertisement is needed, so almost everyone will know about that in order to not miss a chance to touch with something that sounds such fantastic. Nevertheless, certain precautionary measures to prevent lucid dream addiction. Moreover, more reliable and affordable devices should be invented, because not everyone has needed amount of time to develop skill of lucid dream. Thus, based on the conclusion, lucid dreams have a great potential, and could give humanity plenty of positive benefits.

Death of a Salesman and All My Sons as Optimistic Tragedies Essay examp

Death of a Salesman and All My Sons as Optimistic Tragedies   Ã‚  Ã‚   This essay deals with Arthur Miller, and his uniqueness as a tragic playwright. The research question that this paper attempted to answer was, why were Miller's plays different from many other tragedies. Two of Arthur Miller's tragedies were used in this essay, Death of a Salesman and All My Sons. The thesis of this essay is, Arthur Miller deviates from the standard perception of tragedy in his plays, Death of a Salesman and All My Sons because unlike other tragedies, they are optimistic in that the main character causes the tragedy for what they perceive to be the greater good. The body of this essay starts out with a discussion of tragedy, and the commonly viewed perception of it, one of pessimism. It goes into detail of several different definitions of tragedy, made by literary critics. The "tragic flaw" is discussed and proven to be a major part of a tragedy, especially Miller's. Death of a Salesman is used to prove this statement. The idea that Miller's plays are optimistic is discussed in great detail. Both plays are used to prove this concept, as well as essays written by literary critics with opinions on this topic. One of the major points in this essay is Miller's use of love. Love is a dominant emotion throughout the tragedies. The important thing about the love is that it is one of the main reasons that the characters do what they do to cause the tragedy. The conclusion of this essay enforces the idea that Arthur Miller's plays are unique from other tragedies. It reinstates the thesis and the reason that it is true. The conclusion also summarizes the most important points of the essay and ends the paper tying everything together. Introd... ... 7. Carson, Neil. "A View from the Bridge and the Expansion of Vision." Bloom, Harold, ed. Arthur Miller: Modern Critical Views. New York: Chelsea House Publishers. (1987) p 94. 8. Hayman, Ronald. Arthur Miller. New York: Frederick Ungar Publiching Co. (1956); p 43. 9. Miller, Arthur. Death of a Salesman. New York: The Viking Press (1958); p 133. 10. Hayman, Ronald. Arthur Miller. New York: Frederick Ungar Publiching Co. (1956); p 55. 11. Miller, Arthur. "Introduction to Collected Plays." Weales, Gerald, ed. Death of a Salesman: Text and Criticism. New York: Penguin Books (1996); p163. 12. Miller, Arthur. Six Great Modern Plays: All My Sons. New York: Dell Publishing Co. (1956); p 420. 13. Gross, Barry. "All My Sons and the Larger Context." Martine, James J., ed. Critical Essays on Arthur Miller. Boston: G. K. Hall & Co. (1979); p 12.

Microbiology Essay -- Cryptobiosis, NASA

The study of microbiology is an intense endeavor, requiring students to have a great deal of focus, and sometimes a bit of imagination. When observing things under a microscope, they often look entirely different than what is seen with the naked eye. This is fascinating, yet frustrating, as trying to make associations to one's inherent knowledge becomes challenging. Hypsibius dujardini is a microscopic animal from the phylum Tardigrada that is commonly called a water bear (Mach, 2011). When viewed microscopically, this eight-legged, water dwelling animal appears to be walking slowly, like a bear that we are familiar with on a macroscopic level (Piper, 2007). Despite their cute and cuddly name, water bears, like Hypsibius dujardini are true extremophiles, surviving in some of the harshest conditions that exist (Mobjerg, et al., 2011). From temperatures near absolute zero to the vacuum of space, these astounding microorganisms are almost invincible (Mach, 2011). The state which allows a tardigrade to withstand extreme conditions is termed cryptobiosis (Gabriel, et al., 2007). When the outside environment is unfavorable, the tardigrade willingly submits to this inactive metabolic form, and is termed a â€Å"tun (Mobjerg et al., 2011).† There are five types of cryptobiosis, all of which are in response to a particular environmental inadequacy (Wharton, 2002). Anhydrobiosis takes place when there is a lack of water, Anoxybiosis occurs when there is limited oxygen, Chemobiosis is the response to excessive environmental toxins, Cryobiosis is a result of decreased temperature, and lastly, Osmobiosis happens when an increased solute concentration occurs in the organisms environment (Wharton, 2002). Although many organisms can enter a sing... ... storage, without destruction, at a low temperature, which allows future observation. The Goldstein Lab at UNC Chapel Hill has certainly proven that Hypsibius dujardini is a useful laboratory species. Although reference to tardigrades root back to Anton van Leeuwenhok, a father of microbiological studies, there is a powerful modern-day following that continues to exist today (Mach, 2011). Microbiologists around the world have grown fond of the water bear and it's amazing survival skills. Beyond that, the appearance of the microorganism captivates people's hearts. I believe that with further research by NASA and other institutions, like The Goldstein Lab, Hypsibius dujardini can make a lasting impact on our society. Whether that be by proving evolution, or providing tools for human preservation, we can certainly utilize these great microorganisms to our advantage.

Philippine Literature Essay

1. AWIT is a form of Filipino poetry. Its literal translation into English is â€Å"song,† although in the context of poetry, it is closer to the narrative. Ang awit ay isang uri ng tulang pasalaysay na binubuo ng tig-aapat na taludtod ang bawat saknong, na ang bawat taludtod ay may lalabindalawahing pantig, at ang tradisyonal na dulong tugma ay isahan (aaaa, bbbb, cccc, at iba pa). Karaniwang paksa ng awit ang pakikipagsapalaran ng bayani, ngunit ang iba’y tumatalakay din sa mga alamat at relihiyosong tula. Sa pag-aaral ng batikang mananaliksik Damiana L. Eugenio, ang â€Å"awit† ay walang ikinaiba sa â€Å"korido†, maliban lamang sa bilang ng pantig sa bawat taludtod. Ang awit, gaya ng korido, ay nagtataglay ng tatlong elemento. Una, ang pag-iibigan. Ikalawa, ang relihiyoso at pangangaral. At ikatlo, ang kahima-himala at kagila-gilalas 2. PROPAGANDA is a form of communication aimed towards influencing the attitude of a population toward some cause or position. Propaganda is information that is not impartial and used primarily to influence an audience and further an agenda, often by presenting facts selectively (thus possibly lying by omission) to encourage a particular synthesis, or using loaded messages to produce an emotional rather than rational response to the information presented. Propaganda can be used as a form of ideological or commercial warfare. 