diff options
| author | uakci <uakci@uakci.pl> | 2022-03-15 19:13:44 +0100 |
|---|---|---|
| committer | uakci <uakci@uakci.pl> | 2022-03-15 19:13:44 +0100 |
| commit | ddbbfedf15e970c02e128294890adbeb97c4a5ae (patch) | |
| tree | 06fa6f3efc124b2a9a5000c0c02dee36fd4c2d33 /2004-en-alt/ithkuil-ch3-basic-morphology.html | |
| download | mirror-main.tar.gz mirror-main.zip | |
Diffstat (limited to '2004-en-alt/ithkuil-ch3-basic-morphology.html')
| -rw-r--r-- | 2004-en-alt/ithkuil-ch3-basic-morphology.html | 1798 |
1 files changed, 1798 insertions, 0 deletions
diff --git a/2004-en-alt/ithkuil-ch3-basic-morphology.html b/2004-en-alt/ithkuil-ch3-basic-morphology.html new file mode 100644 index 0000000..3a2e8c7 --- /dev/null +++ b/2004-en-alt/ithkuil-ch3-basic-morphology.html @@ -0,0 +1,1798 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<!-- saved from url=(0045)ithkuil-ch3-morphology.htm --> +<HTML><HEAD><META http-equiv="Content-Type" content="text/html; charset=ISO-8859-1"> +<TITLE>A Philosophical Grammar of Ithkuil, a Constructed Language - Chapter 3: Basic Morphology</TITLE> +<META name="resource-type" content="document"> +<META name="description" content="A constructed philosophical language design showing NOT how artificial languages do function, but rather how they COULD function."> +<META name="keywords" content="constructed language, conlang, philosophical language, hypothetical language, fictional language, artificial language, constructed languages, conlangs, philosophical languages, hypothetical languages, fictional languages, artificial languages"> +<META name="distribution" content="global"> + +<SCRIPT language="JavaScript" type="text/JavaScript"> +<!-- +//--> onLoad="javascript:changenav3();" +</SCRIPT> +</HEAD><BODY> +<DIV align="center"><FONT color="#999999" face="Verdana, Arial, Helvetica, sans-serif"><STRONG>Ithkuil: + A Philosophical Design for a Hypothetical Language</STRONG></FONT><BR> + <IMG src="assets/Title-Script5.gif"><BR> + <BR> +</DIV> +<TABLE width="100%" border="0" cellpadding="1"> + <TBODY><TR> + <TD width="9%" height="25" valign="top"><DIV align="left"><FONT size="1"><A name="menu"></A></FONT></DIV></TD> + <TD width="27%" valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><A href="index.html" target="_top">Home</A></FONT></DIV></TD> + <TD width="37%" valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch5a-verbs.html">5a + Verb Morphology </A></FONT></DIV></TD> + <TD width="27%" valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch9-syntax.html">9 + Syntax</A></FONT></FONT></DIV></TD> + </TR> + <TR> + <TD height="26" valign="top"><DIV align="left"><FONT size="2"><FONT face="Arial, Helvetica, sans-serif"></FONT></FONT></DIV></TD> + <TD valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-intro.html">Introduction</A></FONT></DIV></TD> + <TD valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch5b-verbs-contd.html">5b + Verb Morphology (continued)</A></FONT></DIV></TD> + <TD valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch10-lexicosemantics.html">10 + Lexico-Semantics</A></FONT></DIV></TD> + </TR> + <TR> + <TD height="26" valign="top"><DIV align="left"><FONT size="2"></FONT></DIV></TD> + <TD valign="top"><DIV align="left"><FONT size="2"></FONT><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch1-phonology.html">1 + Phonology</A></FONT></DIV></TD> + <TD valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch6-moreverbs.html">6 + More Verb Morphology</A></FONT></DIV></TD> + <TD valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch11-script.html">11 + The Script </A></FONT></FONT></DIV></TD> + </TR> + <TR> + <TD height="26" valign="top"> </TD> + <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch2-morphophonology.html">2 + Morpho-Phonology</A></FONT><FONT size="2"> </FONT></TD> + <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><FONT face="Arial, Helvetica, sans-serif"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch7a-affixes.html">7a + Using Affixes </A></FONT></FONT></FONT></TD> + <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><FONT face="Arial, Helvetica, sans-serif"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch12-numbers.html">12 + The Number System</A></FONT></FONT></FONT></TD> + </TR> + <TR> + <TD height="26" valign="top"> </TD> + <TD valign="top"><FONT size="2"> </FONT><FONT face="Arial, Helvetica, sans-serif"><A href="assets/ithkuil-ch3-basic-morphology.html">3 + Basic Morphology</A></FONT></TD> + <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch7b-affixes-contd.html">7b + Using Affixes (continued) </A></FONT></FONT></TD> + <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-lexicon.html">The + Lexicon</A></FONT></FONT></TD> + </TR> + <TR> + <TD height="26" valign="top"> </TD> + <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch4-case.html">4 + Case Morphology </A></FONT> </TD> + <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch8-adjuncts.html">8 + Adjuncts</A></FONT></TD> + <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ilaksh/Ilaksh_Intro.html" target="_blank">Revised Ithkuil: <FONT face="Times New Roman, Times, serif">I</FONT>laksh</A></FONT></TD> + </TR> +</TBODY></TABLE> +<H2 align="center"> </H2> +<H2 align="center">Chapter 3: Basic Morphology</H2> +<DIV align="center"> + <TABLE width="43%" border="0" cellspacing="1" cellpadding="1"> + <TBODY><TR> + <TD width="183"><FONT size="2"><A href="ithkuil-ch3-morphology.htm#Sec3o1">3.1 Configuration</A></FONT></TD> + <TD width="141"><FONT size="2"><A href="ithkuil-ch3-morphology.htm#Sec3o5">3.5 Focus</A></FONT></TD> + </TR> + <TR> + <TD><FONT size="2"><A href="ithkuil-ch3-morphology.htm#Sec3o2">3.2 Affiliation</A></FONT></TD> + <TD width="141"><FONT size="2"><A href="ithkuil-ch3-morphology.htm#Sec3o6">3.6 Context</A></FONT></TD> + </TR> + <TR> + <TD><FONT size="2"><A href="ithkuil-ch3-morphology.htm#Sec3o3">3.3 Perspective</A></FONT></TD> + <TD width="141"><FONT size="2"><A href="ithkuil-ch3-morphology.htm#Sec3o7">3.7 Designation</A></FONT></TD> + </TR> + <TR> + <TD><FONT size="2"><A href="ithkuil-ch3-morphology.htm#Sec3o4">3.4 Extension</A></FONT></TD> + <TD width="141"><FONT size="2"><A href="ithkuil-ch3-morphology.htm#Sec3o8">3.8 Essence</A></FONT></TD> + </TR> + </TBODY></TABLE> +</DIV> +<P align="justify"><BR> + As previously discussed in <A href="ithkuil-ch2-morphophonology.htm#Sec2o6o1"> + Section 2.6.1</A>, the distinction between nouns and verbs common to most languages + is rather blurred in Ithkuil. All lexical stems in Ithkuil function equally + as nouns or verbs and share many of the same morpho-semantic features and categories. + This is because Ithkuil morpho-semantics does not see nouns and verbs as being + cognitively distinct from one another, but rather as complementary manifestations + of ideas existing in a common underlying semantic continuum whose components + are space and time. The equivalents to nouns and verbs in other languages are + merely “reified” (or nominalized) and “activized” (or + verbalized) derivatives of semantic formatives. Nevertheless, for simplicity’s + sake, we will refer to nominal formatives as nouns and verbal formatives as + verbs when discussing their morphology.</P> +<P align="justify">All Ithkuil formatives, whether functioning as nouns or verbs, + inflect for nine <STRONG>Configurations</STRONG>, four <STRONG>Affiliations</STRONG>, + four <STRONG>Perspectives</STRONG>, six <STRONG>Extensions</STRONG>, two <STRONG>Focus</STRONG> + distinctions, four <STRONG>Contexts</STRONG>, two <STRONG>Designations</STRONG>, + and two <STRONG>Essences</STRONG>, and can take any of more than 1300 optional + affixes. These morphological categories are explained in the sections which + follow. </P> +<P align="justify"> </P> + +<DIV align="justify"> + <TABLE width="95%" border="0" cellpadding="0"> + <TBODY><TR> + <TD height="20" valign="top" bgcolor="#CCCCCC"> + <P><A name="Sec3o1"></A><STRONG><FONT size="4">3.1 CONFIGURATION</FONT></STRONG></P></TD> + </TR> + </TBODY></TABLE> +</DIV> +<P align="justify">To understand the Ithkuil concept of enumeration and quantification + of nouns (i.e., what other languages term singular, plural, etc.) one must analyze + three separate but related grammatical categories termed <STRONG>Configuration</STRONG>, + <STRONG>Affiliation</STRONG>, and <STRONG>Perspective</STRONG>. These concepts + are alien to other languages. While they deal with semantic distinctions which + are quantitative in nature, these distinctions are usually made at the lexical + level (i.e., via word choice) in other languages, not at the morphological as + in Ithkuil. In this section we will deal first with Configuration, followed + by Affiliation in <A href="ithkuil-ch3-morphology.htm#Sec3o2">Section 3.2</A> and Perspective in <A href="ithkuil-ch3-morphology.htm#Sec3o3">Section + 3.3</A>.</P> +<P align="justify">Specifically, Configuration deals with the physical similarity + or relationship between members of a noun referent within groups, collections, + sets, assortments, arrangements, or contextual gestalts, as delineated by internal + composition, separability, compartmentalization, physical similarity or componential + structure. This is best explained and illustrated by means of analogies to certain + English sets of words.</P> +<P align="justify">Consider the English word ‘tree.’ In English, a + single tree may stand alone out of context, or it may be part of a group of + trees. Such a group of trees may simply be two or more trees considered as a + plural category based on mere number alone, e.g., two, three, or twenty trees. + However, it is the nature of trees to exist in more contextually relevant groupings + than merely numerical ones. For example, the trees may be of like species as + in a ‘grove’ of trees. The grouping may be an assortment of different + kinds of trees as in a ‘forest’ or occur in patternless disarray + such as a ‘jungle.’</P> +<P align="justify">As another example, we can examine the English word ‘person.’ + While persons may occur in simple numerical groupings such as ‘a (single) + person’ or ‘three persons’ it is more common to find persons + (i.e., people) referred to by words which indicate various groupings such as + ‘group,’ ‘gathering,’ ‘crowd,’ etc. </P> +<P align="justify">Segmentation and amalgamated componential structure are further + configurative principles which distinguish related words in English. The relationships + between <EM>car</EM> versus <EM>convoy</EM>, <EM>hanger</EM> versus <EM>rack</EM>, + <EM>chess piece</EM> versus <EM>chess set</EM>, <EM>sentry</EM> versus <EM>blockade</EM>, + <EM>piece of paper</EM> versus <EM>sheaf</EM>, <EM>girder</EM> versus <EM>(structural) + framework</EM>, and <EM>coin</EM> versus <EM>roll of coins</EM> all exemplify + these principles.</P> +<P align="justify">Another type of contextual grouping of nouns occurs in binary + sets, particularly in regard to body parts. These binary sets can comprise two + identical referents as in <EM>a pair of eyes</EM>, however they are more often + opposed or “mirror-image” (i.e., complementary) sets as in <EM>limbs</EM>, + <EM>ears</EM>, <EM>hands</EM>, <EM>wings</EM>, etc.</P> +<P align="justify">In Ithkuil, the semantic distinctions implied by the above + examples as they relate to varying assortments of trees or persons would be + accomplished by inflecting the word-stem for ‘tree’ or ‘person’ + into one of nine configurations. Additional semantic distinctions on the basis + of purpose or function between individual members of a set could then be made + by means of Affiliation (see <A href="ithkuil-ch3-morphology.htm#Sec3o2">Section 3.2</A> below) and by + the use of specific affixes. For example, once the words for ‘forest’ + or ‘crowd’ were derived from ‘tree’ and ‘person’ + via Configuration, the Ithkuil words for ‘orchard,’ ‘copse,’ + ‘team’ or ‘mob’ could easily be derived via affiliation + and affixes. (Such derivations into new words using affixes are explored in + detail in <A href="ithkuil-ch7a-affixes.html" onclick="javascript:changenav7();">Chapter + 7: Using Affixes</A>.)</P> +<P align="justify">The nine configurations are the <STRONG><FONT size="2">UNIPLEX</FONT></STRONG>, + <STRONG><FONT size="2">DUPLEX</FONT></STRONG>, <STRONG><FONT size="2">DISCRETE</FONT></STRONG>, + <STRONG><FONT size="2">AGGREGATIVE</FONT></STRONG>, <STRONG><FONT size="2">SEGMENTATIVE</FONT></STRONG>, + <STRONG><FONT size="2">COMPONENTIAL</FONT></STRONG>, <STRONG><FONT size="2">COHERENT, + COMPOSITE</FONT></STRONG>, and <STRONG><FONT size="2">MULTIFORM</FONT></STRONG>. + The function and morphology of these categories are explained below.</P> +<BR> + + +<DIV align="justify"> + <TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.1.1</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><STRONG>UNI</STRONG></FONT></DIV></TD> + <TD width="6%"><DIV align="center"><FONT size="4"></FONT></DIV></TD> + <TD width="68%"><FONT size="4"><STRONG>The Uniplex</STRONG></FONT></TD> + </TR> + </TBODY></TABLE> +</DIV> +<P align="justify">The <FONT size="2">UNIPLEX</FONT> configuration is marked by + Grade 1 mutation of the C<FONT size="1">1</FONT> radical consonant and indicates + a single, contextual embodiment of the stem concept, i.e., one whole contextual + unit of the basic nominal stem, e.g., <EM>a tree, a person, a screwdriver, a + grape, a hammer blow, a hole</EM>. With verbs the <FONT size="2">UNIPLEX</FONT> + signifies a single, holistic act, state, or event, e.g., <EM>to be a tree, to + become a person, to use a screwdriver, to eat a grape, to strike (once) with + a hammer, to dig a hole</EM>.