{ "title": "Pardon my code mix: Hypostatic frame constructions in Czech", "sections": [ { "id": "section-1", "title": "Pardon my code mix: Hypostatic frame constructions in Czech", "level": 2, "headingHtml": "Slide 1", "html": "

Pardon my code mix: Hypostatic frame constructions in Czech

Dominik Lukeš

dominik@dominiklukes.net

MetaphorHacker.net

@TechCzech

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" }, { "id": "section-2", "title": "A speculative inquiry into the nature of constructions with examples from Czech morphology in com…", "level": 2, "headingHtml": "Slide 2", "html": "

A speculative inquiry into the nature of constructions with examples from Czech morphology in communicative context.

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" }, { "id": "section-3", "title": "Slide 3", "level": 2, "headingHtml": "Slide 3", "html": "
  1. Constructional treatment of text-level phenomena
  2. Mental representations of schematic forms
  3. Hypostatic code switching

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" }, { "id": "section-4", "title": "Case of the Czech “hypostatic frame construction”?", "level": 2, "headingHtml": "Slide 4", "html": "

Case of the Czech “hypostatic frame construction”?

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" }, { "id": "section-5", "title": "Assumptions about code-switching / Code mixing", "level": 2, "headingHtml": "Slide 5", "html": "

Assumptions about code-switching / Code mixing

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" }, { "id": "section-6", "title": "Slide 6", "level": 2, "headingHtml": "Slide 6", "html": "

Code switching can apply to any systematic variation even in a ‘monolingual’ context.

There is a continuum between code switching and mixing (as well as borrowing).

There is a continuum of speakers’ conscious control over the process.

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" }, { "id": "section-7", "title": "Hypostatic code-switching", "level": 2, "headingHtml": "Slide 7", "html": "

Hypostatic code-switching

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" }, { "id": "section-8", "title": "Slide 8", "level": 2, "headingHtml": "Slide 8", "html": "

Often code-switching is ‘turned on’ in the conversation by some lexical / morphological means or signalled in another way.

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" }, { "id": "section-9", "title": "Slide 9", "level": 2, "headingHtml": "Slide 9", "html": "

And then Fred said unto Karen.

Panenka s červenejma šatičkami.

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): ejma in červenejma.

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" }, { "id": "section-10", "title": "Slide 10", "level": 2, "headingHtml": "Slide 10", "html": "

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" }, { "id": "section-11", "title": "Code switching research has a tradition in Czech studies going back to at least the 1980s", "level": 2, "headingHtml": "Slide 11", "html": "

Code switching research has a tradition in Czech studies going back to at least the 1980s

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" }, { "id": "section-12", "title": "Slide 12", "level": 2, "headingHtml": "Slide 12", "html": "

“The features which are marked as \"bookish”, i.e. those which are usually found in the written form of the literary language, are often used in the colloquial language in an ironic way in order to foreground the particular idea or ideas which they express.”

— (Hammer, 1985)

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" }, { "id": "section-13", "title": "Slide 13", "level": 2, "headingHtml": "Slide 13", "html": "

“[Common Czech] (especially in a specific combination with bookish means) often serves to the aims of irony.”

— Sgall, et al. (1992) Variation in language: Code switching in Czech as a challenge for sociolinguistics

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" }, { "id": "section-14", "title": "Slide 14", "level": 2, "headingHtml": "Slide 14", "html": "

“V některých rozhlasových a televizních pořadech se užívá OČ, aby se vytvořila „intimní“ atmosféra mezi moderátorem a hosty. I tato tendence se ne vždy setkává s nadšením veřejnosti”

“Colloquial Czech is often used in radio and TV shows to create an “intimate” atmosphere between show host and guests. This trend is not always enthusiastically received by the public.”

— (N. Bermel, 2010)

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" }, { "id": "section-15", "title": "Czech “diglossia”", "level": 2, "headingHtml": "Slide 15", "html": "

Czech “diglossia”

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): in the Non-Standard column, barák and dýl (Lexicon), ej in velkej and barák (Morphology), v in voko (Phonology).

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" }, { "id": "section-16", "title": "Adjectival declension, Sig, Masc", "level": 2, "headingHtml": "Slide 16", "html": "

Adjectival declension, Sig, Masc

Nom-ý-ej
Gen-ého-ýho
Dat-ému-ýmu
Acc-ý-ej
Loc-ým-ym
Inst-ým-ym

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" }, { "id": "section-17", "title": "In a Czech group discussing a project in a professional context. Switching is often not hypostesi…", "level": 2, "headingHtml": "Slide 17", "html": "

In a Czech group discussing a project in a professional context. Switching is often not hypostesized but…

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" }, { "id": "section-18", "title": "Slide 18", "level": 2, "headingHtml": "Slide 18", "html": "

(2) teda bez koktání / bez takovýho hláskování / vona čte po slabikách /jo / … / tak tam je psáno jenom velkými písmeny / no / a vona si je schopna ty dvě tři stránky přečíst // sama //

Louise Hammer (1985)

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): teda; ýho in takovýho; v in the first vona; jo; jenom (also italic); v in the second vona; si.

