Anatomy of the Verb: The Gothic Verb as a Model for a by Albert L. Lloyd

By Albert L. Lloyd

The continued debate over the life or non-existence of formal verbal point in Gothic caused the writer to jot down this monograph whose goal is to supply a totally new starting place for a thought of point and comparable positive aspects. Gothic, with its constrained corpus, representing a translation of the Greek, and exhibiting fascinating parallels with Slavic verbal structures, serves and an illustrative version for the speculation. partly I the writer argues unified concept of element, actional kinds, and verbal pace provided there possesses an inner common sense and isn't at variance with saw proof in a number of Indo-European languages. partly II an research is gifted of the Gothic verb approach which seeks to provide an explanation for the much-disputed functionality of ga- and to resolve the matter of Gothic point and actional forms which does no violence both to the Gothic textual content or the Greek unique.

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Extra resources for Anatomy of the Verb: The Gothic Verb as a Model for a Unified Theory of Aspect, Actional Types, and Verbal Velocity

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Even a few verbs in sub-type  have objects which are affected by the individual pulses but because of lack of alignment or low frequency or both, the impression of a series of non-significant acts and not one single act results. Cf. Goth. bliggwan and see p. 37. 49 Verbal Velocities etc. The verbs f a l l , s i n k , r i s e for example, basically predicate an actional change of position: when one has fallen, sunk, or risen, one is in a fallen, sunk, or risen state. In fact the actional change is so dominant that one loses sight of the multipartite nature of the action; such verbs are always cumulative (3a).

A PUNCTUAL predica­ tion such as 'The balloon burst' or 'The boy dropped dead' can thus be diagrammed as in figure -2b. ) Figure 2 We have used t h e t e r m ' c o m p l e t e a c t i o n ' s e v e r a l t i m e s ; a t t h i s p o i n t we a r e i n a p o s i t i o n t o d e f i n e i t more p r e ­ cisely. We s h a l l l a b e l as a COMPLETE ACTION o r COMPLETE CHANGE an a c t i o n which r e p r e s e n t s a c o m p l e t e change from one t e m p o r a l p a t h ( i . e . , one s t a t e of a c t i o n a l r e s t ) t o 5 The formula involved is the usual (simplified) velocity equation , where ν represents actional velocity, s actional displacement, and t temporal displacement.

B) A c t i o n a l v e l o c i t y i s such t h a t a s i g n i f i c a n t change may o r may n o t be a c h i e v e d . The d e t e r m i n i n g f a c t o r s i n ­ c l u d e t h e a c t i o n a l f o r c e a p p l i e d by t h e s u b j e c t , t h e r e ­ s i s t a n c e of t h e o b j e c t , and t h e amount of change c o n s i d e r e d Language must of course sometimes oversimplify the complicated universe it attempts to describe. Some complete changes predicated bystrong processives may actually be the result of more than one act: one may kill by administering many small doses of poison over the course of months; yet the complete change from life to death is still only a single event, overshadowing the process involved.

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