</P><BR> + +<DIV align="justify"> + <TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.1.2</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><STRONG>DPX</STRONG></FONT></DIV></TD> + <TD width="7%"><DIV align="center"><FONT size="4"></FONT></DIV></TD> + <TD width="67%"><FONT size="4"><STRONG>The Duplex</STRONG></FONT></TD> + </TR> + </TBODY></TABLE> +</DIV> +<P align="justify">The <FONT size="2">DUPLEX</FONT> configuration is marked by + Grade 2 mutation of the C<FONT size="1">1</FONT> radical consonant and indicates + a related binary set. While it often refers to body parts, e.g., one’s + eyes, ears, lungs, wings, etc., it can also be used to describe any set of two + identical or complementary objects or entities, e.g., <EM>a matched pair of + vases, a two-volume set, a set of bookends, mutual opponents</EM>. Thus, the + Ithkuil word for <EM>spouse</EM> inflected for the <FONT size="2">DUPLEX</FONT> + configuration would translate as <EM>a man and wife</EM> or <EM>a married couple</EM>.</P> +<P align="justify">One context in which the <FONT size="2">DUPLEX</FONT> appears + for both nouns and verbs is with events which contain two complementary “halves” + exemplified by English words such as <EM>bounce</EM>, <EM>flash</EM>, <EM>arc</EM>, + <EM>wag</EM>, <EM>swing</EM>, <EM>switch</EM>, <EM>breathe/respiration</EM>, + indeed, any concept which involves a dual-state notion of up/down, to/fro, back/forth, + in/out, empty/full, or on/off. Use of the <FONT size="2">DUPLEX</FONT> in these + contexts implies a full cycling through the two complementary states involved. + For example the word for <EM>hammer blow</EM> inflected for the <FONT size="2">UNIPLEX</FONT> + would signify the singular impact of the hammer, whereas the same word inflected + for the <FONT size="2">DUPLEX</FONT> signifies a single down-then-up cycle of + the swing of the hammer, the two complementary “halves” of the action + being divided by the impact.</P> +<BR> + + +<DIV align="justify"> + <TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.1.3</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><STRONG>DCT</STRONG></FONT></DIV></TD> + <TD width="7%"><DIV align="center"><FONT size="4"></FONT></DIV></TD> + <TD width="67%"><FONT size="4"><STRONG>The Discrete </STRONG></FONT></TD> + </TR> + </TBODY></TABLE> +</DIV> +<P align="justify">The <FONT size="2">DISCRETE</FONT> configuration is marked + by Grade 3 mutation of the C<FONT size="1">1</FONT> radical consonant and indicates + a grouping or set of the basic stem units that are more or less identiform (each + having the same design or physical appearance). This grouping or set-nature + can be either spatial, as in <EM>a flock of gulls</EM> (flying together), or + temporal (i.e., sequentially repetitive or iterative) as in <EM>(a flock of) + gulls flying one after another</EM>. Further examples of English nouns or noun + phrases which would be translated using the <FONT size="2">DISCRETE</FONT> are + <EM>a grove, a set of screwdrivers, a group of soldiers, a pile of leaves, a + bowl of grapes, a series of hammer blows, an area of holes</EM>. Thus, the Ithkuil + word for <EM>(identical) set</EM> would simply be the word for <EM>thing</EM> + or <EM>object</EM> inflected for the <FONT size="2">DISCRETE</FONT> configuration. + Note that the distinction between a spatially configured set versus a temporally + (i.e., iterative) configured set would be made by use of an additional affix, + -V<FONT size="1">1</FONT><FONT face="Arial, Helvetica, sans-serif"><STRONG>šk</STRONG></FONT>, + specifying which spacetime axis is implied. This affix is analyzed in <A href="ithkuil-ch7b-affixes-contd.htm#Sec7o7o13" onclick="javascript:changenav7();">Sec. + 7.7.13</A>.</P> +<P align="justify">For verbs, the <FONT size="2">DISCRETE</FONT> signifies a single + set of repetitions, whether spatially or temporally, viewed as a single holistic + event. The individual member components acts, states, or events within this + set can be either <FONT size="2">UNIPLEX</FONT>, e.g., <EM>to take steps, to + flip through pages, to have spots, to dig holes in an area</EM>, or <FONT size="2">DUPLEX</FONT> + in nature, e.g., <EM>to hammer, to spin, to breathe</EM>.</P> +<P align="justify">It should be noted that the Containment <FONT size="2"><A href="ithkuil-ch7b-affixes-contd.htm#CNMaffix">CNM</A></FONT><A href="Ch-7%20Using%20Affixes%20Contd.html"> + affix</A>, -V<FONT size="1">o</FONT><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif">mt</FONT></STRONG>, + can be used with the <FONT size="2">DISCRETE, </FONT> as well as most of the + following configurations, to designate specifically the type of container, holder, + or means of conveyance for a configurative set (e.g., a sack, package, jar, + bottle, pile, load, etc.)<BR> +</P> +<DIV align="justify"> + <TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="15%"><FONT size="4"><STRONG>3.1.4</STRONG></FONT></TD> + <TD width="12%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><STRONG>AGG</STRONG></FONT></DIV></TD> + <TD width="6%"><DIV align="center"><FONT size="4"></FONT></DIV></TD> + <TD width="67%"><FONT size="4"><STRONG>The Aggregative</STRONG></FONT></TD> + </TR> + </TBODY></TABLE> +</DIV> +<P align="justify">The <FONT size="2">AGGREGATE</FONT> configuration is marked + by Grade 4 mutation of the C<FONT size="1">1</FONT> radical consonant and functions + like the <FONT size="2">DISCRETE</FONT> above in referring to an associated + group or set of entities, except that the members of the configurational set + are not identical to one another. Examples of English words/entities which would + be translated using the <FONT size="2">AGGREGATIVE</FONT> are <EM>a forest</EM> + (of different kinds of trees), <EM>a toolset, a citizens group, a mixed pile + of leaves, an assortment of animals, an area of different-sized holes, a series + of musical notes</EM>. With verbs, the <FONT size="2">AGGREGATIVE</FONT> implies + a spatially or temporally repeated set of non-identical acts, events, or states + considered as a whole contextual unit. It would be used, for example, in translating + the sentence <EM>This morning I dug holes in my garden</EM> (i.e., of different + sizes).</P><BR> + + +<DIV align="justify"> + <TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.1.5</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"><FONT size="4"><STRONG>SEG</STRONG></FONT></TD> + <TD width="7%"> </TD> + <TD width="67%"><FONT size="4"><STRONG>The Segmentative</STRONG></FONT></TD> + </TR> + </TBODY></TABLE> +</DIV> +<P align="justify">The <FONT size="2">SEGMENTATIVE</FONT> configuration is marked + by Grade 5 mutation of the C<FONT size="1">1</FONT> radical consonant and indicates + a grouping or set of the basic stem units, the individual members of which are + physically similar or identical and are either in physical contact with one + another, physically connected via some linking medium, or in sufficiently close + contact with one another so that the group moves or operates together. Examples + would be <EM>a web, a train of flatcars, a convoy of schoolbuses, a string of + pearls, a fall of leaves, a line of dancers, a parade of Barbie dolls</EM> (e.g., + coming off an assembly line). To illustrate the difference between this configuration + and the <FONT size="2">DISCRETE</FONT> above, we saw that the word <EM>grape</EM> + in the <FONT size="2">DISCRETE</FONT> would be translated as <EM>a serving of + grapes</EM>, while in the <FONT size="2">SEGMENTATIVE</FONT> it would mean <EM>a + bunch of grapes</EM> (i.e., still connected to each other on a portion of vine). +</P> +<P align="justify">With verbs, the use of the <FONT size="2">SEGMENTATIVE</FONT> + versus the <FONT size="2">DISCRETE</FONT> implies that the repetitive/iterative + nature of the act, state, or event occurs naturally due to the contextual nature + of the precipitating event or agent. It would thus be used to distinguish the + fuselage of bullets from a machine-gun from the simple hail of bullets from + single-fire weapons. Likewise, it would distinguish <EM>The light is blinking + </EM>from<EM> The light is flashing</EM>, where <EM>blink</EM> implies the way + in which the source naturally emits light, while <EM>flash</EM> implies that + the light is being made to emit repetitive bursts of light.<BR> +</P> +<DIV align="justify"> + <TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.1.6</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"><FONT size="4"><STRONG>CPN</STRONG></FONT></TD> + <TD width="7%"> </TD> + <TD width="67%"><FONT size="4"><STRONG>The Componential</STRONG></FONT></TD> + </TR> + </TBODY></TABLE> +</DIV> +<P align="justify">The <FONT size="2">COMPONENTIAL</FONT> configuration is marked + by Grade 6 mutation of the C<FONT size="1">1</FONT> radical consonant and operates + identically to the <FONT size="2">SEGMENTATIVE</FONT> above, except that the + individual members of the configurational set are not physically similar or + identical to each other. Examples of English words/entities which would be translated + using the <FONT size="2">COMPONENTIAL</FONT> are <EM>a freight train, a cascade + of (mixed) fruit (i.e., a continuous stream of fruit falling), a line of ticketholders, + a parade of floats, a pattern of musical notes</EM>. With verbs, the <FONT size="2">COMPONENTIAL</FONT> + signifies a connected series of repetitions where the individual acts, events, + or states comprising the repetitive set are non-identical. It would distinguish + <EM>The light twinkled </EM>from <EM>The light was blinking</EM>. </P> +<BR> + + +<DIV align="justify"> + <TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.1.7</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"><FONT size="4"><STRONG>COH</STRONG></FONT></TD> + <TD width="7%"> </TD> + <TD width="67%"><FONT size="4"><STRONG>The Coherent</STRONG></FONT></TD> + </TR> + </TBODY></TABLE> +</DIV> +<P align="justify">The <FONT size="2">COHERENT</FONT> configuration is marked + by Grade 7 mutation of the C<FONT size="1">1</FONT> radical consonant and functions + similarly to the <FONT size="2">SEGMENTATIVE</FONT> above, except that the individual + members of the configuration are connected, fused or mixed with one another + to form a coherent emergent entity, i.e., the total configuration of objects + constitutes an entirely new gestalt-like entity. Examples of English words which + would be translated using the <FONT size="2">COHERENT</FONT> are <EM>a bookcase, + a phalanx, a xylophone</EM>. </P> +<P align="justify">In the realm of verbs, finding English translations illustrating + the <FONT size="2">COHERENT</FONT> is difficult. If one can imagine the verb + <EM>to glow</EM> to mean a series of flashes blurred one into another to create + a continuous emanation, then <EM>glow</EM> versus <EM>flash</EM> might suffice. + Perhaps a better illustration would be the difference between <EM>to buzz</EM> + from <EM>to make a set of repeating noises</EM>.</P> +<BR> + + +<DIV align="justify"> + <TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.1.8</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"><FONT size="4"><STRONG>CST</STRONG></FONT></TD> + <TD width="7%"> </TD> + <TD width="67%"><FONT size="4"><STRONG>The Composite</STRONG></FONT></TD> + </TR> + </TBODY></TABLE> +</DIV> +<P align="justify"> The <FONT size="2">COMPOSITE</FONT> configuration is marked + by Grade 8 mutation of the C<FONT size="1">1</FONT> radical consonant and operates + the same as the <FONT size="2">COHERENT</FONT> above except that the individual + members of the configurational set are not identical or physically similar to + one another. Examples of words/concepts that would be translated using the <FONT size="2">COMPOSITE</FONT> + are <EM>a building</EM> (= a constructional set of walls, floors, doors, windows, + etc.), <EM>a communications array, a conspiracy, a jungle thicket</EM>. Thus + the Ithkuil words for <EM>recipe, skeleton, </EM>and<EM> melody</EM> would simply + be the words for <EM>ingredient</EM>, <EM>bone</EM>, and <EM>musical note</EM> + inflected for the <FONT size="2">COMPOSITE</FONT> configuration. For verbs, + the <FONT size="2">COMPOSITE</FONT> versus <FONT size="2">COHERENT</FONT> distinction + would distinguish <EM>to rumble</EM> from <EM>to buzz</EM>, or <EM>to glitter</EM> + from <EM>to glow</EM>. </P> +<BR> + + +<DIV align="justify"> + <TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.1.9</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"><FONT size="4"><STRONG>MLT</STRONG></FONT></TD> + <TD width="7%"> </TD> + <TD width="67%"><FONT size="4"><STRONG>The Multiform</STRONG></FONT></TD> + </TR> + </TBODY></TABLE> +</DIV> +<P align="justify">The <FONT size="2">MULTIFORM</FONT> configuration is marked + by Grade 9 mutation of the C<FONT size="1">1</FONT> radical consonant and is + the most difficult to explain, as there is no Western linguistic equivalent. + The <FONT size="2">MULTIFORM</FONT> serves to identify the noun as an individual + member of a “fuzzy” set. A fuzzy set is a term which originates + in non-traditional logic, describing a set whose individual members do not all + share the same set-defining attributes to the same degree, i.e., while there + may be one or more archetypical members of the set which display the defining + attributes of the set exclusively and exactly, other members of the set may + vary from this archetypical norm by a wide range of degrees, whether in physical + resemblance, degree of cohesion or both. Indeed, some members of the set may + display very little resemblance to the archetype and be closer to the archetype + of a different fuzzy set, i.e., fuzzy sets allow for the idea of “gradient + overlap” between members of differing sets.