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" }, { "id": "section-19", "title": "Slide 19", "level": 2, "headingHtml": "Slide 19", "html": "

…ale tó se dovíme ’až / po tom desátym řekneme / na dnes / já sem vás vobcházel jednotlivě / na dnes sem chtěl / abyste se podívali všichni / na ty / ’alternativy / ’a připravili si přístup ’a případně kritéria jednotlivá / na to hodnocení / s tím / že já předpokládám že do konce ledna byzme to měli mít hotový ’abych to mohl dát přeložit ’a toho desátého ’aby to vodešlo / vycházím z předpokladu že / hodnocení bude zase v technické a v obchodní části / že se to týká / pokud se týká té technické části / teda těch technickejch charakteristik pardon v technické oblasti / se to týká technickejch charakteristik bezpečnosti / paliva / ’organizačních ’aspektů / no ’a v té obchodní tam je více méně jasný…

Bogoczová et al. (2000)

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): ym in desátym; v in vobcházel; ty (in “na ty”); to (in “na to hodnocení”); ý in hotový; v in vodešlo; ejch in technickejch (both times); ý in jasný.

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" }, { "id": "section-20", "title": "Code switching signal into project language:", "level": 2, "headingHtml": "Slide 20", "html": "

Code switching signal into project language:

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" }, { "id": "section-21", "title": "Code switching signal from project language:", "level": 2, "headingHtml": "Slide 21", "html": "

Code switching signal from project language:

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" }, { "id": "section-22", "title": "Code switching in informal conversations", "level": 2, "headingHtml": "Slide 22", "html": "

Code switching in informal conversations

Oral v1, 6 mil, conversational spoken corpus, 2017

https://kontext.korpus.cz

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" }, { "id": "section-23", "title": "Slide 23", "level": 2, "headingHtml": "Slide 23", "html": "

jo to právě ty přijedeš na technickou a on ti zkontroluje číslo motoru a číslo karosérie , napíše to zkontroluje to s techničákem a vydá ti papír na kterym je pouze napsáno že prostě evidenční prohlídka a že čísla karosérie a motoru odpovídaj technickému průkazu , a voni potom podle tohodle papíru na @ na tom dopravnim inspektorátu sou sou si jistý že to auto máš s těma číslama který máš a že tam nemáš vyměněnej motor nebo že nemáš vyměněnou karoserii a protože voni to nejdou zkontrolovat že jo voni to tam pouze zapapírujou a tim to pro ně

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): ym in kterym; aj in odpovídaj (also bold and italic); tohodle (also bold); im in dopravnim (also bold and italic).

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" }, { "id": "section-24", "title": "Slide 24", "level": 2, "headingHtml": "Slide 24", "html": "

a ať vona nám řekne co tam teda chce napsat pe naše pamačka to tak vždycky dělala , to dělám jednou za rok takovoule krávovinu každej rok se tam mění kolonky a mění se takový a započitatelný a nezapočitatelný a a podle nových novel novel zákonů takže tim sem se nikdy nevzrušoval abych tohlencto se snažil vůbec pochopit protože příští rok bude jiný a já to zase budu dělat jenom jednou , tak sme to takle vyplnili natřikrát nó von to vdycky dovez vo vona mu řekla co von to zase přivez

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): pamačka; vždycky; takovoule; krávovinu; ej in každej; ný in započitatelný and in nezapočitatelný (also bold); ých in nových; the second novel; že in takže; tim; sem; tohlencto; sme; takle; von; dovez; vo in vona; v in von; zase; přivez.

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" }, { "id": "section-25", "title": "spisovně", "level": 2, "headingHtml": "Slide 25", "html": "

spisovně

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" }, { "id": "section-26", "title": "Slide 26", "level": 2, "headingHtml": "Slide 26", "html": "

Awareness of the two codes is very high in the Czech speech community. Attested by the high number of occurrences of “spisovn.*” (Standard Czech) in the Oral corpus (32)

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" }, { "id": "section-27", "title": "Slide 27", "level": 2, "headingHtml": "Slide 27", "html": "

maminka ho tam prostě protlačila prže tam je to všechno jenom o známosti tam nejsou vystudovaní lidi tam nejsou pravý žurnalista . dyž se na to podíváš tam fakt nikdo nemluví spisovně . každý ňáký ten debilní pražský akcent a skloňuje si to jak chce si tam vymýšlí ňáké . nové české slova

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): i in lidi; ňá in ňáký; debilní; ňáké; é in nové and in české (also italic).

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" }, { "id": "section-28", "title": "Slide 28", "level": 2, "headingHtml": "Slide 28", "html": "

ale to já třeba sem zjistila teda že hyper spisovně mluvim když se vožeru , teda když sem v takovém stádiu že teda ještě můžu mluvit …… když se opiju tak začnu mluvit spisovně , né vždycky ale často

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): im in mluvim; vožeru (also bold on the v).