3. KKK – Katipunan Samahà ¡ng Kataà ¡staasan, Kagalanggalang Katipunan ngÃŒÆ' mgÃŒÆ'à ¡ Anak ngÃŒÆ' Bayan Formation July 7, 1892 Extinction May 10, 1897 President Deodato Arellano (1892-1893) Roman Basa (1893-1895) Andrà ©s Bonifacio (1895-1897) Headquarters Tondo, Manila; Kawit, Cavite Newspaper Kalayaan *The Katipunan (abbreviated to KKK) was a Philippine revolutionary society founded by anti-Spanish Filipinos in Manila in 1892, whose primary aim was to gain independence from Spain through revolution. The society was initiated by Filipino patriots Andrà ©s Bonifacio, Teodoro Plata, Ladislao Diwa, and others on the night of July 7, when Filipino writer Josà © Rizal was to be banished to Dapitan. Initially, the Katipunan was a secret organization until its discovery in 1896 that led to the outbreak of the Philippine Revolution. The Tagalog word â€Å"katipunan,† literally means ‘association,’ comes from the root word â€Å"tipon,† a Tagalog word meaning â€Å"gather together† or â€Å"society.†[4] Its official revolutionary name was Samahang Kataastaasan, Kagalanggalang Katipunan ngÃŒÆ' mgÃŒÆ'a Anak ngÃŒÆ' Bayan[1][5] (English: Supreme and Most Honorable Society of the Children of the Nation, Spanish: Suprema y Venerable Asociacià ³n de los Hijos del Pueblo). The Katipunan is also known by its acronym, KKK. The organization has no affiliation with the racist group known as the Ku Klux Klan who are also associated with the acronym â€Å"KKK†. Being a secret organization, its members were subjected to the utmost secrecy and were expected to abide with the rules established by the society.[4] Aspirant applicants were given standard initiation rites to become members of the society. At first, membership in the Katipunan was only open to male Filipinos; later, women were accepted in the society. The Katipunan had its own publication, Kalayaan (Liberty) that had its first and last print on March 1896. Revolutionary ideals and works flourished within the society, and Philippine literature were expanded by some of its prominent members. In planning the revolution, Bonifacio contacted Rizal for his full-fledged support for the Katipunan in exchange for a promise of rescuing Rizal from his detainment. On May 1896, a delegation was sent to the Emperor of Japan to solicit funds and military arms. The Katipunan’s existence was revealed to the Spanish authorities after a member named Teodoro Patià ±o confessed the Katipunan’s illegal activities to his sister, and finally to the mother portress of Mandaluyong Orphanage. Seven days after the Spanish authorities learned of the existence of the secret society, on August 26, 1896, Bonifacio and his men tore their cà ©dulas during the infamous Cry of Pugadlawin that started the Philippine Revolution 4. KORIDO isang uri ng panitikang pilipino, isang uri ng tulang nakuha natin sa impluwensiya ng mga Espanyol. Ito ay may sukat na walong pantig bawat linya at may apat na linya sa isang saknong. Ang korido ay binibigkas sa pamamagitan ng pakantang pagpapahayag ng mga tula. 5. PLAY is a form of literature written by a playwright, usually consisting of scripted dialogue between characters, intended for theatrical performance rather than just reading. Plays are performed at a variety of levels, from Broadway, Off-Broadway, regional theater, to Community theatre, as well a University or school productions. There are rare dramatists, notably George Bernard Shaw, who have had little preference whether their plays were performed or read. The term â€Å"play† can refer to both the written works of playwrights and to their complete theatrical performance. 6. SHORT STORY is a brief work of literature, usually written in narrative prose.[1] Emerging from earlier oral storytelling traditions in the 17th century, the short story has grown to encompass a body of work so diverse as to defy easy characterization. At its most prototypical the short story features a small cast of named characters, and focuses on a self-contained incident with the intent of evoking a â€Å"single effect† or mood.[2] In doing so, short stories make use of plot, resonance, and other dynamic components to a far greater degree than is typical of an anecdote, yet to a far lesser degree than a novel. While the short story is largely distinct from the novel, authors of both generally draw from a common pool of literary techniques. 7. ESSAY is generally scholarly pieces of writing giving the author’s own argument, but the definition is vague, overlapping with those of an article, a pamphlet and a short story. Essays can consist of a number of elements, including: literary criticism, political manifestos, learned arguments, observations of daily life, recollections, and reflections of the author. 8. DECALOGUE ( EMILIO JACINTO ) Bonifacio realized that in order to strengthen the katipunan, the  members had to be disciplined and indoctrinated with the ideals of the revolutionary society. In his â€Å"Katungkulang Gagawin ng mga Z. Ll. B.† (â€Å"The Duties of the Sons of the People†), Bonifacio listed down the rules of the Katipunan which constitute a decalogue: I. Love God with all your heart. II. Bear always in mind that the love of God is also the love of country, and thiis, too, is love of one’s fellow-men. III. Engrave in your heart that the true measure of honor and happiness is to die for the freedom of your country. IV. All your good wishes will be crowned with success if you have serenity, constancy, reason, and faith in your acts and endeavor. V. Guard the mandates and aims of the K.K.K. as you guard your honor. VI. It is the duty of all to deliver, at the risk of their own lives and wealth, anyone who runs great risks in the performance of his duty. VII. Our responsibility to ourselves and the performance of our duties will be the example set for our fellow-men to follow. VIII. Insofar as it is within your power, share your means with the poor and the unfortunate. IX. Diligence in the work that gives sustenance to you is the true basis of love — love for your own self, for your wife and children, and for your brothers and countrymen. X. Punish any s coundrel and traitor and praise all good work. Believe, likewise, that the aims of the K.K.K. are God-given for the will of the people is also the will of God. 9. SEMI AUTOBIOGRAPHICAL NOVEL An autobiographical novel is a form of novel using autofiction techniques, or the merging of autobiographical and fictive elements. The literary technique is distinguished from an autobiography or memoir by the stipulation of being fiction. Because an autobiographical novel is partially fiction, the author does not ask the reader to expect the text to fulfill the â€Å"autobiographical pact†.[1] Names and locations are often changed and events are recreated to make them more dramatic but the story still bears a close resemblance to that of the author’s life. While the events of the author’s life are recounted, there is no pretense of exact truth. Events may be exaggerated or altered for artistic or thematic purposes. Novels that portray settings and/or situations with which the author is familiar are not  necessarily autobiographical. Neither are novels that include aspects drawn from the author’s life as minor plot details. To be considered an autobiographical novel by most standards, there must be a protagonist modeled after the author and a central plotline that mirrors events in his or her life. Novels that do not fully meet these requirements or are further distanced from true events are sometimes called semi-autobiographical novels. Many novels about intense, private experiences such as war, family conflict or sex, are written as autobiographical novels 10. DIMASALANG Jose Rizal used the penname Laong Laan in the 1890s when he wrote poems and articles for La Solidaridad, then the Propaganda Movement’s strongest voice. Literally translated it means â€Å"reserved for a long time† and figuratively it means â€Å"laging handa† or â€Å"ever ready.† Dimasalang was the pseudonym of Jose Rizal that he adopted when he entered Freemasonry in 1883. He widely used this pseudonym in his articles in 1990’s. Literally [ hin] di masalang means â€Å"untouchable† in Taal Tagalog.