</P> +<P align="justify">It is difficult to accurately translate into English without + resorting to paraphrase the sorts of concepts that Ithkuil easily expresses + using the <FONT size="2">MULTIFORM</FONT>. For example, the Ithkuil word for + ‘tree’ inflected for the <FONT size="2">MULTIFORM</FONT> configuration + would mean something like <EM>a group of what appear to be trees</EM>, or better + yet, <EM>a group of tree-like objects</EM> (i.e., some being trees, and others + seeming less like trees). Essentially, any set of entities whose similarity + of membership varies by different degrees in comparison to an archetypical member + of the set can be expressed using the <FONT size="2">MULTIFORM</FONT>. For examples, + the Ithkuil word for <EM>library</EM> would simply be a word meaning something + like <EM>work</EM> (i.e. thing authored/composed) inflected for the <FONT size="2">MULTIFORM</FONT>, + signifying a hodge-podge assortment of writings and compositions (e.g., including + books, pamphlets, notebooks, ledgers, formulas, letters, journals, recordings, + magazines, etc.). Other example concepts translatable using the <FONT size="2">MULTIFORM</FONT> + would be <EM>a rag-tag group of people, an incoherent pattern, lives in flux.</EM></P> +<P align="justify">With verbs, the <FONT size="2">MULTIFORM</FONT> implies that + the individual repetitions comprising an act, state, or event have varying degrees + of spatio-temporal similarity to each other. A few English verbs such as <EM>fluctuate, + sputter </EM>or<EM> flicker</EM> capture this sense. </P> +<P align="justify"> </P> +<DIV align="justify"> + <TABLE width="99%" border="0" cellpadding="0"> + <TBODY><TR> + <TD height="20" valign="top" bgcolor="#CCCCCC"> + <P><A name="Sec3o2"></A><FONT size="4"><STRONG>3.2 AFFILIATION</STRONG></FONT></P></TD> + </TR> + </TBODY></TABLE> +</DIV> +<P align="justify">While the category of Configuration from the preceding section + distinguishes the relationships between the individual members of a set in terms + of physical characteristics, physical attributes or physical connections, the + category of Affiliation operates similarly to distinguish the member relationships + in terms of subjective purpose, function, or benefit. Affiliation operates synergistically + in conjunction with Configuration to describe the total contextual relationship + between the members of a set. Like Configuration, the meanings of nouns or verbs + in the various affiliations often involve lexical changes when translated into + English.</P> +<P align="justify">Returning to our earlier example of the word <EM>tree</EM>, + we saw how a group of trees of the same species becomes <EM>a grove</EM> in + the <FONT size="2">DISCRETE</FONT> configuration. The word <EM>grove</EM> implies + that the trees have grown naturally, with no specific purpose or function in + regard to human design or utilization. On the other hand, groves of trees may + be planted by design, in which case they become <EM>an orchard</EM>. We saw + how trees occurring as a natural assortment of different kinds is termed <EM>a + forest</EM>. However, such assortments can become wholly chaotic, displaying + patternless disarray from the standpoint of subjective human design, thus becoming + <EM>a jungle</EM>.</P> +<P align="justify">As another example, we saw how the word <EM>person</EM> becomes + <EM>group</EM>, or <EM>gathering</EM>, both of which are neutral as to subjective + purpose or function. However, applying a sense of purposeful design generates + words such as <EM>team</EM>, while the absence of purpose results in <EM>crowd</EM>.</P> +<P align="justify">There are four affiliations: <FONT size="2">CONSOLIDATIVE</FONT>, + <FONT size="2">ASSOCIATIVE</FONT>, <FONT size="2">VARIATIVE</FONT>, and <FONT size="2">COALESCENT</FONT>. + Affiliation is marked by a word-initial vocalic prefix which varies depending + on the extension of the formative, as well as being dependent on the format + for verbs (see Sections 3.4 and 5.3 for an explanation of these respective categories). + For nouns, these prefixes are shown in <A href="ithkuil-ch3-morphology.htm#Sec3o4">Table 11 in Section + 3.4</A> on Extension. For verbs, these prefixes are shown in Table 14 in <A href="ithkuil-ch5a-verbs.htm#Sec5o4o1" onclick="javascript:changenav5();">Section + 5.4.1</A>. The details of each affiliation are explained below.</P> +<BR> + + +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR valign="top"> + <TD width="16%" height="20"> <STRONG><FONT size="4">3.2.1 </FONT></STRONG></TD> + <TD width="10%" bgcolor="#CCCCCC"> <STRONG><FONT size="4">CSL</FONT></STRONG></TD> + <TD width="7%"> + <TD width="67%"> <STRONG><FONT size="4">The Consolidative</FONT></STRONG></TD> + </TR> +</TBODY></TABLE> +<P align="justify">The <FONT size="2">CONSOLIDATIVE</FONT> affiliation indicates + that the individual members of a configurational set are a naturally occurring + set where the function, state, purpose or benefit of individual members is inapplicable, + irrelevant, or if applicable, is shared. It differs from the <FONT size="2">ASSOCIATIVE</FONT> + affiliation below in that the role of individual set members is not subjectively + defined by human design. Examples are <EM>tree branches, a grove, a mound of + rocks, some people, the clouds</EM>. </P> +<P align="justify">The <FONT size="2">CONSOLIDATIVE</FONT> is also the affiliation + normally applied to nouns in the <FONT size="2">UNIPLEX</FONT> configuration + when spoken of in a neutral way, since a noun in the <FONT size="2">UNIPLEX</FONT> + specifies one single entity without reference to a set, therefore the concept + of “shared” function would be inapplicable. Examples: <EM>a man, + a door, a sensation of heat, a leaf</EM>. With verbs, the <FONT size="2">CONSOLIDATIVE</FONT> + would imply that the act, state, or event is occurring naturally, or is neutral + as to purpose or design.</P> +<P align="justify">For the set of prefixes which mark this affiliation, see Table + 11 in <A href="ithkuil-ch3-morphology.htm#Sec3o4">Section 3.4</A> below for nouns and Table 14 in <A href="ithkuil-ch5a-verbs.htm#Sec5o4o1" onclick="javascript:changenav5();">Section + 5.4.1</A> for verbs.</P> +<BR> + + +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.2.2</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><STRONG>ASO</STRONG></FONT></DIV></TD> + <TD width="7%"><DIV align="center"><FONT size="4"></FONT></DIV></TD> + <TD width="67%"><FONT size="4"><STRONG>The Associative</STRONG></FONT></TD> + </TR> +</TBODY></TABLE> +<P align="justify">The <FONT size="2">ASSOCIATIVE</FONT> affiliation indicates + that the individual members of a configurational set share the same subjective + function, state, purpose or benefit. Its use can be illustrated by taking the + Ithkuil word for soldier in the <FONT size="2">DISCRETE</FONT> configuration + and comparing its English translations when inflected for the <FONT size="2">CONSOLIDATIVE</FONT> + affiliation (= <EM>a group of soldiers</EM>) versus the <FONT size="2">ASSOCIATIVE</FONT> + (= <EM>a troop, a platoon)</EM>. It is this <FONT size="2">CONSOLIDATIVE</FONT> + versus <FONT size="2">ASSOCIATIVE</FONT> distinction, then, that would distinguish + otherwise equivalent <FONT size="2">DISCRETE</FONT> inflections of the Ithkuil + word for tree by translating them respectively as <EM>a grove</EM> versus <EM>an + orchard</EM>. </P> +<P align="justify">The <FONT size="2">ASSOCIATIVE</FONT> affiliation can also + be used with nouns in the <FONT size="2">UNIPLEX</FONT> configuration to signify + a sense of unity amongst one’s characteristics, purposes, thoughts, etc. + For example, the word <EM>person</EM> inflected for the <FONT size="2">UNIPLEX</FONT> + and <FONT size="2">ASSOCIATIVE</FONT> would translate as <EM>a single-minded + person</EM>. Even nouns such as <EM>rock</EM>, <EM>tree</EM> or <EM>work of + art</EM> could be inflected this way, subjectively translatable as <EM>a well-formed + rock, a tree with integrity</EM>, <EM>a “balanced” work of art</EM>.</P> +<P align="justify">With verbs, the <FONT size="2">ASSOCIATIVE</FONT> signifies + that the act, state or event is by design or with specific purpose. The <FONT size="2">CONSOLIDATIVE</FONT> + versus <FONT size="2">ASSOCIATIVE</FONT> distinction could be used, for example, + with the verb <EM>turn</EM> in <EM>I turned toward the window</EM> to indicate + whether it was for no particular reason or due to a desire to look outside.</P> +<P align="justify">For the set of prefixes which mark this affiliation, see <A href="ithkuil-ch3-morphology.htm#Sec3o4">Table + 11 in Section 3.4</A> below for nouns and Table 14 in <A href="ithkuil-ch5a-verbs.htm#Sec5o4o1">Section + 5.4.1</A> for verbs.</P> +<BR> + + +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.2.3</STRONG></FONT></TD> + <TD width="12%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><STRONG>VAR</STRONG></FONT></DIV></TD> + <TD width="6%"><DIV align="center"><FONT size="4"></FONT></DIV></TD> + <TD width="66%"><FONT size="4"><STRONG>The Variative</STRONG></FONT></TD> + </TR> +</TBODY></TABLE> +<P align="justify">The <FONT size="2">VARIATIVE</FONT> affiliation indicates that + the individual members of a configurational set differ as to subjective function, + state, purpose or benefit. The differences among members can be to varying degrees + (i.e., constituting a fuzzy set in regard to function, purpose, etc.) or at + complete odds with one another, although it should be noted that the <FONT size="2">VARIATIVE</FONT> + would not be used to signify opposed but complementary differences among set + members (see the <FONT size="2">COALESCENT</FONT> affiliation below). It would + thus be used to signify <EM>a jumble of tools, odds-and-ends, a random gathering, + a rag-tag group, a dysfunctional couple, a cacophony of notes, of a mess of + books, a collection in disarray</EM>. It operates with nouns in the <FONT size="2">UNIPLEX</FONT> + to render meanings such as <EM>a man at odds with himself, an ill-formed rock, + a chaotic piece of art, a “lefthand-righthand” situation</EM>.</P> +<P align="justify">With verbs, the <FONT size="2">VARIATIVE</FONT> indicates an + act, state, or event that occurs for more than one reason or purpose, and that + those reasons or purposes are more or less unrelated. This sense can probably + be captured in English only through paraphrase, as in <EM>She bought the house + for various reasons </EM>or<EM> My being at the party served several purposes</EM>. + With non-<FONT size="2">UNIPLEX</FONT> configurations, the use of the <FONT size="2">VARIATIVE</FONT> + affiliation can describe rather complex phenomena; for example, a sentence using + the <FONT size="2">SEGMENTATIVE</FONT> configuration such as <EM>The light is + blinking</EM> in conjunction with the <FONT size="2">VARIATIVE</FONT> would + mean that each blink of the light signals something different than the preceding + or following blinks.</P> +<P align="justify">For the set of prefixes which mark this affiliation, see <A href="ithkuil-ch3-morphology.htm#Sec3o4">Table + 11 in Section 3.4</A> below for nouns and Table 14 in <A href="ithkuil-ch5a-verbs.htm#Sec5o4o1">Section + 5.4.1</A><FONT color="#FF0000"> </FONT>for verbs.</P> +<BR> + + +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.2.4</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><STRONG>COA</STRONG></FONT></DIV></TD> + <TD width="7%"><DIV align="center"><FONT size="4"></FONT></DIV></TD> + <TD width="67%"><FONT size="4"><STRONG>The Coalescent</STRONG></FONT></TD> + </TR> +</TBODY></TABLE> +<P align="justify">The <FONT size="2">COALESCENT</FONT> affiliation indicates + that the members of a configurational set share in a complementary relationship + with respect to their individual functions, states, purposes, benefits, etc. + This means that, while each member’s function is distinct from those of + other members, each serves in furtherance of some greater unified role. For + example, the Ithkuil word translating English <EM>toolset</EM> would be the + word for <EM>tool</EM> in the <FONT size="2">AGGREGATIVE</FONT> configuration + (due to each tool’s distinct physical appearance) and the <FONT size="2">COALESCENT</FONT> + affiliation to indicate that each tool has a distinct but complementary function + in furtherance of enabling construction or repair activities. Another example + would be the Ithkuil word for <EM>finger</EM> inflected for the <FONT size="2">SEGMENTATIVE</FONT> + configuration and the <FONT size="2">COALESCENT</FONT> affiliation, translatable + as the fingers on one’s hand (note the use of the <FONT size="2">SEGMENTATIVE</FONT> + to imply the physical connection between each finger via the hand). A further + example would be using the <FONT size="2">COALESCENT</FONT> with the word for + <EM>(piece of) food</EM> to signify <EM>a well-balanced meal.