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" }, { "id": "section-29", "title": "Slide 29", "level": 2, "headingHtml": "Slide 29", "html": "
Eduard_197● člověka nenapadá nic jiného než že sou za tim skutečně ekonomické zájmy a nic než ekonomické zájmy ,
Vítězslav_198● ty teda hovoříš tak spisovně teďka ,
Blažena_196● tak (nesrozumitelné) ,
Eduard_197● (nesrozumitelné) vždycky vždycky hovořím +
Vítězslav_198● ty mluvíš jako jako při rozhovoru no ,
Eduard_197● + ne já vždycky hovořím spiš* spisovně když @ mluvim mluvim takhle o něčem konkrétním ,
Blažena_196● no to souvisí i s určitejma tématama ,
Vítězslav_198● hmm je to možný no a* -

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): im in tim; teďka; im in each of the two mluvim; ejma in určitejma (also bold); ama in tématama (also bold).

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" }, { "id": "section-30", "title": "hezky česky", "level": 2, "headingHtml": "Slide 30", "html": "

hezky česky

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" }, { "id": "section-31", "title": "Slide 31", "level": 2, "headingHtml": "Slide 31", "html": "

Jestliže si národ dokáže bez váhání odpovědět na klasické Gercenovo Kto vinovat ? , pak je přece jen složitější najít rozumnou odpověď na Černyševského Što dělať ? , tedy kromě Uljanovova velmi nedemokraticky zjednodušujícího Streljať . Část odpovědi nabízejí takzvaní whistlebloweři , hezky česky „ píšťalkáři “ , kteří se neváhají vzepřít zaběhlému „ modu vivendi “ a jít proti proudu tím , že ohlásí případy korupce ve svém okolí .

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): whistlebloweři.

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" }, { "id": "section-32", "title": "Slide 32", "level": 2, "headingHtml": "Slide 32", "html": "

Netvařme se , jako že je všechno v pořádku a že v této zemi všichni žijí šťastné životy . Právě na takové pokrytectví dojela – jak se hezky česky říká – většina tzv. komunistických režimů . S tím pak bezprostředně souvisí můj druhý návrh . Přestaňme se bát levicové literatury ! Levicoví , opoziční autoři nejsou v této republice – na rozdíl od disidentů normalizačních let – mocensky nijak pronásledováni .

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" }, { "id": "section-33", "title": "Slide 33", "level": 2, "headingHtml": "Slide 33", "html": "

Režisérka Andrea Sedláčková režíruje Vojtěcha Dyka v roli tak trochu jiného Dannyho Smiřického . Ať žijí hudební paraziti Přiživování se na popularitě jiných , nebo tvůrčí posun nabízející nový pohled ? Coververze neboli nehezky česky \"předělávky\" jsou příjemným zpestřením populární hudby . Ve světě coververzí se fantazii meze nekladou . Existují country úpravy punkových Sex Pistols i překopané skladby Rolling Stones hrané na ukulele .

Underline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): ne in nehezky (also bold).

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" }, { "id": "section-34", "title": "Can we think of this phenomenon constructionally?", "level": 2, "headingHtml": "Slide 34", "html": "

Can we think of this phenomenon constructionally?

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" }, { "id": "section-35", "title": "Slide 35", "level": 2, "headingHtml": "Slide 35", "html": "

At first blush, the data does not appear have enough formal regularity to be described within the framework of construction grammar.

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" }, { "id": "section-36", "title": "Slide 36", "level": 2, "headingHtml": "Slide 36", "html": "

To adopt a constructional approach is to undertake a commitment in principle to account for the entirety of each language.

— (Fillmore and Kay, 1999)

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" }, { "id": "section-37", "title": "What do constructions “look” like?", "level": 2, "headingHtml": "Slide 37", "html": "

What do constructions “look” like?

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" }, { "id": "section-38", "title": "Slide 38", "level": 2, "headingHtml": "Slide 38", "html": "

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" }, { "id": "section-39", "title": "Slide 39", "level": 2, "headingHtml": "Slide 39", "html": "

On the semantic pole meanings are organized through frames (schemas, metaphors, rich images, scenarios, etc.).

Different levels of schematicity and knowledge of the world are required.

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" }, { "id": "section-40", "title": "What does semantic schematicity look like?", "level": 2, "headingHtml": "Slide 40", "html": "

What does semantic schematicity look like?

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" }, { "id": "section-41", "title": "Slide 41", "level": 2, "headingHtml": "Slide 41", "html": "

“Consider the idiom to keep someone at arm's length. I have asked hundreds of people if they have an image associated with this idiom. Almost everyone does, and it is almost always the same image.”