Academic Research Akunna Onyedum

ASPECTS OF THE PHONOLOGY OF GUNGANCHI LANGUAGE BABATUNDE, Oluwatobi Olayemi 07/15CB045 A RESEARCH PROJECT SUBMITTED TO THE DEPARTMENT OF LINGUISTICS AND NIGERIAN LANGUAGES, FACULTY OF ARTS, UNIVERSITY OF ILORIN ILORIN – NIGERIA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE AWARD OF THE DEGREE OF BACHELOR OF ARTS (B. A. Hons) IN LINGUISTICS MAY, 2011. CERTIFICATION This essay has been read and approved as meeting the requirements of Department of Linguistics and Nigerian Languages, University of Ilorin, Ilorin, Nigeria. _________________________________________________ DR. (MRS. ) B. E. AROKOYODATE Project Supervisor ________________________________________________ PROF. A. S. ABDUSSALAMDATE Head of Department _________________________________________________ EXTERNAL EXAMINERDATE DEDICATION This project work is dedicated to the Almighty God, the Alpha and Omega, who gives wisdom and excellence. My dear father, Engr. O. A. Falade, who has been there for me up till this tim e. You are my hero. May God reward you. ACKNOLWEDGEMENTS My profound gratitude goes to the Lord for seeing me through my studies at the University of Ilorin. He has been the Alpha and Omega, my help, inspiration and the source of knowledge and wisdom. He alone deserves my appreciation. Also, my gratitude goes to my lovely parents, ENGR. AND MRS. O. A. FALADE for their love, care, advice, guidance and for providing for all my educational needs. The Almighty God will grant you long life, and enable you to reap the fruits of your labour (Amen). You are the best parents in the world, I love you dearly. I also appreciate the great efforts of my able supervisor, Dr. (Mrs. ) B. E. Arokoyo, who guided me through in my research work, she gave me her time and motherly assistance despite the inconvenience. May the Lord be with you and reward you (Amen). I also appreciate all my lecturers. I want to also appreciate the love and prayers of my kid brother BABATUNDE JOHN TEMITOPE. And my aunts Mrs. O. Y. Philips and Miss Olushola Faniyi. I also want to appreciate the effort of Ogunbiyi Abayomi. You all have been wonderful. My sincere gratitude goes to my informant Corporal Labbo Alkali who helped me in acquiring all necessary information about Gunganchi. May the Lord reward you richly (Amen). Also, I appreciate my friends: Bakare Bimbo, Olagbenro Bola, Dikko Oluwaseun, Adebayo Funke, Saka Tokunbo, Ogunbowale Tobi, Adekoya Oluwaseun, Ajagunna Gideon, Bamidele Bukola, Oyeniran Gbolagade Adebayo Adewale. I also appreciate the effort of my pastor, Pastor Tunde and those who have in one way or the other contributed to the success of this research. Thank you all. TABLE OF CONTENTS Title Pagei Certificationii Dedicationiii Acknowledgements iv Table of Contentsvi CHAPTER ONE: 1. 0Introduction 1 1. 1General Background1 1. 2Historical Background of Gunganchi People2 1. 3Sociocultural Background or Profile of the Gunganchi People4 1. 4Genetic Classification of Gunganchi10 1. 5Scope and Organization of Study 11 1. 6Data Collection12 1. 7Data Analysis13 1. 8Review of the chosen Theoretical Framework13 CHAPTER TWO: BASIC PHONOLOGICAL CONCEPTS . 0Introduction 21 2. 1Phonology21 2. 2Sound Inventory of Gunganchi24 2. 3Phonological Description of Gunganchi Consonants and their Distribution 28 2. 4Vowels42 2. 5Distribution of Vowels45 2. 6Distribution of Nasalized Vowels51 2. 7Tonal Inventory54 2. 8Syllable Inventory 56 2. 9Distinctive Features 59 CHAPTER THREE: PHONOLOGICAL PROCESSES IN GUNGANCHI 3 . 0Introduction 70 3. 1Phonological Processes70 CHAPTER FOUR: TONAL PROCESSES AND SYLLABLE PROCESSES 4. 0Introduction 78 4. 1Tone System in Gunganchi78 4. 2Functions of Tone in Gunganchi82 4. 3Tonal Processes83 4. 4Syllable Structure85 4. 5Syllable Structure Rule in Gunganchi89 CHAPTER FIVE: SUMMARY, FINDINGS/OBSERVATIONS, RECOMMENDATIONS AND CONCLUSION 5. 0Summary93 5. 1Finding/Observations94 5. 2Recommendations95 5. 3Conclusion96 References97 CHAPTER ONE 1. 0INTRODUCTION This chapter is aimed at discussing the case study of the Gungawa people who speak Gunganchi language. It will note their general background, historical background, sociocultural profile, the genetic classification of Gunganchi language. This chapter will also discuss the scope and organization of study, the chosen theoretical framework, data collection, and the data analysis for this project work. 1. 1GENERAL BACKGROUND The Gunganchi people are a tribe that are also called the â€Å"Bareshe† people by their Hausa neighbours which means â€Å"Island Dwellers†, it was told they were given this name due to their closeness to lakes and rivers. Among themselves, they are commonly called â€Å"Gungawa, Tsureja, Bareshe or Yaurawa† people. Their language has different names like: Gunganchi, Tsureshe, Gunga or Tsureja and the name given to their land is either Reshe or Gungu. The present Gunganchi people are the tribe who fled to the nearby Island of Niger in the mid nineteenth century and eventually settled in a new site called Gungu or Yelwa. The Gunganchi people are said to be the original inhabitants of Yauri. During the British regime, the state of Yauri as an emirate and the state of Yelwa as the seat of the Emir of Yauri confirmed that both Yauri and Yelwa became Hausarized as a result of their contact with the Hausa people. Today, the Yauri people speak mostly Hausa language. The Gunganchi people lived in islets (very small islands) and shores of the Niger above Bussa until the creation of Kainji Lake in 1974 which disrupted their settlement and their living outside Kebbi State. 1. HISTORICAL BACKGROUND OF GUNGANCHI PEOPLE According to oral history, the Gunganchi people has different histories that has been narrated which associated with their origin that will be discussed below. In the nineteenth century, a descendant of a warrior called ‘kasira’ who is also known as ‘Kachin’ allied with the Hausa soldiers to conquer the territory in the extreme North who later settled with his co-fighters in the present Yauri town. A native speaker of Gunganchi who is known as â€Å"Agmalafiya† believe that the Gunganchi people came from Kabbawa. He said they were hunters from Katsina State and further explained that some people said the Gunganchi people are from the other Yauri’s ethnic groups which are Shangawa, Kambari, Kabbawa or Sarkawa, Dukawa etc. Another history told us of their trace to the Songhai warriors who came from Mali to seek territorial control and they eventually settled in Yauri and parts of Lopa and Laru (Gunganchi’s neighbouring areas). From the histories narrated above, it is obvious that the Gunganchi people has no specific history concerning their origin. They are divergent in their historical roots. 1. 2. 1Population The Gunganchi people were about forty to sixty thousand in 1993. About thrity-five percent lived outside Yauri Local Government in Kebbi State, sixty percent lived in Yauri town, nine percent in Kotangora, Bussa and Borgu Local Government and one percent in Kiama Local Government Area in Kwara State. Back to 1990, the population of the speakers in Yauri were referred to as Yaurawa or Reshewa in Hausa language. According to Agmalafiya who was mentioned earlier, the Gunganchi people were called Yaurawa by Queen Amina of Zaria but generally called Gungawa among the Gunganchi in Diaspora and sometimes call themselves Bareshe, which is the plural, or Ureshe, which is the singular. 1. 3SOCIOCULTURAL BACKGROUND OR PROFILE OF THE GUNGANCHI PEOPLE According to the Oxford Advanced Leaner’s Dictionary, culture is the way of life, the customs and beliefs, art and social organization of a particular country or group. The Gunganchi people have a social and cultural profile that is similar to that of their neighbouring ethnic group, Hausa. It is said that their lifestyle is centered on the Emirate’s system. The Gunganchi people have their sociocultural beliefs which are expressed in their culture, mode of dressing, occupation, religion, festivals, marriage system, naming ceremony, burial ceremony, their education system and political administration. 1. 3. 1Culture The Bareshe (Gunganchi) people are highly cultured which reflect in their mode of dressing, greetings, occupation and body adornment like decorating the woman’s legs with tattoos and heavy tribal marks on her face during the wedding ceremony. . 3. 