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Types of Semantic Components




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  1. Compound words and their types.
  2. Criterion of stability of the lexical components and lack of motivation.
  3. Inner structure of the word composition. Word building. The morpheme and its types. Affixation
  4. Major types of word-formation.
  5. Non-semantic grouping
  6. SEMANTIC CHANGES
  7. Semantic features
  8. Semantic Modelling of the Sentence
  9. The semantic classification of phraseological units suggested by V.V.Vinogradov.
  10. Types of allophones and the main features of the phoneme
  11. Types of heads.

The leading semantic component in the semantic structure of a word is usually termed denotative component (also, the term referential component may be used). The denotative component expresses the conceptual content of a word. One of the most important "drawbacks" of polysemantic words is that there is sometimes a chance of misunderstanding when a word is used in a certain meaning but accepted by a listener or reader in another. It is only natural that such cases provide stuff of which jokes are made, such as the ones that follow:

Customer. I would like a book, please. Bookseller. Something light? Customer. That doesn't matter. I have my car with me.

In this conversation the customer is honestly misled by the polysemy of the adjective light taking it in the literal sense whereas the bookseller uses the word in its figurative meaning "not serious; entertaining".

In the following joke one of the speakers pretends to misunderstand his interlocutor basing his angry retort on the polysemy of the noun kick:

Generally speaking, it is common knowledge that context is a powerful preventative against any misunderstanding of meanings. For instance, the adjective dull, if used out of context, would mean different things to different people or nothing at all. It is only in combination with other words that it reveals its actual meaning: a dull pupil, a dull play, a dull razor-blade, dull weather, etc. Sometimes, however, such a mini­mum context fails to reveal the meaning of the word, and it may be correctly interpreted only through what Professor N. Amosova termed a second-degree context [1], as in the following example: The man was large, but his wife was even fatter. The word fatter here serves as a kind of indicator pointing that large describes a stout man and not a big one.

Current research in semantics is largely based on the assumption that one of the more promising methods of investigating the semantic structure of a word is by studying the word's linear relationships with other words in typical contexts, i. e. its combinabilityor collocability.

Scholars have established that the semantics of words characterized by common occurrences (i. e. words which regularly appear in common contexts) are correlated and, therefore, one of the words within such a pair can be studied through the other.

Thus, if one intends to investigate the semantic structure of an adjective, one would best consider the adjective in its most typical syntactical patterns A + N (adjective + noun) and N + 1 + A (noun + link verb +adjective) and make a thorough study of the meanings of nouns with which the adjective is frequently used.



For instance, a study of typical contexts of the adjec­tive bright in the first pattern will give us the following sets: a) bright color (flower, dress, silk, etc.), b) bright metal (gold, jewels, armor, etc.), c) bright student (pupil, boy, fellow, etc.), d) bright face (smile, eyes, etc.) and some others. These sets will lead us to singling out the meanings of the adjective related to each set of combinations: a) intensive in color, b) shining, c) capable, d) gay, etc.

For a transitive verb, on the other hand, the recom­mended pattern would be V + N (verb + direct object expressed by a noun). If, for instance, our object of investigation are the verbs to produce, to create, to compose, the correct procedure would be to consider the semantics of the nouns that are used in the pattern with each of these verbs: what is it that is produced? created? composed?

There is an interesting hypothesis that the semantics of words regularly used in common contexts (e. g. bright colours, to build a house, to create a work of art, etc.) are so intimately correlated that each of them casts, as it were, a kind of permanent reflection on the meaning of its neighbor. If the verb to compose is frequently used with the object music, isn't it natural to expect that certain musical associations linger in the meaning of the verb to compose?

Note, also, how closely the negative evaluative connotation of the adjective notorious is linked with the negative connotation of the nouns with which it is regularly associated: a notorious criminal, thief, gangster, gambler, gossip, liar, miser, etc.