— (Lakoff 1987)

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" }, { "id": "section-42", "title": "Slide 42", "level": 2, "headingHtml": "Slide 42", "html": "

“The arm is oriented forward with respect to the body, perhaps a little to the side. It is never oriented backward. or upward. or downward, though these are all logical possibilities.

The arm is chest high.

The hand is usually open (though some have it making a fist).

The open palm is facing away from the subject; it is never facing toward the subject.

The angle of the hand relative to the forearm is roughly 90 to 135 degrees.

The arm muscles are tense, not lax. The person being kept at arm's length is facing toward the subject.”

— (Lakoff 1987)

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" }, { "id": "section-43", "title": "At arm’s length", "level": 2, "headingHtml": "Slide 43", "html": "

At arm’s length

\"Blurred

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" }, { "id": "section-44", "title": "Slide 44", "level": 2, "headingHtml": "Slide 44", "html": "

\"Screenshot

https://stock.adobe.com/search/images?k=\"at+arms+length\"

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" }, { "id": "section-45", "title": "Slide 45", "level": 2, "headingHtml": "Slide 45", "html": "

\"The

https://giphy.com/gifs/arm-length-onimonogatari-BVqTyss6XU72U

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" }, { "id": "section-46", "title": "Slide 46", "level": 2, "headingHtml": "Slide 46", "html": "

\"Screenshot

https://factsandtrends.net/2017/08/16/5-reasons-pastors-keep-members-arms-length/

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" }, { "id": "section-47", "title": "Slide 47", "level": 2, "headingHtml": "Slide 47", "html": "

\"Screenshot

https://migraine.com/living-migraine/keeping-friends-arms-length/

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" }, { "id": "section-48", "title": "What does a ‘formal’ schema look like?", "level": 2, "headingHtml": "Slide 48", "html": "

What does a ‘formal’ schema look like?

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" }, { "id": "section-49", "title": "Slide 49", "level": 2, "headingHtml": "Slide 49", "html": "

the construction grammarian is required to develop an explicit system of representation, capable of encoding economically and without loss of generalization all the constructions (or patterns) of the language, from the most idiomatic to the most general.

— (Fillmore and Kay, 1999)

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" }, { "id": "section-50", "title": "Slide 50", "level": 2, "headingHtml": "Slide 50", "html": "

There is a conflict between the constructional commitment to describe the entirety of each language and the scientific notion of descriptive parsimony when expressed through formalisms and ‘machine readable’ notations.

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" }, { "id": "section-51", "title": "Jackendoff, 2019", "level": 2, "headingHtml": "Slide 51", "html": "

Jackendoff, 2019

\"Photograph

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" }, { "id": "section-52", "title": "Fauconnier and Turner, 1998", "level": 2, "headingHtml": "Slide 52", "html": "

Fauconnier and Turner, 1998

\"Black-and-white

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" }, { "id": "section-53", "title": "What does this look like for constructional forms?", "level": 2, "headingHtml": "Slide 53", "html": "

What does this look like for constructional forms?

\"Blurred

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" }, { "id": "section-54", "title": "Janda (2019)", "level": 2, "headingHtml": "Slide 54", "html": "

Janda (2019)

yesterday

\"Photograph

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" }, { "id": "section-55", "title": "Slide 55", "level": 2, "headingHtml": "Slide 55", "html": "

Lukeš, 2005, Cognitive Grammar Beyond the Sentence

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" }, { "id": "section-56", "title": "Slide 56", "level": 2, "headingHtml": "Slide 56", "html": "

Lukeš, 2005, Cognitive Grammar Beyond the Sentence

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" }, { "id": "section-57", "title": "Slide 57", "level": 2, "headingHtml": "Slide 57", "html": "

What would this look like for something complex, patterned but also somehow vague like Slavic aspect?

Fundamental event profile orientation of the generic space serving as the source for constructional blends involving verbs.

Lukeš, 2015, Czech Without Aspect

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" }, { "id": "section-58", "title": "Tak jsme došli. < Failure", "level": 2, "headingHtml": "Slide 58", "html": "

Tak jsme došli. < Failure

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" }, { "id": "section-59", "title": "Slide 59", "level": 2, "headingHtml": "Slide 59", "html": "

\"The

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" }, { "id": "section-60", "title": "Would would this work for code switching", "level": 2, "headingHtml": "Slide 60", "html": "

Would would this work for code switching

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" }, { "id": "section-61", "title": "Code switch construction in Czech", "level": 2, "headingHtml": "Slide 61", "html": "

Code switch construction in Czech

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" }, { "id": "section-62", "title": "Hypostatic code mix construction in Czech", "level": 2, "headingHtml": "Slide 62", "html": "

Hypostatic code mix construction in Czech

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" }, { "id": "section-63", "title": "Slide 63", "level": 2, "headingHtml": "Slide 63", "html": "

\"The

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" }, { "id": "section-64", "title": "Concluding thought", "level": 2, "headingHtml": "Slide 64", "html": "

Concluding thought

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" }, { "id": "section-65", "title": "Slide 65", "level": 2, "headingHtml": "Slide 65", "html": "

If we are to take the constructional commitment to accounting for the “entirety of each language” seriously in the usage-based linguistics paradigm, we have to find ways dealing with entire text and conversation even when they remain outside the traditional linguistic formalism.