2Mode of Dressing The Gunganchi people’s mode of dressing in the olden days is different from their dressing in these modern days. In the olden days, they used to dress in animal skin, while in these modern days, they dress in ‘Banbariga’ which is the traditional dress for men while the women dress in loose covered clothing with a local embroidery scarf which is tied around the woma n’s body to wade off the sun. They are mostly dressed in loose robe for relaxation. 1. 3. 3 Occupation The Gunganchi people are mostly farmers and fishermen. Their major crops are guinea corn, beans, rice, and onions while the fishing equipment which is a fish cage is called ‘Suru’ and ‘Hauwuya’ in Gunganchi language. The people are also known for their canoe and mat making. 1. 3. 4 Religion The Gunganchi people are mostly Muslims and few traditional worshippers and very little Christians. 1. 3. 5Festivals The festivals done in Gunganchi are called ‘Anipo’ festival and ‘Idembe’. Festival. The blood of animals like goat or bushmeat is used as sacrifices to their gods during the festival. During the festival, a round seat is created by the people when eating. Such sittings are also formed at events like wedding, naming ceremony, sallah festival and at relaxation joints. 1. 3. 6 Marriage System of the Gunganchi People The Gunganchi has a distinct way by which marriage is done. It shows a lazy man cannot marry any Gunganchi lady because marriage is said to be a bit difficult most especially for the men. Firstly, a man must inform his parents if he is in love with a lady. Then, the man’s parents must make their son’s interest known to the lady’s parents. He will then farm for the lady’s family he intends to marry from before giving their consent. The farming duration is not specified, the man is said to stop the farming when lady’s father is satisfied and the final consent will be given to the man’s family. The lady’s family will then inform his relatives formally about their daughter’s courtship with the man before the wedding date is chosen. According to Muauzu, the marriage or engagement ceremony is based on Islamic rites whereby the bride price (Zadaki) will be paid. The bride will be decorated with tattoos on her legs and heavy tribal marks on her face. Foods eaten at the ceremony are guinea corn pap, which is served in the morning and rice with fish soup and burukutu is served at dusk. Their sitting position is related to that of the festival’s as mentioned earlier they sit round a dish of guinea corn pap on a mat, their sitting culture is the same with the Hausas. Hence, the Gunganchi people inter marry with the Hausas. 1. 3. 7Naming Ceremony The Gunganchi do their naming ceremony seven days after the child’s birth and its hair will be shaved. Rice or guinea corn pap is served at the ceremony with people sitting round the food. Therefore, the child will be circumcised after ten years. 1. 3. 8Burial Ceremony Like most tribes, the Gunganchi celebrate the death of aged person and mourn the death of a young person. They investigate sudden or unusual death by consulting the oracle called â€Å"Gigo† (true god) or â€Å"Ujigo† (a god of thunder and rain). The oracle will make the spirit of the deceased to revenge for his or her death by killing the person who is responsible for his or her death. However, this practice is peculiar to the local or extreme Gunganchi people. 1. 3. 9Education System The Gunganchi value the Western education, they give education to both their male and female children. They have schools; they also make use of their personal houses as schools. 1. 3. 10 Political Administration The Gunganchi adopted the system of their neighboring tribe (Hausa) which is the Emirate’s system because it is a multi-ethnic area that consist Yelwa, Lopa, Yauri, Laru people which co-exist with them. The Emir’s palace is situated in Yelwa, thus, the Gunganchi are the first settlers in Yauri. The appointed Emir is the ruler of all the ethnic groups under Yauri. During the British regime, recognition was given to the Yauri emirate and Gungu (Island) district of the Yauri Local Government which are now the center of Reshe (Gunganchi) population. In the political administration of the Gunganchi people, succession is not by hereditary because the Emir must be appointed, despite the fact that a Gunganchi man was the first Emir of Yauri. The Emir must have some qualities before he can be appointed, like; he must be an elderly person, famous and respected among the ethnic groups made up of Yauri. When a new Emir is appointed, turbaning will be done as a sign of leadership. The Emir rules the territory with his local chiefs called â€Å"Sariki† in areas like Gungunsariki, Banha, Rekubolo, Toro, Zamari, Jalubabu etc. Presently, the Local Government Chairman is responsible for the executive function of Yauri and other governmental activities are executed by the Kebbi State Government. However, most of the Gunganchi people are bilingual, (they speak both Gunganchi and Hausa) but the majority speaks Gunganchi at home especially the youths. Thus, the language of the emirate is Hausa with high prestige. . 4GENETIC CLASSIFICATION OF GUNGANCHI Genetic classification is the sub-grouping of all relevant languages into genetic nodes (group of languages in each of which one language is more closely related to the other in that group than to any language outside the group). The basis for genetic classification is the idea that group of languages that share certain systemic resemblan ces have inherited those similarities from a common origin. Thus, genetic classification makes two statements. First, it affirms that certain languages are infact related to each other (i. e. hare a common ancestor). Second, it specifies how the languages are interrelated in the form of a branching diagram. Gunganchi language falls under the Niger-Kordofanian language family. African Language Afro-AsiaticNiger KordofanianNilo SaharanKhoisan MandeNew Benue Congo AtlanticVolta Congo Kordofanian OkoDefoidKainjiIdomoidEdoidWolof Western KainjiEastern Kainji KamukuKainji LakeGunganchi (Gungawa)KambariBassaLopa 1. 5SCOPE AND ORGANIZATION OF STUDY This work is limited to the aspects of the phonology of Gunganchi language and it is divided into five chapters. Chapter one deals with the introductory part, which includes the general background, historical background, sociocultural profile of Gunganchi people, genetic classification of Gunganchi language, scope and organization of study, data collection, data analysis and the review of the chosen theoretical framework. Chapter two deals with the basic phonological concepts that involves the sound inventory of Gunganchi language whereby the tonal inventory and syllable inventory of the language of study shall be discussed and the sound distributions which includes distinctive features. Chapter three is based on the phonological processes found in Gunganchi language. Then, chapter four will focus on the tonal and syllable processes of Gunganchi language. Chapter five will summarize and conclude the work. 1. 6DATA COLLECTION In this research work, the method used for our data collection is the direct translation method from English language to the project language which is Gunganchi based on the Ibadan 400 wordlist. There was a direct interview with the language helper, thus, data elicitation was carried out with the wordlist recorded on audio cassette. Informant’s Data: Name:Corporal Labbo Alkali Occupation:Soldier Age: 40 years Religion:Muslim Languages spoken apart from Gunganchi: Hausa and English Number of years spent in Reshe (Gunganchi): 20 years 1. 7DATA ANALYSIS To ensure an accurate data analysis in this research work, all the data collected were carefully and correctly written, tone marked and transcribed. The data collected were used according to how the native speaker used them without imposing any extra rules or norms. 1. REVIEW OF THE CHOSEN THEORETICAL FRAMEWORK The framework adopted for this research work is Generative Phonology, which was developed by Chomsky and Halle in the early 1950s; it is a component of generative grammar. This framework assigns the correct phonetic representations to ‘utterances’ in such a way as to reflect a native speaker’s internalized grammar. According to Oyebade (2008: 9), Generative Phonology is a theory which is built on the insight of taxonomic phonemics e ven while remodeling the focus of phonological analysis. The major motivation for this theoretical framework was the clash between theoretical assumptions and linguistic data under the theory of classical (taxonomic) phonemics. Generative phonology took off at maximum speed in the 1960s, following the works of Chomsky and Halle (published in 1968 as â€Å"Sound Pattern of English (SPE)†. This theory argues that the taxonomic approach of classical phonemics was not adequate enough to address appropriately the phenomenon of human speech. The proponents of this new school of phonology suggest that an adequate theory of phonology must account for: a) The phenomenon of language acquisition b) The puzzling fact that man can still understand the speech of another even when this speech is defective; and c) The native speaker’s intuition about the physical make-up of the speech of his language. 