All this leads us to the conclusion that context is a good and reliable key to the meaning of the word. Yet, even the jokes given above show how misleading this key can prove in some cases. And here we are faced with two dangers. The first is that of sheer misunderstanding, when the speaker means one thing and the listener lakes the word in its other meaning.

The second danger has nothing to do with the process of communication but with research work in the field of semantics. A common error with the inexperi­enced research worker is to see a different meaning in every new set of combinations. Here is a puzzling question to illustrate what we mean. Cf.: an angry man, an angry letter. Is the adjective angry used in the same meaning in both these contexts or in two different meanings? Some people will say "two" and argue that, on the one hand, the combinability is different (man — name of person; letter — name of object) and, on the other hand, a letter cannot experience anger. True, it cannot; but it can very well convey the anger of the person who wrote it. As to the combinability, the main point is that a word can realize the same meaning in different sets of combinability. For instance, in the pairs merry children, merry laughter, merry faces, merry songs the adjective merry conveys the same concept of high spirits whether they are directly experienced by the children (in the first phrase) or indirectly expressed through the merry faces, the laughter and the songs of the other word groups.

The task of distinguishing between the different meanings of a word and the different variations of combinability (or, in a traditional terminology, differ­ent usages of the word) is actually a question of singling out the different denotations within the seman­tic structure of the word.

Cf.: 1) a sad woman,

2) a sad voice,

3) a sad story,

4) a sad scoundrel (= an incorrigible scoundrel)

5) a sad night (= a dark, black night, arch, poet.)

How many meanings of sad can you identify in these contexts? Obviously the first three contexts have the common denotation of sorrow whereas in the fourth and fifth contexts the denotations are different. So, in these five contexts we can identify three meanings of sad.

All this leads us to the conclusion that context is not the ultimate criterion for meaning and it should be used in combination with other criteria. Nowadays, different methods of componential analysis are widely used in semantic research: definitional analysis, transformational analysis, distributional analysis. Yet, contextual analysis remains one of the main investigative methods for determining the semantic structure of a word.

Thus, there are two main processes of the semantic development of a word: radiation and concatenation.

In cases of radiation the primary meaning stands in the center and the secondary meanings proceed out of it like rays. Each secondary meaning can be traced to the primary meaning (e.g. in the word face the primary meaning denotes “the front part of the human head”. Connected with the front position such meanings as “the front part of a watch”, “the front part of a building”, “the front part of a playing card” were formed).

In cases of concatenationor a semantic chain the meaning stands at the very beginning of a chain and all the secondary meanings develop from the previous meaning, which makes it difficult to trace some meaning to the primary one. It can be illustrated by the word style: 1) a pointed stick; 2) a pointed stick for writing on wax in Rome; 3) a manner of writing; 4) a manner of doing smth in general.

Sometimes these two ways of semantic development merge. It is called the split of polysemy. In such cases polysemy ends and homonymy starts (e.g. the word bar: a long narrow piece of metal →a bolt; a crowbar; gratings; a musical term “bar line” (the first bars of the symphony), then – a narrow band/strip of color or light, then – barrier/obstacle (poor sight can be a bar to success), then – a counter separating the judge and the lawyers and the prisoner from spectators and one more meaning – the counter where spirits are sold. Later one the last two meanings developed meanings of their own: the last but one – the meaning “barrister” (She is training for the bar) and the last one – “a place where food and drinks are served”). It is where polysemy splits and homonymy starts.

3.3. Causes of the development of new meanings. Change of meaning. It has been mentioned that the systems of meanings of polysemantic words evolve gradually. The older a word is, the better developed is its semantic structure. The normal pattern of a word's semantic development is from monosemy to a simple semantic structure encompassing only two or three meanings, with a further movement to an increasingly more complex semantic structure.

In this part of the lecture we shall have a closer look at the complicated processes by which words acquire new meanings.

There are two aspects to this problem, which can be generally described in the following way: a) Why should new meanings appear at all? What circum­stances cause and stimulate their development? b) How does it happen? What is the nature of the very process of development of new meanings?

Let us deal with each of these questions in turn.





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