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" }, { "id": "section-66", "title": "Slide 66", "level": 2, "headingHtml": "Slide 66", "html": "

\"Photograph

This Photo by Unknown Author is licensed under CC BY-SA

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" }, { "id": "section-67", "title": "Thank you", "level": 2, "headingHtml": "Slide 67", "html": "

Thank you

dominik@dominiklukes.net

http://metaphorhacker.net

@techczech

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" } ], "pages": [ { "number": 1, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-01.png", "text": "Pardon my code mix: Hypostatic frame constructions in Czech\nDominik Lukeš\ndominik@dominiklukes.net\nMetaphorHacker.net\n@TechCzech" }, { "number": 2, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-02.png", "text": "A speculative inquiry into the nature of constructions with examples from Czech morphology in communicative context." }, { "number": 3, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-03.png", "text": "1. Constructional treatment of text-level phenomena\n2. Mental representations of schematic forms\n3. Hypostatic code switching" }, { "number": 4, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-04.png", "text": "Case of the Czech “hypostatic frame construction”?" }, { "number": 5, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-05.png", "text": "Assumptions about code-switching / Code mixing" }, { "number": 6, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-06.png", "text": "Code switching can apply to any systematic variation even in a ‘monolingual’ context.\nThere is a continuum between code switching and mixing (as well as borrowing).\nThere is a continuum of speakers’ conscious control over the process." }, { "number": 7, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-07.png", "text": "Hypostatic code-switching" }, { "number": 8, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-08.png", "text": "Often code-switching is ‘turned on’ in the conversation by some lexical / morphological means or signalled in another way." }, { "number": 9, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-09.png", "text": "And then Fred said unto Karen.\nPanenka s červenejma šatičkami.\nUnderline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): ejma in červenejma." }, { "number": 10, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-10.png", "text": "“Pardon my French”\n“That’s what she said” jokes\nIntonation\nCharacterisation in narrative" }, { "number": 11, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-11.png", "text": "Code switching research has a tradition in Czech studies going back to at least the 1980s" }, { "number": 12, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-12.png", "text": "“The features which are marked as \"bookish”, i.e. those which are usually found in the written form of the literary language, are often used in the colloquial language in an ironic way in order to foreground the particular idea or ideas which they express.”\n— (Hammer, 1985)" }, { "number": 13, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-13.png", "text": "“[Common Czech] (especially in a specific combination with bookish means) often serves to the aims of irony.”\n— Sgall, et al. (1992) Variation in language: Code switching in Czech as a challenge for sociolinguistics" }, { "number": 14, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-14.png", "text": "“V některých rozhlasových a televizních pořadech se užívá OČ, aby se vytvořila „intimní“ atmosféra mezi moderátorem a hosty. I tato tendence se ne vždy setkává s nadšením veřejnosti”\n“Colloquial Czech is often used in radio and TV shows to create an “intimate” atmosphere between show host and guests. This trend is not always enthusiastically received by the public.”\n— (N. Bermel, 2010)" }, { "number": 15, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-15.png", "text": "Czech “diglossia”\nStandard - Spisovná\nWritten, formal, high register\nLexicon: dům, déle\nMorphology: velký dům\nPhonology: oko\nNon-Standard – Nespisovná\nSpoken, informal, low register\nLexicon: barák, dýl\nMorphology: velkej barák\nPhonology: voko\nUnderline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): in the Non-Standard column, barák and dýl (Lexicon), ej in velkej and barák (Morphology), v in voko (Phonology)." }, { "number": 16, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-16.png", "text": "Adjectival declension, Sig, Masc\nNom | -ý | -ej\nGen | -ého | -ýho\nDat | -ému | -ýmu\nAcc | -ý | -ej\nLoc | -ým | -ym\nInst | -ým | -ym" }, { "number": 17, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-17.png", "text": "In a Czech group discussing a project in a professional context. Switching is often not hypostesized but…" }, { "number": 18, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-18.png", "text": "(2) teda bez koktání / bez takovýho hláskování / vona čte po slabikách /jo / … / tak tam je psáno jenom velkými písmeny / no / a vona si je schopna ty dvě tři stránky přečíst // sama //\nLouise Hammer (1985)\nUnderline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): teda; ýho in takovýho; v in the first vona; jo; jenom (also italic); v in the second vona; si." }, { "number": 19, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-19.png", "text": "…ale tó se dovíme ’až / po tom desátym řekneme / na dnes / já sem vás vobcházel jednotlivě / na dnes sem chtěl / abyste se podívali všichni / na ty / ’alternativy / ’a připravili si přístup ’a