</EM></P> +<P align="justify">The <FONT size="2">COALESCENT</FONT> naturally appears most + often in conjunction with the <FONT size="2">DUPLEX</FONT> configuration since + binary sets tend to be complementary. It is used, for example, to signify symmetrical + binary sets such as body parts, generally indicating a lefthand/righthand mirror-image + distinction, e.g., <EM>one’s ears, one’s hands, a pair of wings</EM>. + Pairs that do not normally distinguish such a complementary distinction (e.g., + <EM>one’s eyes</EM>) can nevertheless be optionally placed in the <FONT size="2">COALESCENT</FONT> + affiliation to emphasize bilateral symmetry (e.g., <EM>one’s left and + right eye functioning together</EM>).</P> +<P align="justify">With verbs, the <FONT size="2">COALESCENT</FONT> signifies + that related, synergistic nature of the component acts, states, and events which + make up a greater holistic act, state, or event. It imposes a situational structure + onto an act, state, or event, where individual circumstances work together in + complementary fashion to comprise the total situation. It would be used, for + example, to distinguish the sentences <EM>He traveled in the Yukon</EM> from + <EM>He ventured in the Yukon</EM>, or <EM>I came up with a plan</EM> versus + <EM>I fashioned a plan</EM>.</P> +<P align="justify">For the set of prefixes which mark this affiliation, see <A href="ithkuil-ch3-morphology.htm#Sec3o4">Table + 11 in Section 3.4</A> below for nouns and Table 14 in <A href="ithkuil-ch5a-verbs.htm#Sec5o4o1">Section + 5.4.1</A> for verbs.</P> +<P align="justify"> </P> +<TABLE width="95%" border="0" cellpadding="0" bgcolor="#CCCCCC"> + <TBODY><TR> + <TD height="20" valign="top"> + <P><A name="Sec3o3"></A><FONT size="4"><STRONG>3.3. PERSPECTIVE</STRONG></FONT></P></TD> + </TR> +</TBODY></TABLE> +<DIV align="justify"><BR> + Perspective is the closest Ithkuil morphological category to the Number and + Tense categories of other languages (e.g., singular/plural and past/present/future). + However, the correspondence is only approximate because Perspective does not + specifically address the quantity to which a formative is instantiated within + a given context, nor when it occurs relative to the present, but rather the + manner in which it is <EM>spatio-temporally instantiated</EM>. Specifically, + Perspective indicates whether a noun or verb is to be identified as 1) a “bounded” + contextual entity (i.e., having a spatio-temporally unified or accessible manifestation), + 2) an unbounded entity (i.e., manifested as spatio-temporally separated or inaccessible), + 3) as a unified collective or generic entity throughout spacetime, or 4) as + a spatio-temporally neutral abstraction. How this works requires separate explanations + for nouns and verbs. </DIV> +<P align="justify"><STRONG>Perspective with Nouns</STRONG>. What Perspective means + for nouns is that, in addition to merely indicating whether a given spatial + context contains one or more than one, it also specifies single versus multiple + manifestations in time, as well as along an axis of concreteness versus abstraction. + Complicating the picture is the fact that the categories of Configuration and + Affiliation (see<FONT color="#FF0000"> </FONT><A href="ithkuil-ch3-morphology.htm#Sec3o1">Secs. 3.1</A><FONT color="#FF0000"> + </FONT>and<FONT color="#FF0000"> </FONT><A href="ithkuil-ch3-morphology.htm#Sec3o2">3.2</A> above) already + contain an implicit numerical element due to the fact that they usually describe + multi-membered sets. It is for all these reasons that the terms “singular” + and “plural” have been avoided. </P> +<P align="justify"><STRONG>Perspective with Verbs</STRONG>. For verbs, the aspect + of “boundedness” inherent in Perspective does not imply a quantitative + context but rather an aspect of spatio-temporal “accessibility,” + i.e., whether or not an act, state, or event can be viewed as a unified whole + within the present temporal context. This is a long way from the “tense” + categories of Western languages. In Ithkuil, the notion of linearly progressive + time is not inherently expressed in the verb (although it can be specified, + if necessary, using various aspectual markers - see <A href="ithkuil-ch6-moreverbs.htm#Sec6o4">Sec. + 6.4</A>).</P> +<P align="justify">There are four perspectives in Ithkuil: <FONT size="2">MONADIC</FONT>, + <FONT size="2">UNBOUNDED</FONT>, <FONT size="2">NOMIC</FONT>, and <FONT size="2">ABSTRACT</FONT>. + They are shown morpho-phonologically by shifts in a formative’s syllabic + stress patterns. Each perspective’s specific meaning and usage is detailed + below.</P><BR> + + +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.3.1</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><STRONG>M</STRONG></FONT></DIV></TD> + <TD width="7%"><DIV align="center"><FONT size="4"></FONT></DIV></TD> + <TD width="67%"><FONT size="4"><STRONG>The Monadic</STRONG></FONT></TD> + </TR> +</TBODY></TABLE> +<P align="justify">The <FONT size="2">MONADIC</FONT> signifies a bounded embodiment + of a particular configuration. By “bounded embodiment” is meant + a contextual entity which, though possibly numerous in membership or multifaceted + in structure, or spread out through a time duration, is nevertheless being contextually + viewed and considered as a “monad,” a single, unified whole perceived + to exist within a literal or figurative psychologically uninterrupted boundary. + This is important, since configurations other than the <FONT size="2">UNIPLEX</FONT> + technically imply more than one discrete entity/instance being present or taking + place. For nouns, this boundary is physically contiguous, like a container, + corresponding to the “surface” of an object (whether literal or + psychological). For verbs, this boundary is psychologically temporal, specifically + the “present” (which in Ithkuil might be better thought of as the + “context at hand” or the “immediately accessible context”). + This distinction as to how “bounded embodiment” is interpreted for + nouns and verbs is appropriate, given that Ithkuil considers nouns as <EM>spatially + reified</EM> concepts while considering verbs to be their <EM>temporally “activized”</EM> + counterparts (<A href="ithkuil-ch2-morphophonology.htm#Sec2o6o1">see Section 2.6.1</A>).</P> +<P align="justify">Thus, using the word <EM>tree</EM> for example, while there + might be many trees present in terms of number, the <FONT size="2">MONADIC</FONT> + implies they form only one embodiment of whatever particular Configuration category + is manifested. Using the <FONT size="2">AGGREGATIVE</FONT> configuration as + an example, the <FONT size="2">MONADIC</FONT> would mean there is only one <FONT size="2">AGGREGATIVE</FONT> + set of trees, i.e., one <EM>forest</EM>. </P> +<P align="justify">At this point, it should be noted in regard to Perspective + that Ithkuil makes no distinction between “count” and “non-count” + (or “mass”) nouns. In languages such as English, nouns differ between + those that can be counted and pluralized (e.g., <EM>one apple, four boys, several + nations</EM>), and those which cannot be counted or pluralized (e.g., <EM>water, + sand, plastic, air, laughter</EM>). All nouns are countable in Ithkuil in that + all nouns can exist as contextual monads. As a result, English translations + of certain Ithkuil nouns must often be “contextual” rather than + literal, employing various conventions to put the noun in a numerical and pluralizable + context, e.g., ‘some dirt,’ ‘the air here’ or ‘a + puff of air’ rather than “a dirt” or “an air.”</P> +<P align="justify">With verbs, the <FONT size="2">MONADIC</FONT> superficially + corresponds in a very approximate fashion with Western present tense categories + except in a habitual sense. As noted above, the bounded embodiment conveyed + by the <FONT size="2">MONADIC</FONT> means that the act, state, or event is + temporally contiguous and accessible from the point of view of the present context. + It would be used to describes an act, state, or event which:</P> +<UL> + <LI> + <DIV align="justify"><FONT size="2" face="Arial, Helvetica, sans-serif">takes + place entirely in the present context</FONT></DIV> + </LI> + <LI> + <DIV align="justify"><FONT size="2" face="Arial, Helvetica, sans-serif">started + in the accessible past and has continued on into the present context</FONT></DIV> + </LI> + <LI> + <DIV align="justify"><FONT size="2" face="Arial, Helvetica, sans-serif">starts + within the present context and continues on into an accessible future </FONT></DIV> + </LI> + <LI> + <DIV align="justify"><FONT size="2" face="Arial, Helvetica, sans-serif">started + in an inaccessible past, but only the portion taking place in the present + context is being addressed or is under consideration or relevant within + the context of the utterance</FONT></DIV> + </LI> + <LI> + <DIV align="justify"><FONT size="2" face="Arial, Helvetica, sans-serif">starts + within the present context and may continue into an inaccessible future, + but only the portion taking place in the present context is being addressed + or is under consideration or relevant within the context of the utterance</FONT></DIV> + </LI> + <LI> + <DIV align="justify"><FONT size="2" face="Arial, Helvetica, sans-serif">started + in an inaccessible past and will continue into an inaccessible future, but + only the portion taking place in the present context is being addressed + or is under consideration or relevant within the context of the utterance + </FONT> </DIV> + </LI> +</UL> +<P align="justify">By “accessible past” or “accessible future” + is meant a past or future where the speaker was (or will be) spatially present + at the time and the time elapsed between then and “now” is psychologically + contiguous, i.e., the speaker views the passage of time from then till now as + one continuous temporal flow of moments, not as disconnected memories, disconnected + predictions, or historical reports. Conversely, “inaccessible” would + mean a past or future where the speaker was not or will not be present or which + he/she knows only from memory, reports, or predictions.</P> +<P align="justify">The <FONT size="2">MONADIC</FONT> is marked by penultimate + stress on the noun or verb (i.e. stress on the second-to-last syllable).</P><BR> + + +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.3.2</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><STRONG>U</STRONG></FONT></DIV></TD> + <TD width="7%"><DIV align="center"><FONT size="4"></FONT></DIV></TD> + <TD width="67%"><FONT size="4"><STRONG>The Unbounded</STRONG></FONT></TD> + </TR> +</TBODY></TABLE> +<P align="justify">The <FONT size="2">UNBOUNDED</FONT> signifies “unbounded + embodiment” of a particular configurative entity, meaning that the noun + or verb manifests itself as not being contained within an uninterrupted boundary, + i.e., in contextually “disconnected” manifestations. For nouns, + the term “plural” has been avoided so as not to imply that the member + nouns are not being referred to quantitatively per se, but rather as a non-monadic + (i.e., non-unified) manifestation of a configurative set. While the most convenient + translation into English would be to use the plural, e.g., trees, groves, lumps + of dirt, a semantically (if not morphologically) more accurate rendering would + be ‘a tree here, a tree there,’ ‘this grove and another and + another…,’ ‘dirt-lump after dirt-lump after dirt-lump….’ +</P> +<P align="justify">For verbs, “unbounded embodiment” means that the + psychological temporal boundary of an act, state, or event is not accessible + from the present context. This would apply to an act, state, or event which:</P> +<UL> + <LI> + <DIV align="justify"><FONT size="2" face="Arial, Helvetica, sans-serif"> occurs + entirely in the inaccessible past </FONT></DIV> + </LI> + <LI> + <DIV align="justify"><FONT size="2" face="Arial, Helvetica, sans-serif">will + occur entirely in the inaccessible future </FONT></DIV> + </LI> + <LI> + <DIV align="justify"><FONT size="2" face="Arial, Helvetica, sans-serif">may + be occurring in the present context but started in an inaccessible past, + and the portion occurring in the present context cannot be understood without + taking into account that past portion </FONT></DIV> + </LI> + <LI> + <DIV align="justify"><FONT size="2" face="Arial, Helvetica, sans-serif">may + be occurring in the present context but will continue into an inaccessible + future, and the portion occurring in the present context cannot be understood + without taking into account the future portion</FONT></DIV> + </LI> + <LI> + <DIV align="justify"><FONT size="2" face="Arial, Helvetica, sans-serif">started + in an inaccessible past and will continue into an inaccessible future, and + the portion occurring in the present context cannot be understood without + taking into account these inaccessible portions</FONT></DIV> + </LI> +</UL> +<P align="justify">If necessary to specify whether the <FONT size="2">UNBOUNDED</FONT> + is referencing the past versus the future, additional aspectual markers can + be employed (see <A href="ithkuil-ch6-moreverbs.htm#Sec6o4">Sec. 6.4</A> + on Aspect). Note that, even more so than with the <FONT size="2">MONADIC</FONT>, + translation of the <FONT size="2">UNBOUNDED</FONT> into Western languages is + subjective, as the translation must necessarily convey linear tense information + which is not conveyed by the Ithkuil original.