1. 8. 1The Structure of Generative Phonology Generative phonology assumes three very crucial components: the underlying representation, the phonetic representation and the rules which link the two together that is called the phonological rules. These components will be reviewed below. 1. 8. 1. 1Underlying Representation Oyebade (2008: 12) assumes underlying representation to be an abstract representation existing in the linguistic competence of the native speaker. The underlying representation is the most basic form of a word before any phonological rules have been applied to it. Underlying representation shows what a native speaker knows about the abstract underlying phonology of the language. At this level, items with invariant meaning have identical representation. The underlying representation is also known as â€Å"the phonological representation†, thus, the ability (competence) of a native speaker to compute a sentence is referred to as the phonological representation and this competence can be scientifically investigated. There is an assumption of an underlying level where there is a one-to-one correspondence between form and meaning and which is exactly the same from one competent speaker to another which explains the puzzling reaction of children in the acquisition process. Since the child shares the same competence (and therefore the same underlying representation) as the adult, it is reasonable to assume that the child will expect the same output as the adult will expect. The child may not be able to produce such an output since his production capability is slower in the acquisition process than his competence. The assumption of an underlying representation which accounts for the rapid processing of defective input. Both interlocutors have a shared competence which is accurate and invariant; the decoder part participant thus has a prototype with which he can restructure the defective utterance of the encoder. Also, the underlying representation has the property of being encoded in â€Å"distinctive features† (these features will be discussed in the next chapter). This assumption is motivated by the fact that language seems to target these features in making its choices rather than segments. 1. 8. 1. 2 The Phonetic Representation The phonetic representation is the form of a word that is spoken and heard. It is also known as â€Å"the surface level†. Phonological structure reflects the linguistic competence of the native speaker to compute a phonetic representation for the potentially infinite number of sentences generated by the syntactic component of the grammar. We can say that there is no speaker of a language that has heard all the sentences in his language but speaker has the ability to understand any sentence heard. Phonetic representation indicates how the lexical item is to be realized in speech. It is characterized by degree of narrowness such that, at the very least, any two sounds that are distinguished in any human language are differently represented. Generative phonology seems to consider this level as being trivial and not worth too much attention except, perhaps as a source for the verification and justification of the proposed underlying representation. 1. 8. 13 Phonological Rules Phonological rules map underlying representation onto phonological representations. They delete, insert, or change segments, or change the features of segments. They are said to show the derivational sequence or path of an item in its journey from the underlying level to the phonetic level. They must be able to capture the phonological phenomenon in the simplest form. There are two types of rules in phonological rules: feature changing rules and fill-in rules. The feature changing rules change the features of the input to that of the output. However, the other kind of rules called fill-in rules are rules, as the name implies, which fill in empty slots. Phonological rules have to be precise in a scientific account of linguistic phenomena. It was therefore suggested that the rules should have their own format. For instance, a rule can say insert a high front vowel between a cluster of consonants and we can have another rule which says insert a high front vowel after a word-final consonant. These rules can be formalized thus: a. O(i/C____C b. O(i/C____# As you can observe from the formalization of the two rules, they are identical in input and output. Furthermore, they have a lot of similarities in the environment. If the rules are left like this, that is, as two separate rules, the implied claim will be that these are two separate and distinct processes. This is intuitively incorrect and it loses a linguistically significant generalization. These two rules can then be collapsed into one and to capture the linguistically significant fact that we are dealing with the same process. Thus (a) and (b) can be combined as in (c) below: C c. O(i/C—— # that is, a high front vowel is inserted either between two consonants or after a consonant at word final position. In phonological rules, notational devices are applied. They are conventions which make it possible to combine distinct but related phonological rules in a single statement; rules may be collapsed in this way only if they involve the same process. In other words, notational devices are abbreviation conventions aimed at reducing several rules into one. The purpose is to present more economically the facts of language. There are notational devices like: brace notation ({}), angled bracket notation (), variable features or alpha notation ((), multiple variable notation ((,(, ? , etc. ). The role of these devices is to make it possible for the phonologists to precisely and unambiguously state in rule form and the process that is taking place in language when a pattern is observed. Secondly, it makes linguistiscally significant generalizations and claims about the way language works. Finally, and perhaps most trivially, it provides a shorthand abbreviatory method by which a complex process can be captured as briefly as possible. CHAPTER TWO BASIC PHONOLOGICAL CONCEPTS 2. 0INTRODUCTION This chapter is based on the phonology of Gunganchi language. The sound inventory which involves the tonal inventory and the syllable inventory will be discussed. It also focuses on the sound distribution of Gunganchi language where the distinctive features will be discussed. 2. 1PHONOLOGY According to Davenport and Hannahs (2005: 2), phonology deals with how speech sounds are organized into system for each individual language: for example: how the sounds can be combined, the relations between them and how they affect each other. In phonology, the root ‘phone’ relates to ‘voice’, sound and ‘logos’ which means ‘word; speech’ originates from the Greek words. Phonology as a subfield of linguistics is the study of the rules behind the way sounds encode meaning in language. Also, it is the study of sounds and patterns in a language. It can be said that phonology seeks to discern the sounds made in all human languages. In addition, phonology studies how sounds alternate that is the minimal meaningful sounds which are ‘PHONEMES’. However, phonemes are sets of phones, which function as one unit in a language, and provide contrast between different words. It is also a sound segment of words or syllables. In human language, a phoneme is the smallest structural unit that distinguishes meaning. The phonemic inventory of a language is the set of phonemes it possesses. In the IPA (International Phonetic Alphabets), phonemes are conventionally enclosed in forward sashes (//) and speech sounds that are not phonemes are placed in brackets ([ ]). For example, the /t/ sound in the English words ‘tip’, ‘stand’, ‘cat’ and ‘water’ are conceived of as being the same sound, despite the fact that in each word they are pronounced somewhat differently; the difference