Volume 08 : Language Documentation & Conservation

Permanent URI for this collection

Browse

Recent Submissions

Now showing 1 - 5 of 40
  • Item
    Notes from the Field: Baskeet Phonological Sketch and Digital Wordlist
    (University of Hawaii Press, 2014-12) Treis, Yvonne ; Werth, Alexander
  • Item
    Review of For the sake of a song: Wangga songmen and their repositories
    (University of Hawaii Press, 2014-12) Moyle, Richard
  • Item
    Ex-situ Documentation of Ethnobiology
    (University of Hawaii Press, 2014-12) Lahe-Deklin, Francesca ; Si, Aung
    Migrant speakers of endangered languages living in urban centers in developed countries represent a valuable resource through which these languages may be conveniently documented. Here, we first present a general methodology by which linguists can compile a meaningful set of visual (and sometimes audio) stimuli with which to carry out a reasonably detailed ethnobiological elicitation session in an ‘ex-situ’ setting, such as an urban university. We then showcase some preliminary results of such an elicitation carried out on the Dumo, or Vanimo, language of north-western Papua New Guinea during a linguistic field methods course at the Australian National University. With the help of a region-specific set of visual stimuli obtained from various sources, it was possible to document many fascinating aspects of the fish, and other marine-biological, knowledge of Dumo speakers, along with detailed ethnographic notes on the cultural significance of marine creatures.
  • Item
    Review of Developing Orthographies for Unwritten Languages
    (University of Hawaii Press, 2014-12) Roberts, David
  • Item
    How To Study a Tone Language
    (University of Hawai'i Press, 2014-12) Hyman, Larry
    In response to requests I have often got as to how one approaches a tone language, I present a personal view of the three stages involved, starting from scratch and arriving at an analysis: Stage I: Determining the tonal contrasts and their approximate phonetic allotones. Stage II: Discovering any tonal alternations (“morphotonemics”). Stage III: establishing the tonal analysis itself. While most emphasis in the literature concerns this last stage, I show how the analysis crucially depends on the first two. A detailed illustration is presented from Oku, a Grassfields Bantu language spoken in Cameroon on which I personally worked in the field. The paper concludes with discussion of issues arising in other tone languages, illustrated by Corejuage (Tukanoan, Colombia), Peñoles Mixtec (Otomanguean, Mexico), Villa Alta Yatzachi Zapotec (Otomanguean, Mexico), Luganda (Bantu, Uganda), Hakha Lai (Tibeto-Burman, Myanmar and Northeast India), and Haya (Bantu, Tanzania). *This paper is in the series How to Study a Tone Language, edited by Steven Bird and Larry Hyman