</P> +<P align="justify">The <FONT size="2">UNBOUNDED</FONT> is shown by ultimate syllabic + stress (i.e., on the final syllable).</P><BR> + + +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.3.3</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><STRONG>N</STRONG></FONT></DIV></TD> + <TD width="7%"><DIV align="center"><FONT size="4"></FONT></DIV></TD> + <TD width="67%"><FONT size="4"><STRONG>The Nomic<A name="Sec3o3o3"></A></STRONG></FONT></TD> + </TR> +</TBODY></TABLE> +<P align="justify">The <FONT size="2">NOMIC</FONT> refers to a generic collective + entity or archetype, containing all members or instantiations of a configurative + set throughout space and time (or within a specified spatio-temporal context). + Since it is all members being spoken of, and no individual members in particular, + this category is mutually exclusive from the <FONT size="2">MONADIC</FONT> or + <FONT size="2">UNBOUNDED</FONT>. For nouns, the <FONT size="2">NOMIC</FONT> + corresponds approximately to the several constructions used for referring to + collective nouns in English, as seen in the sentences <EM><STRONG>The dog</STRONG> + is a noble beast, <STRONG>Clowns</STRONG> are what children love most, There + is nothing like <STRONG>a tree</STRONG></EM>. </P> +<P align="justify">With verbs, the <FONT size="2">NOMIC</FONT> designates an action, + event, or situation which describes a general law of nature or a persistently + true condition or situation spoken of in general, without reference to a specific + instance or occurrence of the activity (it is, in fact, all possible instances + or occurrences that are being referred to). English has no specialized way of + expressing such generic statements, generally using the simple present tense. + Examples of usage would be <EM>The sun doesn't set on our planet, Mr. Okotele + is sickly, In winter it snows a lot, That girl sings well</EM>.</P> +<P align="justify">The <FONT size="2">NOMIC</FONT> is shown by antepenultimate + stress (i.e., on the third-from-last syllable).</P> +<P align="justify"></P><BR> + + +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.3.4</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><STRONG>A</STRONG></FONT></DIV></TD> + <TD width="7%"><DIV align="center"><FONT size="4"></FONT></DIV></TD> + <TD width="67%"><FONT size="4"><STRONG>The Abstract<A name="Sec3o3o4"></A></STRONG></FONT></TD> + </TR> +</TBODY></TABLE> +<P align="justify">Similar to the formation of English abstract nouns using suffixes + such as -hood or -ness, the <FONT size="2">ABSTRACT</FONT> transforms a configurative + category into an abstract concept considered in a non-spatial, timeless, numberless + context. While only certain nouns in English can be made into abstracts via + suffixes, all Ithkuil nouns in all Configurative categories can be made into + abstracts, the translations of which must often be periphrastic in nature, e.g., + <EM>grove</EM> <IMG src="assets/arrow.gif" width="17" height="9"> + <EM>the idea of being a grove</EM> or <EM>“grovehood”</EM>; <EM>book</EM> + <EM><IMG src="assets/arrow.gif" width="17" height="9"> everything + about books, having to do with books, involvement with books</EM>.</P> +<P align="justify">With verbs, the <FONT size="2">ABSTRACT</FONT> is used in verbal + constructions to create a temporal abstraction, where the temporal relationship + of the action, event, or state to the present is irrelevant or inapplicable, + similar to the way in which the English infinitive or gerund form (used as substitutes + for a verb phrase) do not convey a specific tense in the following sentences: + <EM><STRONG>Singing</STRONG> is not his strong suit; It makes no sense <STRONG>to + worry</STRONG> about it; I can't stand her <STRONG>pouting</STRONG></EM>. As + a result, the <FONT size="2">ABSTRACT</FONT> acts as a "timeless" + verb form which, much like these English infinitives and gerunds, operates in + conjunction with a separate main verb in one of the other three perspectives. + The <FONT size="2">ABSTRACT</FONT> is often used in conjunction with certain + modalities and moods of the verb (see <A href="ithkuil-ch5b-verbs-contd.htm#Sec5o5">Sec. + 5.5 on Modality</A> and <A href="ithkuil-ch6-moreverbs.htm#Sec6o5">Sec. + 6.5 on Mood</A>) which convey hypothetical or unrealized situations, in which + the temporal relationship to the present is arbitrary, inapplicable, or unknowable.</P> +<P align="justify">The <FONT size="2">ABSTRACT</FONT> is marked in either of two + ways: (1) by preantepenultimate stress, i.e., on the fourth-to-last syllable, + or (2) by a combination of ultimate stress plus the addition of an anaptyctic + vowel -<STRONG>ï</STRONG>- or -<STRONG>a</STRONG>- in any morpho-phonologically + permissible position of the word (as previously described in <A href="ithkuil-ch2-morphophonology.htm#Sec2o7o3o3">Sec. + 2.7.3.3</A>). This extra vowel can be placed at any position within the word + except within the stem, as long as the vowel does not lead to confusion or ambiguity + in interpreting the phonological boundaries of any other suffixes to the stem. + (Note that in word-final position, only anatyctic -<STRONG>a</STRONG>, not -<STRONG>ï</STRONG>, + is permitted.)</P> +<P align="justify"> </P> + +<TABLE width="98%" border="0" cellpadding="0" bgcolor="#CCCCCC"> + <TBODY><TR> + <TD height="20" valign="top"> + <P><A name="Sec3o4"></A><FONT size="4"><STRONG>3.4 EXTENSION</STRONG></FONT></P></TD> + </TR> +</TBODY></TABLE> +<P align="justify">Extension is another Ithkuil morphological category for which + there is no exact equivalent in other languages. It applies to all formatives + and indicates the manner in which the noun or verb is being considered in terms + of spatial or temporal extent or boundaries. There are six extensions: <FONT size="2">DELIMITIVE</FONT>, + <FONT size="2">PROXIMAL</FONT>, <FONT size="2">INCEPTIVE</FONT>, <FONT size="2">TERMINATIVE</FONT>, + <FONT size="2">DEPLETIVE</FONT>, and <FONT size="2">GRADUATIVE</FONT>, shown + by a vocalic prefix to the formative in conjunction with Affiliation for nouns + (see <A href="ithkuil-ch3-morphology.htm#Sec3o2">Sec. 3.2</A> above) and Affiliation plus Format for verbs + (see <A href="ithkuil-ch5a-verbs.htm#Sec5o4">Section 5.4</A> on Format). + The table below shows these prefixes for nouns. The prefixes for verbs are shown + in Table 14 in <A href="ithkuil-ch5a-verbs.htm#Sec5o4">Section 5.4</A>. + How Extension operates is explained in detail following the table.</P> +<P align="justify"><BR> + <FONT face="Arial, Helvetica, sans-serif"><STRONG>Table 11: Word-Initial Affiliation/Extension + Prefixes for Nominal Formatives</STRONG></FONT></P> +<TABLE width="77%" border="1" cellpadding="0"> + <TBODY><TR> + <TD colspan="2" rowspan="3"><DIV align="center"></DIV> + <DIV align="center"></DIV> + <DIV align="center"></DIV> + <DIV align="center"></DIV> + <DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">AFFILIATION</FONT></DIV> + <DIV align="center"></DIV></TD> + <TD colspan="6"><DIV align="center"></DIV> + <DIV align="center"></DIV> + <DIV align="center"></DIV> + <DIV align="center"></DIV> + <DIV align="center"></DIV> + <DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">EXTENSION</FONT></DIV></TD> + </TR> + <TR> + <TD width="12%"><DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">DEL</FONT></DIV></TD> + <TD width="10%"><DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">PRX</FONT></DIV></TD> + <TD width="11%"><DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">ICP</FONT></DIV></TD> + <TD width="12%"><DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">TRM</FONT></DIV></TD> + <TD width="12%"><DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">DPL</FONT></DIV></TD> + <TD width="13%"><DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">GRD</FONT></DIV></TD> + </TR> + <TR> + <TD><DIV align="center"><STRONG><FONT size="1" face="Arial, Helvetica, sans-serif">DELIMITIVE</FONT></STRONG></DIV></TD> + <TD><DIV align="center"><STRONG><FONT size="1" face="Arial, Helvetica, sans-serif">PROXIMAL</FONT></STRONG></DIV></TD> + <TD><DIV align="center"><STRONG><FONT size="1" face="Arial, Helvetica, sans-serif">INCEPTIVE</FONT></STRONG></DIV></TD> + <TD><DIV align="center"><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif"><FONT size="1">TERMINATIVE</FONT></FONT></STRONG></DIV></TD> + <TD><DIV align="center"><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif"><FONT size="1">DEPLETIVE</FONT></FONT></STRONG></DIV></TD> + <TD><DIV align="center"><STRONG><FONT size="2" face="Arial, Helvetica, sans-serif"><FONT size="1">GRADUATIVE</FONT></FONT></STRONG></DIV></TD> + </TR> + <TR> + <TD width="9%" bgcolor="#CCCCCC"> <DIV align="center"><STRONG>CSL</STRONG></DIV></TD> + <TD width="21%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">CONSOLIDATIVE</FONT></DIV></TD> + <TD><DIV align="center"><STRONG>(a-)*</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>â-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>ai-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>au-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>ä-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>ö-</STRONG></DIV></TD> + </TR> + <TR> + <TD bgcolor="#CCCCCC"> <DIV align="center"><STRONG>ASO</STRONG></DIV></TD> + <TD bgcolor="#CCCCCC"> <DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">ASSOCIATIVE</FONT></DIV></TD> + <TD><DIV align="center"><STRONG>u-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>û-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>ui-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>iu-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>ü-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>ë-</STRONG></DIV></TD> + </TR> + <TR> + <TD bgcolor="#CCCCCC"> <DIV align="center"><STRONG>VAR</STRONG></DIV></TD> + <TD bgcolor="#CCCCCC"> <DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">VARIATIVE</FONT></DIV></TD> + <TD><DIV align="center"><STRONG>e-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>ê-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>ei-</STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>eu- </STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>ëi- </STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>ëu-</STRONG></DIV></TD> + </TR> + <TR> + <TD bgcolor="#CCCCCC"> <DIV align="center"><STRONG>COA</STRONG></DIV></TD> + <TD bgcolor="#CCCCCC"> <DIV align="center"><FONT size="2" face="Arial, Helvetica, sans-serif">COALESCENT</FONT></DIV></TD> + <TD><DIV align="center"><STRONG>i- </STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>î- </STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>o- </STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>ô- </STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>ae- </STRONG></DIV></TD> + <TD><DIV align="center"><STRONG>ea-</STRONG></DIV></TD> + </TR> +</TBODY></TABLE> + +<STRONG>*</STRONG> <FONT size="2">This <STRONG>a-</STRONG> prefix is optional +if the nominal versus verbal status of the formative can be determined from other +morphological elements or if the meaning of the phrase or sentence is clear regardless +of knowing the formative's nominal or verbal status.</FONT><BR> +<P> +</P> +<BR> + +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.4.1</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><STRONG>DEL</STRONG></FONT></DIV></TD> + <TD width="7%"><DIV align="center"><FONT size="4"></FONT></DIV></TD> + <TD width="67%"><FONT size="4"><STRONG>The Delimitive</STRONG></FONT></TD> + </TR> +</TBODY></TABLE> +<P align="justify">The <FONT size="2">DELIMITIVE</FONT> extension indicates that + a noun is being spoken of in its contextual entirety as a discrete entity with + clear spatio-temporal boundaries, with no emphasis on any particular portion, + edge, boundary, limit, or manifestation beyond the context at hand. It can be + considered the neutral or default view, e.g., <EM>a tree, a grove, a set of + books, an army</EM>. To illustrate a contextual example, the English sentence + <EM>He climbed the ladder</EM> would be translated with the word <EM>ladder</EM> + in the <FONT size="2">DELIMITIVE</FONT> to show it is being considered as a + whole. With verbs, this extension indicates that the act, state, or event is + being considered in its entirety, from beginning to end, e.g., <EM>She diets + every winter</EM> (i.e., she starts and finishes each diet).</P> +<TABLE width="87%" border="0" cellpadding="0"> + <TBODY><TR> + <TD><DIV align="justify">The <FONT size="2">DELIMITIVE</FONT> can be thought + of as an expanse of spacetime that has definite beginning and ending points, + beyond which the noun or verb does not exist or occur. The graphic to + the right illustrates the spatio-temporal relationship of a concept in + the <FONT size="2">DELIMITIVE</FONT> to the context at-hand (i.e., the + spatio-temporal “present”).