případně kritéria jednotlivá / na to hodnocení / s tím / že já předpokládám že do konce ledna byzme to měli mít hotový ’abych to mohl dát přeložit ’a toho desátého ’aby to vodešlo / vycházím z předpokladu že / hodnocení bude zase v technické a v obchodní části / že se to týká / pokud se týká té technické části / teda těch technickejch charakteristik pardon v technické oblasti / se to týká technickejch charakteristik bezpečnosti / paliva / ’organizačních ’aspektů / no ’a v té obchodní tam je více méně jasný…\nBogoczová et al. (2000)\nUnderline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): ym in desátym; v in vobcházel; ty (in “na ty”); to (in “na to hodnocení”); ý in hotový; v in vodešlo; ejch in technickejch (both times); ý in jasný." }, { "number": 20, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-20.png", "text": "Code switching signal into project language:\npodle pana\njak tomu říká …\njak se píše v tom\ntak zvaný\nabych to tak řekl(a)\njak tomu tady říkáme\nDET\nword choice\nintonation" }, { "number": 21, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-21.png", "text": "Code switching signal from project language:\njak se říká\njestli to tak mohu říct\njá jsem x, tak...\njak se lidově říká\njak já vždycky říkám\nhezky česky\nsprostonárodně\nDET\nIntonation" }, { "number": 22, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-22.png", "text": "Code switching in informal conversations\nOral v1, 6 mil, conversational spoken corpus, 2017\nhttps://kontext.korpus.cz" }, { "number": 23, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-23.png", "text": "jo to právě ty přijedeš na technickou a on ti zkontroluje číslo motoru a číslo karosérie , napíše to zkontroluje to s techničákem a vydá ti papír na kterym je pouze napsáno že prostě evidenční prohlídka a že čísla karosérie a motoru odpovídaj technickému průkazu , a voni potom podle tohodle papíru na @ na tom dopravnim inspektorátu sou sou si jistý že to auto máš s těma číslama který máš a že tam nemáš vyměněnej motor nebo že nemáš vyměněnou karoserii a protože voni to nejdou zkontrolovat že jo voni to tam pouze zapapírujou a tim to pro ně\nUnderline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): ym in kterym; aj in odpovídaj (also bold and italic); tohodle (also bold); im in dopravnim (also bold and italic)." }, { "number": 24, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-24.png", "text": "a ať vona nám řekne co tam teda chce napsat pe naše pamačka to tak vždycky dělala , to dělám jednou za rok takovoule krávovinu každej rok se tam mění kolonky a mění se takový a započitatelný a nezapočitatelný a a podle nových novel novel zákonů takže tim sem se nikdy nevzrušoval abych tohlencto se snažil vůbec pochopit protože příští rok bude jiný a já to zase budu dělat jenom jednou , tak sme to takle vyplnili natřikrát nó von to vdycky dovez vo vona mu řekla co von to zase přivez\nUnderline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): pamačka; vždycky; takovoule; krávovinu; ej in každej; ný in započitatelný and in nezapočitatelný (also bold); ých in nových; the second novel; že in takže; tim; sem; tohlencto; sme; takle; von; dovez; vo in vona; v in von; zase; přivez." }, { "number": 25, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-25.png", "text": "spisovně" }, { "number": 26, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-26.png", "text": "Awareness of the two codes is very high in the Czech speech community. Attested by the high number of occurrences of “spisovn.*” (Standard Czech) in the Oral corpus (32)" }, { "number": 27, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-27.png", "text": "maminka ho tam prostě protlačila prže tam je to všechno jenom o známosti tam nejsou vystudovaní lidi tam nejsou pravý žurnalista . dyž se na to podíváš tam fakt nikdo nemluví spisovně . každý ňáký ten debilní pražský akcent a skloňuje si to jak chce si tam vymýšlí ňáké . nové české slova\nUnderline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): i in lidi; ňá in ňáký; debilní; ňáké; é in nové and in české (also italic)." }, { "number": 28, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-28.png", "text": "ale to já třeba sem zjistila teda že hyper spisovně mluvim když se vožeru , teda když sem v takovém stádiu že teda ještě můžu mluvit …… když se opiju tak začnu mluvit spisovně , né vždycky ale často\nUnderline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): im in mluvim; vožeru (also bold on the v)." }, { "number": 29, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-29.png", "text": "Eduard_197 | ● člověka nenapadá nic jiného než že sou za tim skutečně ekonomické zájmy a nic než ekonomické zájmy ,\nVítězslav_198 | ● ty teda hovoříš tak spisovně teďka ,\nBlažena_196 | ● tak (nesrozumitelné) ,\nEduard_197 | ● (nesrozumitelné) vždycky vždycky hovořím +\nVítězslav_198 | ● ty mluvíš jako jako při rozhovoru no ,\nEduard_197 | ● + ne já vždycky hovořím spiš* spisovně když @ mluvim mluvim takhle o něčem konkrétním ,\nBlažena_196 | ● no to souvisí i s určitejma tématama ,\nVítězslav_198 | ● hmm je to možný no a* -\nUnderline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): im in tim; teďka; im in each of the two mluvim; ejma in určitejma (also bold); ama in tématama (also bold)." }, { "number": 30, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-30.png", "text": "hezky česky" }, { "number": 31, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-31.png", "text": "Jestliže si národ dokáže bez váhání odpovědět na klasické Gercenovo Kto vinovat ? , pak je přece jen složitější najít rozumnou odpověď na Černyševského Što dělať ? , tedy kromě Uljanovova velmi nedemokraticky zjednodušujícího Streljať . Část odpovědi nabízejí takzvaní whistlebloweři , hezky česky „ píšťalkáři “ , kteří se neváhají vzepřít zaběhlému „ modu vivendi “ a jít proti proudu tím , že ohlásí případy korupce ve svém okolí .