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A series of production and perception experiments investigating the prosody and well-formedness of special sentences, called Wide Focus Partial Fronting (WFPF), which consist of only one prosodic phrase and a unique initial accented argument, are reported on here. The results help us to decide between different models of German prosody. The absence of pitch height difference on the accent of the sentence speaks in favor of a relative model of prosody, in which accents are scaled relative to each other, and against models in which pitch accents are scaled in an absolute way. The results also speak for a model in which syntax, but not information structure, influences the prosodic phrasing. Finally, perception experiments show that the prosodic structure of sentences with a marked word order needs to be presented for grammaticality judgments. Presentation of written material only is not enough, and falsifies the results.
In this paper we report the results of an elicited imitation task on dative case marking in non-canonical double object constructions with 22 German children (3;9-6;8). The aim was to test the proficiency of the children's grammar and to see which strategies they use to produce ditransitive sentences in which the direct object precedes the indirect object. The analysis of the children's utterances/imitations shows that the animacy of the direct object affects the overt dative case marking of the indirect object. Children made more errors repeating dative case marking when the direct object was inanimate, i.e., they produced the accusative case on the indirect object (non-adult-like). When both objects were animate, children correctly produced the dative case on the indirect object. We describe and account for these performance strategies of the children in the framework of Optimality Theory. Assuming that the same universal constraints are at work as in the adult grammar, the difference between adults and children lies in the constraint ranking. We focus on a prominent pattern found in children's performance, which is absent (or rather oppressed) in the corresponding adult performance, and show that one and the same grammar accounts for both (in the sense of "strong continuity"). (c) 2007 Elsevier B.V. All rights reserved.