may not even be audible to native speakers. One of the most important tools for examining phonemes is the ‘minimal pair’ which means different words but differ as a result of one sound, that is, a pair of words which differ only in one segment. In a minimal pair, one can be sure that the difference between words is phonemic in nature, because the segments in question are surrounded by the same environment and this cannot be allophones of each other. Examples of minimal pair in Gunganchi are: [ut(i]‘tree’ [at(i] ‘firewood’ [hina]‘cow’ [wina]‘tail’ [ureta]‘right(side)’ upeta]‘medicine’ [kwubanoh]‘open’ [kwubaloh]‘close’ [itamia]‘push’ [igamia]‘sweep’ A phoneme may encompass several recognizable different speech sounds called ‘PHONES’. In phonetics, the smallest perceptible segment is a phone. In the examples stated earlier, the /t/ in ‘tip’ is aspirated [th], whi le the /t/ in stand is unaspirated [t]. Thus, phones that belong to the same phonemes are called allophones such as [th] and [t] are allophones of the phoneme /t/ given in the examples given earlier. Allophones are often conditioned by their environment. For example, the English phoneme /t/ is realized as a tap [r] between vowels in normal speech when not preceeding a stressed vowel as in ‘butter’. In a case like this we can say that the stop [t] and tap [r] which are allophones of the phoneme /t/ are in ‘complementary distribution’, as every environment selects for either one or the other, and the allophones themselves may be referred to as ‘COMPLEMENTARY DISTRIBUTION’. 2. 2SOUND INVENTORY OF GUNGANCHI Human sounds can be grouped into two basic classes whereby they are found in Gunganchi. They are: 1. Consonants 2. Vowels 2. . 1Consonants Consonants are sounds produced with an obstruction of the air passage somewhere along the vocal tract. A consonant in terms of sound production is a sound which is obstructed in some way by the tongue or lip contact e. g. in Gunganchi, sounds like /k/, /p/ as in; /k/([ka? ina]‘reply’ /p/([puteta]‘forget’ as opposed to the unobstructed sound of a vowel. Consonant sounds require a certain degree of constriction of the vocal tract in their production, therefore, at some point, diverting, impeding or completely shutting off the airflow of air in the oral cavity. This constriction of the vocal tract may involve complete closure or partial closure. In terms of the sound system, the consonant is a sound that typically occurs at the beginning or end of the syllable rather than in the middle of it, thus contrasting with vowels. Thus, the organs of speech that obstruct at some point in the oral cavity are known as the ‘articulators’. From the glottis, past the velum, the hard palate and alveolar ridge and the tongue, to the teeth and lips. The consonant sounds are classified by; a) Voicing b) Place of articulation c) Manner of articulation 2. 2. 1. 1 Voicing Consonants may be voiced or voiceless. As the airstream comes to or from the lungs, it passes through the opening between the glottis. If the vocal cords are open, the air passes through without obstruction and the sounds that are made in this way, are described as ‘voiceless’. If the vocal cords closed, then the air passing through the glottis causes them to vibrate producing ‘voiced’ sounds. Some of the consonant sounds in Gunganchi come in pairs that differ in being voiced or voiceless e. g. /b/ and /p/ ( /b/ is voiced and /p/ is the voiceless consonant in one pair. /k/ and /g/ are found in another pair, /k/ is voiceless and the voiced sound is /g/. Also, it applied to /d/ and /t/, /d/ is voiced while /t/ is the voiceless consonant which forms another pair. 2. 2. 1. 2 Place of Articulation It is the point of articulation where both the active and passive articulators meet or contact to produce the desired consonant. Here, we have to do with the position of the tongue and lips. The places of articulation in Gunganchi are; bilabial, alveolar palato-alveolar, velar, labial-velar, palatal, glottal, palatalized velars and alveolar, labialized-alveolar and velars. 2. 2. 1. 3 Manner of Articulation Manner of articulation makes reference to the type of stricture which the articulators are making to produce the consonant sounds. The obstructions made may be total, intermittent, partial or narrow enough to cause friction. The manners of articulation in Gunganchi are stop, nasal, fricative, affricate, trill, lateral and approximant. However, it is observed that there is the presence of consonant clusters in Gunganchi language that is consonants occurring together side by side e. g. [riadda]‘matchet’ [ubalkari]‘male’ [kwa] ‘take(one thing)’ Thus, the consonants attested in Gunganchi are: /p/ /b/ /t/ /d/ /tw/ /dw/ /dj/ /k/ /g/ /kw/ /gw/ kj/ /gj/ /gb/ /r/ /m/ /n/ /s/ /z/ /(/ /h/ /hj/ /ts/ /t(/ /? // /l/ /j/ /w/ /r/. 2. 2. 2. 1 Gunganchi Consonant Chart |Bilabial |Alveolar |Labialized |Palatalize |Palate-alveolar |Palatal |Velar | | | | |alveolar |alveolar | | | | |High |+ |- |- |- |- |- |+ | |Low |- |- |- |+ |- |- |- | |Round |- |- |- |- |+ |+ |+ | |ATR |+ |+ |- |- |- |+ |+ | 2. 9. 4Segment Redundancy for Gunganchi Consonants Redundancy is the principle that helps in predicting some features from the presence of other features; thus, the feature that predicts the feature of the other is said to be redundant. Gunganchi language attest to a number of features that are completely predictable at all stages of derivation. All the redundant features are expressed as fill-in rule or [if –then]. However, the output of the phonological components must specify all feature in such a way that it indicates necessary features used in derivation. i)If:[+ syll] Then:+ son – cons ii)If:[+ cons] Then:+ voice – strid iii)If:[+ ant] Then:[+ cons] iv)If:[+ nas] Then:- cont – strid + voice + son 2. 9. 5Segment Redundancy for Gunganchi Vowels | |i |e |( |a |? o |u | |High |+ |- |(-) |(-) |(-) |- |+ | |Low |(-) |- |- |+ |(-) |(-) |(-) | |Round |- |- |- |(-) |+ |+ |+ | |ATR |(+) |+ |- |(-) |- |+ |(+) | All of the predictable redundancies can be expressed as fill-in rules which are also called if â€⠀œthen segment structure constraints as done for consonants above. i)If:[+ high] Then:[- low] ii)If:[+ low] Then:[- high] iii)If:[+ high] Then:[+ ATR] iv) If:[+ round] Then:[- low] v)If:[+ low] Then:[- round] vi)If:[+ low] Then:[- ATR] vii)If:[+ ATR] Then:[- low] viii)If:[- ATR] Then:[- high] However, redundancies come from any of two sources: the first is the attempt to express the physiological possibilities (or impossibilities) of the vocal organs. For example, the constraints if [+ high] then [- low] makes the claim that the tongue cannot be raised and lowered at the same time. In other words, if the tongue is raised then it is not lowered and if it is lowered then it is not raised. Since the physiological possibilities of the human vocal tract is universal to all human beings, this type of redundancy is a universal one. The second source comes from the fact that languages do not always maximally utilize all combinatorial possibilities logically expected when features come together. CHAPTER THREE PHONOLOGICAL PROCESSES IN GUNGANCHI 3. INTRODUCTION This chapter will be discussing the phonological processes found in Gunganchi language. 3. 1PHONOLOGICAL PROCESSES Phonological processes are sound modifications motivated by the need to maintain euphony in a language or to rectify violations of well-formedness constraints in the production of an utterance. (Oyebade 2008: 61). Segments are either within the same morpheme or at morpheme boundary under various conditions may undergo certain changes. Therefore, these changes are known as ‘phonological processes’. Environment within which sounds occur may affect changes. The phonological processes in Gunganchi are: 3. 1. 1Assimilation According to Oyebade (2008: 63), assimilation is when two contiguous sounds which have different modes of production become identical in some or all of the features of their production. Assimilation is the modification of sounds in the direction of greater similarity to the surrounding phonological environment (Langacker 1972: 270). Assimilation may be either partial or total. Tonal assimilation is the converting of the changing segment to become identical to other segment and assimilation may be partial such that only some features of the changing consonant (or vowel) becomes identical with that of the initiating segment. Examples of assimilation in Gunganchi: ugika[ugjka]‘bag’ In the above example, the voiced velar stop bears the feature ‘high’ of the vowel [i]. It is observed that when the voiced velar stop occur before a high unrounded front vowel, it becomes palatalized which shows assimilation has taken place. – cont+ syll – ant([high]__________- back – cor- round + voice+ high unun[unu]‘mouth’ anuhin[anuhi]‘teeth’ In the examples above, vowels take on the feature of the alveolar nasal. Thus, vowel becomes nasalized before alveolar nasal. + syll- cont -cons([+ nas]__________+ ant + cor + nas 3. 