\nUnderline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): whistlebloweři." }, { "number": 32, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-32.png", "text": "Netvařme se , jako že je všechno v pořádku a že v této zemi všichni žijí šťastné životy . Právě na takové pokrytectví dojela – jak se hezky česky říká – většina tzv. komunistických režimů . S tím pak bezprostředně souvisí můj druhý návrh . Přestaňme se bát levicové literatury ! Levicoví , opoziční autoři nejsou v této republice – na rozdíl od disidentů normalizačních let – mocensky nijak pronásledováni ." }, { "number": 33, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-33.png", "text": "Režisérka Andrea Sedláčková režíruje Vojtěcha Dyka v roli tak trochu jiného Dannyho Smiřického . Ať žijí hudební paraziti Přiživování se na popularitě jiných , nebo tvůrčí posun nabízející nový pohled ? Coververze neboli nehezky česky \"předělávky\" jsou příjemným zpestřením populární hudby . Ve světě coververzí se fantazii meze nekladou . Existují country úpravy punkových Sex Pistols i překopané skladby Rolling Stones hrané na ukulele .\nUnderline in the source slide, kept apart from the bold and italic shown above (the slide underlines these spans; this text has no underline mark): ne in nehezky (also bold)." }, { "number": 34, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-34.png", "text": "Can we think of this phenomenon constructionally?" }, { "number": 35, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-35.png", "text": "At first blush, the data does not appear have enough formal regularity to be described within the framework of construction grammar." }, { "number": 36, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-36.png", "text": "To adopt a constructional approach is to undertake a commitment in principle to account for the entirety of each language.\n— (Fillmore and Kay, 1999)" }, { "number": 37, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-37.png", "text": "What do constructions “look” like?" }, { "number": 38, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-38.png", "text": "form:meaning pairing\norganized in an inventory\nprocessed through the process of blending" }, { "number": 39, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-39.png", "text": "On the semantic pole meanings are organized through frames (schemas, metaphors, rich images, scenarios, etc.).\nDifferent levels of schematicity and knowledge of the world are required." }, { "number": 40, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-40.png", "text": "What does semantic schematicity look like?" }, { "number": 41, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-41.png", "text": "“Consider the idiom to keep someone at arm's length. I have asked hundreds of people if they have an image associated with this idiom. Almost everyone does, and it is almost always the same image.”\n— (Lakoff 1987)" }, { "number": 42, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-42.png", "text": "“The arm is oriented forward with respect to the body, perhaps a little to the side. It is never oriented backward. or upward. or downward, though these are all logical possibilities.\nThe arm is chest high.\nThe hand is usually open (though some have it making a fist).\nThe open palm is facing away from the subject; it is never facing toward the subject.\nThe angle of the hand relative to the forearm is roughly 90 to 135 degrees.\nThe arm muscles are tense, not lax. The person being kept at arm's length is facing toward the subject.”\n— (Lakoff 1987)" }, { "number": 43, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-43.png", "text": "At arm’s length" }, { "number": 44, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-44.png", "text": "https://stock.adobe.com/search/images?k=\"at+arms+length\"" }, { "number": 45, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-45.png", "text": "https://giphy.com/gifs/arm-length-onimonogatari-BVqTyss6XU72U" }, { "number": 46, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-46.png", "text": "https://factsandtrends.net/2017/08/16/5-reasons-pastors-keep-members-arms-length/" }, { "number": 47, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-47.png", "text": "https://migraine.com/living-migraine/keeping-friends-arms-length/" }, { "number": 48, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-48.png", "text": "What does a ‘formal’ schema look like?" }, { "number": 49, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-49.png", "text": "the construction grammarian is required to develop an explicit system of representation, capable of encoding economically and without loss of generalization all the constructions (or patterns) of the language, from the most idiomatic to the most general.