</DIV></TD> + <TD><IMG src="assets/3-4-1.gif" width="344" height="203"></TD> + </TR> +</TBODY></TABLE> +<H3 align="justify"> </H3> +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.4.2</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><STRONG>PRX</STRONG></FONT></DIV></TD> + <TD width="7%"><DIV align="center"><FONT size="4"></FONT></DIV></TD> + <TD width="67%"><FONT size="4"><STRONG>The Proximal</STRONG></FONT></TD> + </TR> +</TBODY></TABLE> +<P align="justify">The <FONT size="2">PROXIMAL</FONT> extension indicates that + a noun is being spoken of not in its entirety, but rather only in terms of the + portion, duration, subset, or aspect which is relevant to the context at hand. + It would be used to translate the words <EM>tree</EM>, <EM>journey</EM>, and + <EM>ladder</EM> in the sentences <EM>That tree is hard there</EM> (e.g., in + the spot where I hit against it), <EM>She lost weight during her journey</EM>, + or <EM>He climbed on the ladder</EM> (i.e., it is not relevant to the context + to know if he made it all the way to the top). Note that in these sentences, + the <FONT size="2">PROXIMAL</FONT> does not refer to a specific or delineated + piece, part, or component of the tree or ladder, but rather to the fact that + delineated boundaries such as the ends of the ladder or the entirety of the + tree are not relevant or applicable to the context at hand. With verbs, this + extension signifies that it is not the entirety of an act, state, or event which + is being considered, but rather the spatial extent or durational period of the + act, state, or event relevant to the context, e.g., <EM>She’s on a diet + every winter</EM> (i.e., focus on “having to live on” a diet, not + the total time spent dieting from start to finish). </P> +<P align="justify"></P> +<TABLE width="86%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="55%"><DIV align="justify">The graphic to the right illustrates + the spatio-temporal relationship of a noun or verbal concept in the <FONT size="2">PROXIMAL</FONT> + to the context at-hand (i.e., the spatio-temporal “present”).</DIV></TD> + <TD width="45%"><IMG src="assets/3-4-2.gif" width="356" height="251"></TD> + </TR> +</TBODY></TABLE> +<H3 align="justify"> </H3> +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.4.3</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><STRONG>ICP</STRONG></FONT></DIV></TD> + <TD width="7%"><DIV align="center"><FONT size="4"></FONT></DIV></TD> + <TD width="67%"><FONT size="4"><STRONG>The Inceptive</STRONG></FONT></TD> + </TR> +</TBODY></TABLE> +<P align="justify">The <FONT size="2">INCEPTIVE</FONT> extension focuses on the + closest boundary, the beginning, initiation, or the immediately accessible portion + of a noun or verb, without focusing on the boundaries of the remainder. It would + be used in translating the nouns <EM>tunnel</EM>, <EM>song</EM>, <EM>desert</EM>, + <EM>daybreak</EM> and <EM>plan</EM> in the following sentences: <EM>We looked + into (the mouth of) the tunnel, He recognizes that song </EM>(i.e., from the + first few notes)<EM>, They came upon (an expanse of) desert, Let’s wait + for daybreak, I’m working out a plan</EM> (i.e., that I just thought of). + In verbal contexts it would correspond to the English ‘to begin (to)…’ + or ‘to start (to)…’ as in <EM>He began reading, It’s + starting to molt, or She goes on a diet every winter</EM>.</P> +<TABLE width="86%" border="0" cellpadding="0"> + <TBODY><TR> + <TD><DIV align="justify">The graphic to the right illustrates the spatio-temporal + relationship of a noun or verbal concept in the <FONT size="2">INCEPTIVE</FONT> + to the context at-hand (i.e., the spatio-temporal “present”).</DIV></TD> + <TD><IMG src="assets/3-4-3.gif" width="361" height="227"></TD> + </TR> +</TBODY></TABLE> +<H3 align="justify"> </H3> +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.4.4</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><STRONG>TRM</STRONG></FONT></DIV></TD> + <TD width="7%"><DIV align="center"><FONT size="4"></FONT></DIV></TD> + <TD width="67%"><FONT size="4"><STRONG>The Terminative</STRONG></FONT></TD> + </TR> +</TBODY></TABLE> +<P align="justify">The <FONT size="2">TERMINATIVE</FONT> extension focuses on + the end, termination, last portion, or trailing boundary of a noun, without + focusing on the preceding or previously existing state of the noun. It would + be used in translating the words <EM>water</EM>, <EM>story</EM>, and <EM>arrival</EM> + in the sentences <EM>There’s no water</EM> (i.e., we ran out), <EM>I like + the end of that story</EM>, and <EM>We await your arrival</EM>. With verbs, + it is illustrated by the sentences <EM>It finished molting</EM> or <EM>She’s + come off her diet</EM>.</P> +<TABLE width="86%" border="0" cellpadding="0"> + <TBODY><TR> + <TD><DIV align="justify">The graphic to the right illustrates the spatio-temporal + relationship of a noun or verbal concept in the <FONT size="2">TERMINATIVE</FONT> + to the context at-hand (i.e., the spatio-temporal “present”).</DIV></TD> + <TD><IMG src="assets/3-4-4.gif" width="378" height="246"></TD> + </TR> +</TBODY></TABLE> +<H3 align="justify"> </H3> +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.4.5</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><STRONG>DPL</STRONG></FONT></DIV></TD> + <TD width="7%"><DIV align="center"><FONT size="4"></FONT></DIV></TD> + <TD width="67%"><FONT size="4"><STRONG>The Depletive</STRONG></FONT></TD> + </TR> +</TBODY></TABLE> +<P align="justify">The <FONT size="2">DEPLETIVE</FONT> extension focuses on the + terminal boundary or “trailing” edge of a noun, where this terminus + is ill-defined, “diffuse” or extended to some degree, (i.e. the + at-hand context of the noun “peters out” or terminates gradually). + Essentially, it applies to any context involving actual or figurative fading. + It would be used in translating the words <EM>water</EM>, <EM>strength</EM>, + and <EM>twilight</EM> in the sentences <EM>He drank the last of the water, I + have little strength left, She disappeared into the twilight</EM>. With verbs, + it is exemplified by the phrases <EM>to wind down, to fade out, to disappear + gradually</EM> and similar notions, e.g., <EM>She’s eating less and less + these days</EM>.</P> +<TABLE width="88%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="38%"><DIV align="justify">The graphic to the right illustrates the spatio-temporal + relationship of a noun or verbal concept in the <FONT size="2">DEPLETIVE</FONT> + to the context at-hand (i.e., the spatio-temporal “present”).</DIV></TD> + <TD width="62%"><IMG src="assets/3-4-5.gif" width="373" height="237"></TD> + </TR> +</TBODY></TABLE> +<H3 align="justify"> </H3> +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><FONT size="4"><STRONG>3.4.6</STRONG></FONT></TD> + <TD width="10%" bgcolor="#CCCCCC"> <DIV align="center"><FONT size="4"><STRONG>GRD</STRONG></FONT></DIV></TD> + <TD width="7%"><DIV align="center"><FONT size="4"></FONT></DIV></TD> + <TD width="67%"><FONT size="4"><STRONG>The Graduative</STRONG></FONT></TD> + </TR> +</TBODY></TABLE> +<P align="justify">The <FONT size="2">GRADUATIVE</FONT> extension is the inverse + of the <FONT size="2">DEPLETIVE</FONT>, focusing on a diffuse, extended “fade-in” + or gradual onset of a noun. It would be used in translating the words <EM>darkness</EM>, + <EM>wonder</EM>, and <EM>music</EM> in the following sentences: <EM>Darkness + came upon us, I felt a growing sense of wonder, The music was very soft at first</EM>. + With verbs it is illustrated by verbs and phrases such as <EM>to fade in, to + start gradually, to build up</EM>, and similar notions, e.g., <EM>She’s + been eating more and more lately</EM>.</P> +<TABLE width="88%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="50%"><DIV align="justify">The graphic to the right illustrates the spatio-temporal + relationship of a noun in the <FONT size="2">GRADUATIVE</FONT> to the + context at-hand (i.e., the spatio-temporal “present”).</DIV></TD> + <TD width="50%"><IMG src="assets/3-4-6.gif" width="371" height="215"></TD> + </TR> +</TBODY></TABLE> +<P align="justify"></P> +<P align="justify"></P> +<H3 align="justify">3.4.7 Examples of Configuration, Affiliation, and Extension</H3> +<TABLE width="88%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="26%"><IMG src="assets/3-4-7a.gif" width="73" height="69"></TD> + <TD width="23%"><IMG src="assets/3-4-7b.gif" width="78" height="66"></TD> + <TD width="9%"> </TD> + <TD width="15%"><IMG src="assets/3-4-7c.gif" width="73" height="65"></TD> + <TD width="27%"><IMG src="assets/3-4-7d.gif" width="76" height="67"></TD> + </TR> + <TR> + <TD><EM>‘piece of clothing’ <IMG src="assets/arrow.gif" width="17" height="9"></EM></TD> + <TD><EM>‘set/suit of clothes’</EM></TD> + <TD> </TD> + <TD><EM>‘hand’ <IMG src="assets/arrow.gif" width="17" height="9"></EM></TD> + <TD><EM>‘pair of hands’</EM></TD> + </TR> +</TBODY></TABLE> +<EM><BR> +<BR> +</EM> +<TABLE width="88%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="17%" height="79"><IMG src="assets/3-4-7e.gif" width="70" height="70"></TD> + <TD width="34%"><IMG src="assets/3-4-7f.gif" width="79" height="75"></TD> + <TD width="7%"> </TD> + <TD width="15%"><IMG src="assets/3-4-7g.gif" width="71" height="72"></TD> + <TD width="27%"><IMG src="assets/3-4-7h.gif" width="116" height="74"></TD> + </TR> + <TR> + <TD><EM>‘oak tree’ <IMG src="assets/arrow.gif" width="17" height="9"></EM></TD> + <TD><EM>‘trailing edge of an oak forest’</EM></TD> + <TD> </TD> + <TD><EM>‘upland’ <IMG src="assets/arrow.gif" width="17" height="9"></EM></TD> + <TD><EM>‘foothills’</EM></TD> + </TR> +</TBODY></TABLE> +<EM><BR> +<BR> +</EM> +<TABLE width="88%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="28%"><IMG src="assets/3-4-7i.gif" width="73" height="68"></TD> + <TD><IMG src="assets/3-4-7j.gif" width="78" height="65"></TD> + </TR> + <TR> + <TD><EM>‘something yellow’ <IMG src="assets/arrow.gif" width="17" height="9"></EM></TD> + <TD><EM>‘a mess of varying yellow things as far as the eye can see’</EM></TD> + </TR> +</TBODY></TABLE> +<BR> +<BR> +<TABLE width="92%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="17%" height="73"><IMG src="assets/3-4-7k.gif" width="71" height="73"></TD> + <TD width="17%"><IMG src="assets/3-4-7l.gif" width="72" height="70"></TD> + <TD width="66%"><IMG src="assets/3-4-7m.gif" width="315" height="69"> + <A href="Sound_Files/Ch-3-1.mp3"><IMG src="assets/Clown4.GIF" width="89" height="67" border="0"></A> + </TD> + </TR> + <TR> + <TD><EM>‘clown’</EM></TD> + <TD><EM>‘running <BR> + stride’ <IMG src="assets/arrow.gif" width="17" height="9"></EM></TD> + <TD><EM>‘Something makes the group of running clowns begin stumbling’ + </EM><STRONG>or</STRONG><EM><BR> + ‘The group of clowns are made to begin stumbling as they run.’</EM></TD> + </TR> +</TBODY></TABLE> +<FONT color="#FFFFFF"> _______________________________</FONT><FONT size="1" face="Arial, Helvetica, sans-serif"><A href="Sound_Files/Ch-3-1.mp3">Listen!</A> +<A href="Sound_Files/Ch-3-1.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absbottom"></A></FONT><BR> +<BR> +<EM></EM><BR> +<BR> + +<TABLE width="97%" border="0" cellpadding="0"> + <TBODY><TR> + <TD height="20" valign="top" bgcolor="#CCCCCC"> + <P><A name="Sec3o5"></A><FONT size="4"><STRONG>3.5 FOCUS</STRONG></FONT></P></TD> + </TR> +</TBODY></TABLE> +<P align="justify">Focus, is a two-way, positive versus negative distinction labeled + <STRONG>+FC</STRONG> <FONT size="2">FOCUSED</FONT> and <STRONG>-FC</STRONG> + <FONT size="2">UNFOCUSED</FONT> which is applicable to all formatives, whether + functioning as nouns or verbs. The concept of semantic focus refers to what + information in an utterance is to be considered new information as opposed to + background context. The specifics are explained below and are best understood + through various English illustrations.</P> +<P align="justify">In any given discourse (i.e., a contextual series of utterances + such as a conversation, a story, an account of an event, etc.), any single sentence + of that discourse will likely make reference to previously mentioned material + as background, as well as present new material to further the purpose of the + discourse. Semantic focus refers to those elements of a sentence which constitute + new material within an actual or implied discourse. For example, the sentence + <EM>My dog jumps through hoops</EM> could function as an answer to several different + questions such as 1) <EM>What tricks can your dog do?</EM>, or 2) <EM>Does your + dog do anything with hoops? </EM>or 3) <EM>Do you know of anyone’s pet + that jumps through hoops?</EM> or even 4) <EM>What’s up with you?</EM> + In answering the first of these questions, ‘jump through hoops’ + would have semantic focus while the dog is background material. In answering + the second question, the verbal phrase ‘jump through’ would have + focus while both the dog and the hoops would be background material. In answering + the third question, it would be ‘my dog’ that carries the focus + while jumping through hoops would be backgrounded. Lastly, in answering the + fourth sentence, no element in the sentence has focus over any other, as all + elements present previously unknown material within the context of the discourse. + In general, English conveys focus by a shift in vocal inflection (tone and pitch + contours) to provide emphasis.</P> +<P align="justify">Focus does not necessarily require a full discourse to have + semantic relevance; it can occur within a single autonomous sentence, in which + case the background discourse is implied. For example, a person might spontaneously + begin a conversation with the same sentence: My dog jumps through hoops. In + English, the speaker might use vocal inflection to emphasize what elements convey + semantic focus versus what elements are to be taken by the listener as “given.” + Or, the speaker might say the sentence in a neutral tone of voice, essentially + inviting the listener to “choose” which elements to focus upon in + responding, e.g., <EM>Oh, you have a dog?