1. 2Vowel Elision Vowel elision is another common phonological process. According to Oyebade (2008: 69), vowels are usually deleted when two or more vowels occur across morpheme boundary. When such an occurrence is introduced by morphological processes, the language may choose to drop the first or the second of the contiguous vowels. Examples in Gunganchi are: [itsuria][akatua]([itsuriakatua] ‘buy’ ‘shoe’‘buy (a) shoe’ [ikabia][uwapo] ( [ikabiuwapo] ‘money’ ‘house’‘house rent’ However, it is observed that low back unrounded vowels are deleted at morpheme boundary if the next morpheme begins with a vowel. + syll+ syll + low(O___________- cons + back – round 3. 1. 3Labialisation Labialisation is the super-imposition of liprounding on a segment in such a way that the feature of a vowel now attaches to the consonant articulated (Oyebade 2008: 66). Examples of labializationin Gunganchi language are: [utw? ha]‘ear’ [rotwua]‘neck’ [abakjrdwola]‘animal’ [ndwuwa]‘person’ The alveolar stops [t] and [d] that are not naturally, they labialized take on the feature of the rounded vowels. We can therefore, say that alveolar stops become labialized before back rounded vowels. – cont+ syll + ant([lab]_____________+ back + cor+ rounded Other examples of labialization are: [igbagwua] ‘pepper’ [ugwohua]‘kolanut’ [ribulukwu]‘cooking’ [alokwotwo]‘snail’ It is also observed that velar stops [k] and [g] become labialized before back rounded vowels. – cont+ syll – ant([+lab]_____________+ back – cor+ round 3. 1. 4Palatalisation According to Oyebade (2009: 65), palatalisation is the super-imposition of tongue raising on a segment. Here are examples in Gunganchi language: [ugjika:]‘bag’ [akjikwa]‘millet’ [inagji]‘pull’ [gjirana]‘descend’ In the above examples, velar stops are palatalized before high vowel. – cont+ syll – ant([+ high]_____________+ high – cor 3. 1. 5Insertion Oyebade (2008: 74) states that: â€Å"Insertion is a phonological process whereby an extraneous element not present originally is introduced into the utterance usually to break up unwanted sequence†. Examples in Gunganchi are shown below. [upowabetatsunia]([upowabetatsunia] ten +one‘eleven’ [upowabetat(zuwa]([upowabetat(zuwa] ten +six‘sixteen’ alosobetatsunia]([alosobetatsunia] twenty +one‘twenty one’ [alosobetajisoh]([alosobetajisoh] twenty +two‘twenty two’ 1. 3. 6Nasalisation Nasalisation is a process where by an oral segment acquires nasality from a neighbouring segment (Katamba 1989: 93). Nasalisation is significant in Gunganchi, for instance; [matsunih? ]‘surpass’ [iji]‘see’ [tsunia] ‘one’ [udaga] ‘stick’ Therefore, vowels become nasalised before alveolar nasal, that is; + syll- cont – cons([+ nas]_____________+ ant + cor + nas CHAPTER FOUR TONAL PROCESSES AND SYLLABLE PROCESSES 4. 0INTRODUCTION This Chapter will be discussing the tone system and the processes found in Gunganchi language. It will also focus on the syllable processes in Gunganchi language. 4. 1TONE SYSTEM IN GUNGANCHI Davenport and Hannahs (2005: 84-85) states that â€Å"In many languages, pitch variation is used to distinguish one word from another. Languages which use pitch in this way are known as ‘tone languages’, and the individual pitch patterns associated with words or syllables are known as ‘tones’†. According to Carlos and Haike (2005: 12), tone languages used pitch contrasts to keep words apart in the same way that languages use vowel and consonant for this purpose. Tone is the differentiation of two words with the same segmental presentation with the use of its pitch. And a language is said to be a tone language when the differences in word meaning are signaled by the differences in pitch. Tone is essentially a property of individual syllables or words and also it is typically used as a way of distinguishing between items at word level (such as minimal pairs, words which are identical except for one component). 4. 1. 1Tone Typologies There are two categories of tone; a. Level tones b. Contour tones 4. 1. 1. 1 Level Tones The tones whereby the pitch is maintained at the same rate for the duration of the syllable are known as ‘level tones’ (Davenport and Hannahs 2005: 85). Level tones are high, mid and low tones. These tones may occur on all syllables. The high tone is indicated by an acute accent (/), the low tone is marked with a grade accent () and the mid tone is represented as (-) or unmarked. Thus, the mid tone is not marked in Gunganchi. 4. 1. 1. 2 Contour Tones According to Davenport and Hannahs (2005: 85), contour tones are tones exhibiting pitch variation during their production. Contour tones consists of the falling tone (^) which is a tone that starts high and end low, and the rising tone (V) which starts low and end high. Contour tones only appear on monosyllables and on the final syllables of disyllabic words. 4. 1. 2Tonal Pattern in Gunganchi Gunganchi is a tone language and it is a level tone language which attests to the high, low and mid tones. Each syllable of Gunganchi language bears a tone. Examples of words that bears the high tone in Gunganchi are: [kwa]‘take(one thing)’ [? w? ]‘sun’ [riba]‘thing’ Occurrence of low tones in Gunganchi language can be shown in the following examples: [dja]‘here’ [riadda]‘matchet’ Occurrences of mid tones in Gunganchi are: [alahagw? mi]‘jaw’ [wuru]‘moon’ [ajaba]‘plantain’ However, there are two or more words in Gunganchi language which have exactly the same consonants and vowels but have different meaning because of a difference in contrastive pitch. These are referred to as tonemes that contrast minimally. For instance; [rotwua]‘neck’HHH [rotwua]‘belly(externall)HHM [kwubaloh]‘cover(in hand)’HLH [kwubaloh]‘close’HML Co-occurrence of tones in Gunganchi In Gunganchi, the low, high and mid tones co-occur. There is the co-occurrence of the low and mid tones, examples are; [ol? ha]‘nose’ [t(ib? ]‘town’ [hia(i]‘dust’ Examples of the co-occurrence of high, mid and low tones in Gunganchi are: [hirokwa]‘horse’ [ibulukw? ]‘he goat’ [alakana(a]‘four hundred’ 4. 2. 1 Functions of Tone in Gunganchi Tone performs two distinct functions, they are: a) Lexical function b) Grammatical function 4. 2. 1. 1 Lexical Function Tone can be used to differentiate lexical items that have identical segments. For example in Gunganchi; [kwubaloh]‘cover (in hand)’HLH [kwubaloh]‘close’HML [rotwua]‘belly(external)HHM [rotwua]‘neck’HHH Note that the different tonemes have resulted in the differences in the meaning of the words above. 4. 2. 1. 2 Grammatical Function Tone is also used to differentiate between different grammatical forms. But, this function is not found in Gunganchi language. 4. 3TONAL PROCESSES As with segments, tones are also modified by their environment. Thus, this gives rise to tonal processes. 4. 3. 1 Tone Elision This occurs when two tones are juxtaposed across morpheme boundary and the final vowel of the first word gets elided causing the tone on it to be elided too. Examples in Gunganchi are: [ikabia][uwapo]([ikabiuwapo]‘house rent’ ‘money’‘house’ [itsuria][akatua](itsuriakatua] ‘buy’‘shoe’‘buy(a) shoe’ 4. 3. 2 Tone Stability In relation to tone, the issue is that â€Å"†¦in tone languages, we find that when a vowel desyllabifies or is deleted by some phonological rules, the tone it was bearing does not disappear, rather, it shifts its location and shows up on some other vowel†. (Goldsmith1976:30). Example of tone stability in Gunganchi: [ubula] [alokat(i] ( [ubulalokat(i] ‘rainy season’ ‘rain’‘time’ 4. 3. 3 Tone Spreading This is a tonal process whereby there are more segments than tone, the tone will then spread to the segment as it is a must that the segments bear tone. This process is not found in Gunganchi language. 4. 3. 4 Floating Tone Oyebade (2008: 15) says that during derivation, segment is specified for tone but merges with vowel, thus, passing its tonal specification to that vowel. Gunganchi does not have floating tone. 4. 3. 