\n— (Fillmore and Kay, 1999)" }, { "number": 50, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-50.png", "text": "There is a conflict between the constructional commitment to describe the entirety of each language and the scientific notion of descriptive parsimony when expressed through formalisms and ‘machine readable’ notations." }, { "number": 51, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-51.png", "text": "Jackendoff, 2019" }, { "number": 52, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-52.png", "text": "Fauconnier and Turner, 1998" }, { "number": 53, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-53.png", "text": "What does this look like for constructional forms?" }, { "number": 54, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-54.png", "text": "Janda (2019)\nyesterday" }, { "number": 55, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-55.png", "text": "totiž construction\nconstructional meaning:\nprofile perceived cause in the discourse space\nactivate modal prosody of emphasis\nconstructional form: post-verb (unstressed) position\nbecause construction\nmeaning:\nprofile logical cause in the discourse space\nactivate logical prosody of causation\nform: clause-initial (stressed) position\nLukeš, 2005, Cognitive Grammar Beyond the Sentence" }, { "number": 56, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-56.png", "text": "Czech causal cohesive harmony construction\nconstructional meaning: profile all possible causal coherence links through connectives plus direction and/or semantic prosody of emphasis or attitude\nconstructional form: totiž, tak, proto, protože plus Czech elegant variation\nEnglish causal cohesive harmony construction\nmeaning: profile necessary (logical) causal coherence links through connectives plus direction and/or semantic prosody of logical inference\nform: zero, for, because, so, therefore, thus, which is why, then plus English elegant variation\nLukeš, 2005, Cognitive Grammar Beyond the Sentence" }, { "number": 57, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-57.png", "text": "What would this look like for something complex, patterned but also somehow vague like Slavic aspect?\nFundamental event profile orientation of the generic space serving as the source for constructional blends involving verbs.\nLukeš, 2015, Czech Without Aspect" }, { "number": 58, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-58.png", "text": "Tak jsme došli. < Failure\n[MEANING]\nTime location: Immediate past>Present\nEvent status: Completed\nSpeaker attitude: Negative (semantic prosody)\nCommunicative intent: Announcement of failure\n[FORM]\nVerb form: -l marking (past prototype)\nVerb version: completion prefix (perfective prototype)\nIntonation/stress pattern: pattern (complaint/frustration prototype)\nTextual context: particle inventory {tak, no tak, tak to, tak teda, no a}\nUsage context: conversation\nMedium: speech or simulated speech" }, { "number": 59, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-59.png", "text": "Generic space\nPerfective: path with arrows to boxes O, P and F; the shaded area covers the end of the path and the arrow to F\nImperfective: path with arrows to boxes O, P and F; the shaded area covers the middle of the path and the arrow to P\nRepetitive - Habitual: three identical short paths in a row, no shading\nIntegrated space\nTak jsme došli < Failure\njít[F:M]\ndojít[F:M]\ntak[F:M]" }, { "number": 60, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-60.png", "text": "Would would this work for code switching" }, { "number": 61, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-61.png", "text": "Code switch construction in Czech\n[MEANING]\nSchematicity: high, functions as generic space\nRegister: move from high to low and low to high\nSpeaker consciousness: indeterminate\nCommunicative intent: indeterminate\n[FORM]\nMorphological: activation of marking inventory\nLexical: choice of word register\nIntonation/stress pattern: neutral\nTextual context: indeterminate\nUsage context: indeterminate\nMedium: indeterminate" }, { "number": 62, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-62.png", "text": "Hypostatic code mix construction in Czech\n[MEANING]\nSchematicity: high, functions as generic space\nRegister: move from high to low or low to high\nSpeaker awareness: conscious effort to switch register\nCommunicative intent: stress change of perspective, direct listener/reader to interpretation\n[FORM]\nMorphological: activation of appropriate marking inventory\nLexical: choice of lexical items from contextually activated inventory\nIntonation/stress pattern: emphasis on structure\nTextual context: ten, podle toho, …\nUsage context: professional conversation\nMedium: speech" }, { "number": 63, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-63.png", "text": "Generic space\nIntegrated space\npokud se týká té technické části\nGEN FEM ADJ -é\nGEN FEM ADJ –ý\nGEN FEM ADJ –ý vs -é\nRegister\nCommon Czech inventory\nStandard Czech inventory\nPreceding text\nLexical choice" }, { "number": 64, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-64.png", "text": "Concluding thought" }, { "number": 65, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-65.png", "text": "If we are to take the constructional commitment to accounting for the “entirety of each language” seriously in the usage-based linguistics paradigm, we have to find ways dealing with entire text and conversation even when they remain outside the traditional linguistic formalism." }, { "number": 66, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-66.png", "text": "This Photo by Unknown Author is licensed under CC BY-SA" }, { "number": 67, "image": "/readers/pardon-my-code-mix-hypostatic-frame-constructions-in-czech/pages/page-67.png", "text": "Thank you\ndominik@dominiklukes.net\nhttp://metaphorhacker.net\n@techczech" } ], "pageKind": "PowerPoint slides rendered with LibreOffice" }