![]() Above all, the document has been written by way of tribute to the wonderful man that is our speaker. Its not the greatest cover because this song wa. An attempt, nonetheless, has been made to render the text accessible to the general dialectologist, as well as, by the inclusion of orthographic forms alongside phonological representations, to the general lover of Hmong language and culture. Here is one for everyone who has been asking for me to do more covers. The paper is primarily aimed at the Hmongist reader, especially the comparative/historical phonologist with an insatiable thirst for fresh dialectal minutiae. ![]() A lexicon, comprising all of the field material with etymological notes and Hmong Daw cognates, follows on. ve gotta put my game face on BmI wish Mascara could mask this GUntil all the tears are gone DIve gotta paint the pain away AMake like - Im ok Bm. After a preface the phonology is first discussed, followed by a comparison of Mong Shi with her sister Mong Leng (also known as Mong Njua) and two other Farwestern Hmongic varieties: the Chuan-Qian-Dian (CQD) standard and Hmong Daw (also known as White Hmong). The speaker retains a couple of phonological features which are rapidly becoming lost to the wider community and may perhaps only survive in the present account. This paper presents the phonology and lexicon of Mong Shi as recorded from the idiolect of a single elderly speaker. Mong Shi of Pingbian county, Yunnan province, China, many of whose speakers also self-identify as Mong Leng, is a member of the Mong Leng cluster within the Farwestern Hmongic branch of West Hmongic (of the Hmong-Mien language family).
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