4 Tone Contraction This is when tone segmentalization creates two identical tones on the same syllable, the two identical tones are contracted to give only one. Gunganchi language does not attest to this tonal process. However, it is observed that there is the case of nasal consonant that bears tone. Such nasal is referred to as a syllabic nasal because it is interpreted as a vowel that carries a tone. Examples of this in Gunganchi are: [nduwa]‘person’ [nduwakabi]‘old person’ In the words above, the nasal [n] bears the high tone which makes it to function the way other vowels functions. 4. 4SYLLABLE STRUCTURE The syllable is a supra-segmental unit. It can be easily recognized in a language. Davenport and Hannahs (2005: 73) states that: â€Å"One such articulatorily based attempt at the definition involves the notion of a ‘chest pulse; or ‘initiator burst’, that is, a muscular contraction in the chest (involving the lungs) which corresponds to the production of a syllable; each syllable, on this view, involves one burst of muscular energy†. Williamson (1984) defines the syllable as ‘the smallest unit of language which can be pronounced. It is a unit of sound made up of one or more segments during which there is a single chest pulse and a single peak of sonority. Hyman (1975: 188) states that ‘a syllable is made up of an onset, and a core. And the core is further divided into a peak and coda’. However, a syllable is divided into three parts: 1) The onset 2) The core or nucleus 3) The coda The syllable can be represented thus: Syllable OnsetCore Peak (Nucleus)Coda C V(C) This can be illustrated in the example in Gunganchi below: [joh] ‘stand (up)’ ( OnsetCore ConsonantPeakCoda (Nucleus) JVowel(Consonant) ( h The syllable coda and onset are made up of consonant segments while the peak is made up of vowel segment and syllabic consonants. The peak is an obligatory part of the syllable, thus, there must be a peak. The onset (beginning) and coda (end) which usually consist of consonant(s) are optional parts of the syllable. Each syllable carries at least one significant unit of tone in tonal languages. 4. 4. 1 Types of Syllable A syllable can be either an open syllable or closed syllable. It is language specific; some languages may exhibit either of the two syllable types while some languages make use of the two (open and closed syllables) like Gunganchi language. 4. 4. 1. 1Open Syllable This is a syllable in which words end in a vowel, it is a syllable without the coda. Examples in Gunganchi are: [ububa]‘leaf’ [akahoj‘village’ [babi]‘children’ [hilelio]‘elephant’ 4. 4. 1. 2 Closed Syllable Closed syllable is a syllable typology that has at least one consonant following the vowel or closing the nucleus. Examples are: [lakapitwoh]‘old(opp. new)’ [[kakaw]‘pour’ [rimonoh]‘work’ Gunganchi attests to both the open and closed syllable. 4. 5SYLLABLE STRUCTURE RULE IN GUNGANCHI This is the rule that states the possible sequence of sounds or segment in a syllable. Words differ with regard to the number of syllables contained in them. Some words have just one syllable, others may have two or more, hence, words are classified as being monosyllabic, disyllabic, trisyllabic and polysyllabic depending on how many syllable(s) such words have. The syllable structures in Gunganchi are: CV VCV N- Syllable Structure Cw- Syllable Structure Cj- Syllable Structure 4. 5. 1 CV-Syllable Structure The CV-syllable structure is the most common type of syllable structure in Gunganchi. It is mostly found in monosyllabic and disyllabic or trisyllabic and polysyllabic. 4. 5. 1. 1 CV-Structure in Monosyllabic Monosyllabic is a word having a single syllable. For instance, in Gunganchi: [dja]‘here’ 4. 5. 1. 2 CV-Structure in Disyllabic Disyllabic is a word consisting of two syllables. For example: [nana]‘come’ [riba]‘thing’ [riwo]‘corpse’ [hino]‘bee’ 4. 5. 1. 3 CV-Structure in Trisyllabic A word consisting of three syllables is called ‘trisyllabic’. Examples of such words in Gunganchi language are: [rihama]‘food’ [rirogwo]‘cassava’ [rigwula]‘knife’ [hi(aho]‘hawk’ 4. 5. 1. 4 CV-Structure in Polysyllabic Polysyllabic is a word consisting of more than three syllables. Examples in Gunganchi language are: [ribulukwu]‘cooking’ [hamatsaro]‘maize’ [[rit(at(? pua]‘chin’ [ri(iteitwo]‘hat/cap’ 4. 5. 2 VCV-Syllable Structure Examples of VCV-syllable structure in Gunganchi language are illustrated below: [uwi]‘die’ [ut(a]‘guest(stranger)’ [ubi]‘child’ [ut? ]‘father’ 4. 5. 3 N-Syllable Structure This type of syllable is a ‘syllabic-nasal’. It will be interpreted as a vowel because like a vowel, the syllabic nasal carries at tone. In Gunganchi, examples are: [nduwa]‘person’ [nduwakabi]‘old person’ [ndukami]‘man’ 4. 5. 4 Cw-Syllable Structure The [CwV] structure in Gunganchi includes the following: [hitsokwutso]‘guinea fowl’ [ukwulu]‘room’ [mutwo]‘ashes’ 4. 5. 5 Cj-Syllable Structure Examples in Gunganchi language are: [inagji]‘pull’ [(ikjitwo]‘learn’ [gjirana]‘descend’ CHAPTER FIVE SUMMARY, FINDINGS/OBSERVATIONS, RECOMMENDATIONS AND CONCLUSION 5. 0SUMMARY This research work has examined the phonological aspects of Gunganchi language. Words are said to be well-patterned and the principles of well-formedness are followed. The method used for the data collection in this research work is the direct translation method from English language to Gunganchi language based on the Ibadan 400 word-list. There was a direct interview with the informant, thus, data elicitation was carried out. The essence of using the illuminating data is to be able to make linguistically significant generalizations. This project work is divided into five chapters. Chapter one is the introductory part which dealt with the general background of Gunganchi people, their sociocultural profile, genetic classification of the language, the scope and organization of study, review of the chosen theoretical framework, data collection and data analysis. Chapter two of this work examined the basic phonological concepts. The sound inventory which involves the tonal inventory and syllable inventory of Gunganchi language was discussed, also, their sound distributions whereby the distinctive features was examined. The third chapter then discussed phonology itself, thus, examined the phonological processes in Gunganchi language. Meanwhile, the phonological processes found in Gunganchi language are: assimilation, nasalisation, labialisation, palatalisation, insertion and vowel elision. However, the phonological rules were also accounted for. Chapter four of this work discussed the tonal and syllable processes. These processes were well examined with illuminating examples from Gunganchi language. Finally, chapter five summarized the work. It also made observations, recommendations and conclusion. 5. 1FINDING/OBSERVATIONS Majority of Gunganchi speakers also speak Hausa language and it is observed that some words in Gunganchi are borrowed from Hausa language. Gunganchi language attests to both open syllable structure and closed syllable structure. Also, when some words in Gunganchi occur across morpheme boundary, the last vowel of the first word gets deleted. There is the case of consonant cluster in Gunganchi language which is another observation. It was also observed that Gunganchi attest to the level tones (high, mid, low) and these tones co-occur in words. Finally, there are some words in Gunganchi that differs as a result of tone which is tonemic contrast. 5. 2RECOMMENDATIONS Through this research, useful insight has been drawn from the phonological aspects of Gunganchi language. As a matter of fact, the language has not been exposed to thorough linguistic scrutiny. There is need for linguists to focus their attention more on the language. This project has studied the aspects of the phonology of Gunganchi language. I hereby recommend that linguists should shed more light on this aspect and other aspects of Gunganchi language. Researchers who would like to research further on Gunganchi will find this research work a reliable reference. 5. 3CONCLUSION Some aspects of the phonology of Gunganchi language have been surveyed. For want of space and time, it has not been possible to treat all aspects of the language. However, I hope this study will inspire further research in the language. REFERENCES Carlos, G. and Haike, J. (2005). â€Å"Understanding Phonology† (2nd Edition). Great Britain: Hodder Arnold. Goldsmith, J. (1976). Autosegmental Phonology. MIT DIssertion IVLC, New York: Grandland Press. Hyman, L. M. (1975). â€Å"Phonology: Theory and Analysis. 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