By Richard M. Hogg

First released in 1992, A Grammar of outdated English, quantity 1: Phonology used to be a landmark booklet that during the intervening years has no longer been handed in its intensity of scholarship and value to the sphere. With the 2011 posthumous e-book of Richard M. Hogg's Volume 2: Morphology, Volume 1 is back in print, now in paperback, in order that students can personal this entire paintings.

  • Takes account of significant advancements either within the box of previous English experiences and in linguistic thought
  • Takes complete benefit of the Dictionary of OldEnglish venture at Toronto, and contains complete cross-references to the DOE info
  • Fully makes use of paintings in phonemic and generative thought and comparable subject matters
  • Provides fabric the most important for destiny study either in diachronic and synchronic phonology and in ancient sociolinguistics

Content:
Chapter 1 creation (pages 1–9):
Chapter 2 Orthography and Phonology (pages 10–51):
Chapter three The Vowels in Germanic (pages 52–65):
Chapter four The Consonants in Germanic (pages 66–73):
Chapter five outdated English Vowels (pages 74–213):
Chapter 6 Unstressed Vowels (pages 214–245):
Chapter 7 previous English Consonants (pages 246–300):

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Extra info for A Grammar of Old English: Phonology, Volume 1

Example text

In that case /a/ is a misleading transcription. Furthermore, the vowel (if it existed) must have been central rather than back, and it is interpreted as such here (as are /÷/ and /v/). 28 Lass and Anderson (1975) accept the traditional view that 〈ea, eo, io〉 represented diphthongs, but suggest that there was no phonological 20 Orthography and phonology contrast of length between OE diphthongs. Their claim is dependent upon the acceptance of generative phonological theory, which permits reversal of completed mergers and as such is probably unacceptable, see Weinreich, Labov and Herzog (1968: 147–8), also Lass (1983: 174–5).

35, it would seem reasonable to assume an intermediate stage *[c, ~]. 66–7. These symbols are, of course, ambiguous, since they are equally used to represent velar consonants. 50, 51, 56, 60n1, 61). (2) Superscript dots will be used where: (a) 〈7, 8〉, etc. 39). 4n2), see Bazell (1960: 27). 1 The phonological analysis of the affricates as two separate units is less preferable not only on the above grounds, but also on others. Note, for example, the absence of a voiced palatal sibilant **/è/ except in affrication.

35, it would seem reasonable to assume an intermediate stage *[c, ~]. 66–7. These symbols are, of course, ambiguous, since they are equally used to represent velar consonants. 50, 51, 56, 60n1, 61). (2) Superscript dots will be used where: (a) 〈7, 8〉, etc. 39). 4n2), see Bazell (1960: 27). 1 The phonological analysis of the affricates as two separate units is less preferable not only on the above grounds, but also on others. Note, for example, the absence of a voiced palatal sibilant **/è/ except in affrication.

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