</EM> or <EM>Oh, does he do any other + tricks? </EM>or <EM>Oh, do you use metal or plastic hoops?</EM> or an equally + neutral response such as <EM>Oh, you don’t say?</EM></P> +<P align="justify">Ithkuil uses the Focus category to accomplish the same options + that such vocal inflections accomplish in English. Any formative or formatives + within an Ithkuil sentence can be marked as <FONT size="2">FOCUSED</FONT> to + convey semantic focus. The <FONT size="2">UNFOCUSED</FONT> option operates as + the opposing neutral default condition. Focus can be used to subtly distinguish + what in Ithkuil would otherwise be identical sentence. For example, compare + the following two English sentences:</P> +<BLOCKQUOTE> + <P align="justify"><EM>After I shopped, I went home. <BR> + I shopped before I went home</EM>.</P> +</BLOCKQUOTE> +<P align="justify">Both sentences indicate two sequential events: shopping, then + going home. The difference between them is one of focus. In the first sentence, + <EM>I went home</EM> has semantic focus, as that is the new information being + conveyed, while in the second sentence it is <EM>I shopped</EM> that has focus. + In Ithkuil, both sentences would be translated as <EM>(First) I shopped then + went home</EM>, the only distinction being the <STRONG>+FC</STRONG> <FONT size="2">FOCUSED</FONT> + distinction applied to the verb phrase <EM>went home</EM> in the first sentence, + and to the verb <EM>shopped</EM> in the second sentence.</P> +<P align="justify">As a further examination of Focus, compare these two very similar + English sentences:</P> +<BLOCKQUOTE> + <P align="justify"><EM>Mother entered the room and turned on the lights.<BR> + Mother entered the room and she turned on the lights.</EM></P> +</BLOCKQUOTE> +<P align="justify">In the first sentence, the absence of the reduplicative pronoun + ‘she’ before ‘turned’ implies that the entire sentence + is to considered as one reported event with no particular element having the + focus. In the second sentence, however, the reduplicative ‘she’ + implies the sentence is to viewed as two separate events, the first reported + as background, the second having the focus. (For example, one might utter the + second sentence as a complaint about the lights being turned on.) The Ithkuil + equivalents to these sentences would contain no such pronoun distinction. Instead, + the nuances of the second sentence would be conveyed by marking the equivalent + of the verb form as <FONT size="2">FOCUSED</FONT>.</P> +<P align="justify">Finally, Focus functions to disambiguate sentences such as + <EM>Chicago defeated Oakland, too</EM>, which means either (1) ‘Chicago + was one of the teams that defeated Oakland,’ or (2) ‘Oakland was + one of the teams that Chicago defeated.’ Ithkuil would mark one team name + or the other as <FONT size="2">FOCUSED </FONT>to show which of these two meanings + is implied.</P> +<P align="justify">The <FONT size="2">UNFOCUSED</FONT> attribute is morpho-phonologically + unmarked in Ithkuil, i.e., it is indicated by the absence of any overt change + in the phonological structure of a formative, or by any affix or adjunct. The + <FONT size="2">FOCUSED</FONT> attribute is shown in one of three ways for formatives:</P> +<UL> + <LI>by insertion of a -<STRONG>w</STRONG>- infix within a formative immediately + following the <STRONG>C<FONT size="1">1</FONT></STRONG> radical consonant(s), + or</LI> + <LI>by addition of the suffix -<STRONG>V<FONT size="1">1</FONT>’</STRONG> + in several of its degrees (see <A href="ithkuil-ch7b-affixes-contd.htm#Sec7o7o13">Sec. + 7.7.13</A>)</LI> + <LI><A href="ithkuil-ch5a-verbs.htm#Sec5o2">Sec. 5.2</A> and <A href="ithkuil-ch6-moreverbs.htm#Sec6o4o5">Sec. + 6.4.5</A> will show additional ways to manifest positive focus within certain + types of adjuncts.<BR> + </LI> +</UL> +<P align="justify"> </P> +<TABLE width="99%" border="0" cellpadding="0" bgcolor="#CCCCCC"> + <TBODY><TR> + <TD height="20" valign="top"> + <P><A name="Sec3o6"></A><FONT size="4"><STRONG>3.6 CONTEXT</STRONG></FONT></P></TD> + </TR> +</TBODY></TABLE> +<P align="justify">Context is yet another morphological category with no equivalent + in other languages. It indicates what tangible or intangible features or aspects + of a formative are being psychologically implied in any given utterance. There + is no way to show this in translation other than by paraphrase. There are four + contexts: the <FONT size="2">EXISTENTIAL</FONT>, the <FONT size="2">FUNCTIONAL</FONT>, + the <FONT size="2">REPRESENTATIONAL</FONT>, and the <FONT size="2">AMALGAMATE</FONT>, + marked by each of the four tones on the formative. They are explained and illustrated + below.</P> +<BR> + +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><STRONG><FONT size="4">3.6.1 </FONT></STRONG></TD> + <TD width="10%" valign="top" bgcolor="#CCCCCC"><STRONG><FONT size="4">EXS</FONT></STRONG></TD> + <TD width="7%"><FONT size="4"> </FONT></TD> + <TD width="67%"> <STRONG><FONT size="4">The Existential</FONT></STRONG></TD> + </TR> +</TBODY></TABLE> +<DIV align="justify"><BR> + The <FONT size="2">EXISTENTIAL</FONT> context is marked by falling tone on the + formative. It focuses on those features of a noun or verb which are ontologically + objective, i.e., those that exist irrespective of any observers, opinions, interpretations, + beliefs or attitudes. Similarly excluded from consideration in the <FONT size="2">EXISTENTIAL</FONT> + is any notion of a noun’s use, function, role or benefit. The <FONT size="2">EXISTENTIAL</FONT> + serves only to point out the mere existence of a noun as a tangible, objective + entity under discussion. It is thus used to offer mere identification of a noun + or verb. </DIV> +<P align="justify">For example, consider the sentence <EM>A cat ran past the doorway</EM>. + If the Ithkuil words corresponding to <EM>cat</EM>, <EM>run</EM>, and <EM>doorway</EM> + are in the <FONT size="2">EXISTENTIAL</FONT>, then the sentence merely describes + an objective scene. No implication is intended concerning the subjective nature + of the two entities or the action involved. The sentence is merely stating that + two entities currently have a certain dynamic spatial relationship to each other; + those two entities happen to be a cat and a doorway, and the running merely + conveys the nature of the spatial relationship. </P> +<BR> + +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><STRONG><FONT size="4">3.6.2</FONT></STRONG></TD> + <TD width="10%" valign="top" bgcolor="#CCCCCC"><STRONG><FONT size="4">FNC</FONT></STRONG></TD> + <TD width="7%"> </TD> + <TD width="67%"> <STRONG><FONT size="4">The Functional</FONT></STRONG></TD> + </TR> +</TBODY></TABLE> +<DIV align="justify"><BR> + The <FONT size="2">FUNCTIONAL</FONT> context is marked by high tone on the formative. + It focuses on those features of a formative that are defined socially by ideas, + attitudes, beliefs, opinions, convention, cultural status, use, function, benefit, + etc. It serves to identify not what a noun existentially is, but to show that + the noun has specific (and subjective) contextual meaning, relevance or purpose. +</DIV> +<P align="justify">For example, in our previous sentence <EM>A cat ran past the + doorway</EM>, if we now place the cat, doorway, and act of running each into + the <FONT size="2">FUNCTIONAL</FONT>, the ‘cat’ no longer simply + identifies a participant, it makes its being a cat (as opposed to say, a dog) + significant, e.g., because the speaker may fear cats, or because the cat could + get into the room and ruin the furniture, or because cats are associated with + mystery, or because a neighbor has been looking for a lost cat, etc. The ‘doorway’ + now conveys its purpose as an entry, reinforcing what the cat may do upon entering. + Likewise, the verb ‘ran’ in the <FONT size="2">FUNCTIONAL</FONT> + now implies the furtive nature of the cat.</P> +<P align="justify"> </P> +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><STRONG><FONT size="4">3.6.3</FONT></STRONG></TD> + <TD width="10%" bgcolor="#CCCCCC"><STRONG><FONT size="4">RPS</FONT></STRONG></TD> + <TD width="7%"> </TD> + <TD width="67%"> <STRONG><FONT size="4">The Representational<A name="Sec3o6o3"></A></FONT></STRONG></TD> + </TR> +</TBODY></TABLE> +<DIV align="justify"><BR> + The <FONT size="2">REPRESENTATIONAL</FONT> context is marked by rising tone. + It focuses on a formative as a symbol, metaphor, or metonym*, in that it indicates + that the formative is serving as a representation or substitute for some other + concept or entity which is abstractly associated with it. For example, the metaphorical + connotations of the English sentence <EM>That pinstripe-suited dog is checking + out a kitty</EM>, can be equally conveyed in Ithkuil by inflecting the words + for ‘dog and ‘kitty’ into the <FONT size="2">REPRESENTATIONAL</FONT> + context. The <FONT size="2">REPRESENTATIONAL</FONT> is one of several ways that + Ithkuil overtly renders all metaphorical, symbolic, or metonymic usages (from + a grammatical standpoint). </DIV> +<P align="justify"><FONT size="2" face="Arial, Helvetica, sans-serif">* Metonymy + is the use of a word or phrase of one type to refer to an associated word or + phrase of a different type (usually a person), such as place-for-person in ‘The + orders came from <EM>the White House</EM>,’ object-for-person in ‘Tell + the cook <EM>the ham-and-cheese</EM> wants fries with his order’ or phrase-for-person + as in ‘<EM>You-know-who</EM> just showed up.’<BR> + </FONT><BR> +</P> +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><STRONG><FONT size="4">3.6.4</FONT></STRONG></TD> + <TD width="10%" bgcolor="#CCCCCC"><STRONG><FONT size="4">AMG</FONT></STRONG></TD> + <TD width="7%"> </TD> + <TD width="67%"> <STRONG><FONT size="4">The Amalgamate<A name="Sec3o6o4"></A></FONT></STRONG></TD> + </TR> +</TBODY></TABLE> +<P align="justify"> The <FONT size="2">AMALGAMATE</FONT> context is marked by + broken tone. It is the most abstract and difficult to understand from a Western + linguistic perspective. It focuses on the systemic, holistic, gestalt-like, + componential nature of a formative, implying that its objective and subjective + totality is derived synergistically from (or as an emergent property of) the + interrelationships between all of its parts, not just in terms of a static momentary + appraisal, but in consideration of the entire developmental history of the noun + and any interactions and relationships it has (whether past, present or potential) + within the larger context of the world. Its use indicates the speaker is inviting + the hearer to subjectively consider all the subjective wonder, emotional nuances, + psychological ramifications and/or philosophical implications associated with + the noun’s existence, purpose, or function, as being a world unto itself, + intrinsically interconnected with the wider world beyond it on many levels. + Thus the <FONT size="2">AMALGAMATE</FONT> version of our sentence <EM>The cat + ran past the doorway</EM> would take on quite melodramatic implications, with + the cat being representative of everything about cats and all they stand for, + the doorway as being representative of the nature of doorways as portals of + change, thresholds of departure, and the juncture of past and the future, while + the act of running becomes representative of flight from enemies, rapidity of + movement, the body at maximum energy expenditure, etc.</P> +<P align="justify"> </P> +<BR> + +<TABLE width="97%" border="0" cellpadding="0" bgcolor="#CCCCCC"> + <TBODY><TR> + <TD height="20" valign="top"> + <P><A name="Sec3o7"></A><FONT size="4"><STRONG>3.7 DESIGNATION</STRONG></FONT></P></TD> + </TR> +</TBODY></TABLE> +<P align="justify"><STRONG>Designation</STRONG> is a somewhat subjective category, + with no equivalent in Western languages. Previously mentioned briefly in <A href="ithkuil-ch2-morphophonology.htm#Sec2o2o3">Sec. + 2.3</A>, it refers to a two-fold distinction in a formative regarding its contextual + status, authority, permanence, or extra-contextual relevance. The two designations + are the <FONT size="2">INFORMAL</FONT> and the <FONT size="2">FORMAL</FONT>, + explained below.<BR> +</P> +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="16%"><STRONG><FONT size="4">3.7.1 </FONT></STRONG></TD> + <TD width="12%" bgcolor="#CCCCCC"><DIV align="center"><STRONG><FONT size="4">-FR</FONT></STRONG></DIV></TD> + <TD width="5%"> </TD> + <TD width="67%"> <STRONG><FONT size="4">The Informal</FONT></STRONG></TD> + </TR> +</TBODY></TABLE> +<P align="justify">The <FONT size="2">INFORMAL</FONT> designation is marked by + Form I of vocalic mutation (see <A href="ithkuil-ch2-morphophonology.htm#Sec2o2o3">Section + 2.2.3</A>). It indicates that the noun or verb in question does not exist in + a necessarily permanent state, or is to be considered only for the duration + of the context in which it is spoken, with any lasting effect, influence or + permanency beyond the context being either absent, unknown or irrelevant.<BR> +</P> +<TABLE width="45%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="17%"><STRONG><FONT size="4">3.7.2</FONT></STRONG></TD> + <TD width="12%" bgcolor="#CCCCCC"><DIV align="center"><STRONG><FONT size="4">+FR</FONT></STRONG></DIV></TD> + <TD width="3%"> </TD> + <TD width="68%"> <STRONG><FONT size="4">The Formal</FONT></STRONG></TD> + </TR> +</TBODY></TABLE> +<P align="justify">The <FONT size="2">FORMAL</FONT> designation is marked by Form + II of vocalic mutation (see<FONT color="#FF0000"> <A href="ithkuil-ch2-morphophonology.htm#Sec2o2o3">Section + 2.2.3</A></FONT>). The <FONT size="2">FORMAL</FONT> imparts a sense of permanency + and/or authority, raising the noun or verb to a more definitive, formal or institutional + manifestation of itself, or stressing this authoritative/definitive nature if + the meaning already includes it. For example, stems translatable as ‘symbol,’ + ‘eat,’ ‘thought,’ and ‘a model’ in the <FONT size="2">INFORMAL</FONT> + would become ‘icon,’ ‘dine,’ ‘idea,’ and + ‘archetype’ in the <FONT size="2">FORMAL</FONT>.</P> +<P align="justify">The <FONT size="2">FORMAL</FONT> achieves several subtle purposes + from a lexico-semantic standpoint. While some Ithkuil words would translate + the same in English no matter which designation (e.g., <EM>to hurt, to float, + breath, to fall, shade, sleep, cough</EM>), many stems would have different + translations in English depending on their designation. For example, the stem + <FONT face="Arial, Helvetica, sans-serif"><STRONG>qum</STRONG></FONT> with the + affiliated meanings <EM>person <IMG src="assets/arrow.gif" width="17" height="9"> + group <IMG src="assets/arrow.gif" width="17" height="9"> gathering + <IMG src="assets/arrow.gif" width="17" height="9"> + throng</EM>, etc. in the <FONT size="2">INFORMAL</FONT> designation would change + to the following series of approximate translations when placed in the <FONT size="2">FORMAL</FONT> + designation: <EM>official <IMG src="assets/arrow.gif" width="17" height="9"> + team <IMG src="assets/arrow.gif" width="17" height="9"> association/congregation + <IMG src="assets/arrow.gif" width="17" height="9"> + masses</EM>, etc.</P> +<P align="justify">Further examples of lexical shifts in translation due to <FONT size="2">INFORMAL</FONT><EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + <FONT size="2">FORMAL</FONT> designation are listed below:</P> +<TABLE width="80%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="6%"> </TD> + <TD width="58%">to grow something <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + to cultivate</TD> + <TD width="36%">wander <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + travel</TD> + </TR> + <TR> + <TD> </TD> + <TD>obtain/get <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + procure/requisition</TD> + <TD>lake <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + reservoir</TD> + </TR> + <TR> + <TD> </TD> + <TD>(natural) holder <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + container</TD> + <TD>see <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + observe</TD> + </TR> + <TR> + <TD> </TD> + <TD>to create <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + construct/build</TD> + <TD>heap <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + pile</TD> + </TR> + <TR> + <TD> </TD> + <TD>animal <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + domesticated animal</TD> + <TD>a thought <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + an idea</TD> + </TR> + <TR> + <TD> </TD> + <TD>natural environment <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM>“man-made” + environment</TD> + <TD>awareness <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + consciousness</TD> + </TR> + <TR> + <TD> </TD> + <TD>[natural] exchange <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + trade/commerce</TD> + <TD>house <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + home</TD> + </TR> + <TR> + <TD> </TD> + <TD>assortment of animals <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + zoo collection </TD> + <TD>grouping <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + set</TD> + </TR> + <TR> + <TD> </TD> + <TD>to group/gather <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + collect</TD> + <TD>wall <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + barrier</TD> + </TR> + <TR> + <TD> </TD> + <TD>get some exercise <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + to work out</TD> + <TD>placidity <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + peace</TD> + </TR> + <TR> + <TD> </TD> + <TD>problem situation <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + crisis</TD> + <TD>to populate <EM><IMG src="assets/arrow.gif" width="17" height="9"></EM> + to settle</TD> + </TR> +</TBODY></TABLE> +<P align="justify"> As can be seen from the above list, the exact interpretation + of Designation for each word-root is specific to each word-root, depending on + its associated semantic context.</P> +<P align="justify"> </P><BR> + +<TABLE width="97%" border="0" cellpadding="0"> + <TBODY><TR> + <TD valign="top" bgcolor="#CCCCCC"> +<P><A name="Sec3o8"></A><FONT size="4"><STRONG>3.8 ESSENCE</STRONG></FONT></P></TD> + </TR> +</TBODY></TABLE> +<P align="justify">Essence refers to a two-fold morphological distinction which + has no counterpart in Western languages. It is best explained by reference to + various English language illustrations. Compare the following pairs of English + sentences:</P> +<BLOCKQUOTE> + <P align="justify"> 1a) <EM>The boy ran off to sea.</EM><BR> + 1b) <EM>The boy who ran off to sea didn’t run off to sea.</EM></P> + <P align="justify">2a) <EM>The dog you saw is to be sold tomorrow.</EM><BR> + 2b) <EM>The dog you saw doesn’t exist.</EM></P> +</BLOCKQUOTE> +<P align="justify">Sentences (1a) and (2a) appear to be straightforward sentences + in terms of meaning and interpretation. However, at first blush, sentences + (1b) and (2b) appear nonsensical, and it is not until we consider specialized + contexts for these sentences that they make any sense. For example, (1b) would + make sense if being spoken by an author reporting a change of mind about the + plot for a story, while (2b) makes sense when spoken by a puzzled pet store + owner in whose window you earlier saw a dog that is now no longer there.</P> +<P align="justify">Why sentences such as (1b) and (2b) can have possible real-world + meaning is because they in fact do not make reference to an actual boy or dog, + but rather to hypothetical representations of a real-world boy and dog, being + used as references back to those real-world counterparts from within an “alternative + mental space” created psychologically (and implied linguistically) where + events can be spoken about that are either unreal, as-yet-unrealized, or alternative + versions of what really takes place. This alternative mental space, then, is + essentially the psychological realm of both potential and imagination. In Western + languages, such an alternative mental space is implied by context or indicated + by certain lexical signals. One such group of lexical signals are the so-called + “modal” verbs of English, e.g., <EM>must, can, should</EM>, etc. + as seen in the following:</P> +<BLOCKQUOTE> + <P align="justify">3) <EM>You must come home at once.</EM><BR> + 4) <EM>That girl can sing better than anybody.</EM><BR> + 5) <EM>We should attack at dawn.</EM></P> +</BLOCKQUOTE> +<P align="justify">Each of the above three sentences describe potential events, + not actual real-world happenings that are occurring or have occurred. For example, + in Sentence (3) no one has yet come home nor do we know whether coming home + is even possible, in Sentence (4) the girl may never sing a single note ever + again for all we know, and Sentence (5) gives us no information as to whether + any attack will actually occur.<BR> +</P> +<BR> +<TABLE width="51%" border="0" cellpadding="0"> + <TBODY><TR> + <TD width="14%"><STRONG><FONT size="4">3.8.1</FONT></STRONG></TD> + <TD width="13%" bgcolor="#CCCCCC"><DIV align="center"><STRONG><FONT size="4">NRM</FONT></STRONG></DIV></TD> + <TD width="3%"> </TD> + <TD width="70%"> <STRONG><FONT size="4">The Normal<A name="Sec3o8o1"></A></FONT></STRONG></TD> + </TR> + <TR> + <TD> </TD> + <TD bgcolor="#CCCCCC"><DIV align="center"><FONT size="4"><STRONG>RPV</STRONG></FONT></DIV></TD> + <TD> </TD> + <TD><STRONG><FONT size="4">The Representative</FONT></STRONG></TD> + </TR> +</TBODY></TABLE> +<P align="justify">The Ithkuil category of Essence explicitly distinguishes real-world + actualities from their alternative, imagined or potential counterparts. The + two essences are termed <FONT size="2">NORMAL</FONT> and <FONT size="2">REPRESENTATIVE</FONT>, + the former being the default essence denoting real-world nouns and verbs, the + latter denoting alternative counterparts. By marking such counterparts explicitly, + Ithkuil allows a speaker to express any noun or verb as referring to a real-world + versus alternative manifestation, without having the listener infer such from + an explanatory context.</P> +<P align="justify">Essence is morpho-phonologically marked by primary versus secondary + mode of vocalic mutation, as previously described in <A href="ithkuil-ch2-morphophonology.htm#Sec2o2o3">Sec. + 2.2.3</A> and fully illustrated in <A href="ithkuil-ch2-morphophonology.htm#Sec2o2o5">Sec. + 2.5</A>. The <FONT size="2">NORMAL</FONT> is marked by the primary mode while + the <FONT size="2">REPRESENTATIVE</FONT> is marked by secondary mode. </P> +<H3 align="justify"><BR> + 3.8.2 Examples of Essence in Use</H3> +<P align="justify"><IMG src="assets/3-8-2a.gif" width="450" height="119"><FONT color="#FFFFFF">_</FONT><FONT size="1" face="Arial, Helvetica, sans-serif"><A href="Sound_Files/Ch-3-2.mp3">Listen!</A> + <A href="Sound_Files/Ch-3-2.mp3"><IMG src="assets/Audio_icon.gif" width="19" height="16" border="0" align="absbottom"></A></FONT></P> +<P align="justify"><BR> + <IMG src="assets/3-8-2b.gif" width="609" height="210"></P> +<P align="justify"> </P> +<P align="right"><FONT face="Arial, Helvetica, sans-serif"><STRONG><A href="ithkuil-ch4-case.html" onclick="javascript:changenav4();">Proceed + to Chapter 4: Case Morphology >></A></STRONG></FONT></P> +<P align="justify"></P> +<P align="justify"></P> +<TABLE width="100%" border="0" cellpadding="1"> + <TBODY><TR> + <TD width="9%" height="25" valign="top"><DIV align="left"><FONT size="1"><A name="menu"></A></FONT></DIV></TD> + <TD width="27%" valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><A href="index.html" target="_top">Home</A></FONT></DIV></TD> + <TD width="37%" valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch5a-verbs.html">5a + Verb Morphology </A></FONT></DIV></TD> + <TD width="27%" valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch9-syntax.html">9 + Syntax</A></FONT></FONT></DIV></TD> + </TR> + <TR> + <TD height="26" valign="top"><DIV align="left"><FONT size="2"><FONT face="Arial, Helvetica, sans-serif"></FONT></FONT></DIV></TD> + <TD valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-intro.html">Introduction</A></FONT></DIV></TD> + <TD valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch5b-verbs-contd.html">5b + Verb Morphology (continued)</A></FONT></DIV></TD> + <TD valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch10-lexicosemantics.html">10 + Lexico-Semantics</A></FONT></DIV></TD> + </TR> + <TR> + <TD height="26" valign="top"><DIV align="left"><FONT size="2"></FONT></DIV></TD> + <TD valign="top"><DIV align="left"><FONT size="2"></FONT><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch1-phonology.html">1 + Phonology</A></FONT></DIV></TD> + <TD valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch6-moreverbs.html">6 + More Verb Morphology</A></FONT></DIV></TD> + <TD valign="top"><DIV align="left"><FONT face="Arial, Helvetica, sans-serif"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch11-script.html">11 + The Script </A></FONT></FONT></DIV></TD> + </TR> + <TR> + <TD height="26" valign="top"> </TD> + <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch2-morphophonology.html">2 + Morpho-Phonology</A></FONT><FONT size="2"> </FONT></TD> + <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><FONT face="Arial, Helvetica, sans-serif"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch7a-affixes.html">7a + Using Affixes </A></FONT></FONT></FONT></TD> + <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><FONT face="Arial, Helvetica, sans-serif"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch12-numbers.html">12 + The Number System</A></FONT></FONT></FONT></TD> + </TR> + <TR> + <TD height="26" valign="top"> </TD> + <TD valign="top"><FONT size="2"> </FONT><FONT face="Arial, Helvetica, sans-serif"><A href="assets/ithkuil-ch3-basic-morphology.html">3 + Basic Morphology</A></FONT></TD> + <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch7b-affixes-contd.html">7b + Using Affixes (continued) </A></FONT></FONT></TD> + <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-lexicon.html">The + Lexicon</A></FONT></FONT></TD> + </TR> + <TR> + <TD height="26" valign="top"> </TD> + <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch4-case.html">4 + Case Morphology </A></FONT> </TD> + <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ithkuil-ch8-adjuncts.html">8 + Adjuncts</A></FONT></TD> + <TD valign="top"><FONT face="Arial, Helvetica, sans-serif"><A href="ilaksh/Ilaksh_Intro.html" target="_blank">Revised Ithkuil: <FONT face="Times New Roman, Times, serif">I</FONT>laksh</A></FONT></TD> + </TR> +</TBODY></TABLE> +<P align="justify"><FONT size="-1">©2004-2009 by John Quijada. You may copy or + excerpt any portion of the contents of this website provided you give full attribution + to the author and this website. </FONT></P> +<P> </P> +<P> </P> + + +</BODY></HTML>
\ No newline at end of file |