See also
 | This disambiguation page lists articles associated with the title Feminine ending. If an internal link led you here, you may wish to change the link to point directly to the intended article. |
Feminine ending, in grammatical gender, is the final syllable or suffixed letters that mark words as feminine.
In linguistics, grammatical gender is a specific form of noun class system in which the division of noun classes forms an agreement system with another aspect of the language, such as adjectives, articles, pronouns, or verbs. This system is used in approximately one quarter of the world's languages. In these languages, most or all nouns inherently carry one value of the grammatical category called gender; the values present in a given language are called the genders of that language. According to one definition: "Genders are classes of nouns reflected in the behaviour of associated words."
Feminine ending may also refer to:
Masculine ending and feminine ending are terms used in prosody, the study of verse form. "Masculine ending" refers to a line ending in a stressed syllable. "Feminine ending" is its opposite, describing a line ending in a stressless syllable. This definition is applicable in most cases; see below, however, for a more refined characterization.
Susan Kaye McClary is a musicologist associated with the "New Musicology". Noted for her work combining musicology with feminist music criticism, McClary is Professor of Musicology at Case Western Reserve University.
| | This disambiguation page lists articles associated with the title Feminine ending. If an internal link led you here, you may wish to change the link to point directly to the intended article. |
In linguistics, and particularly phonology, stress or accent is relative emphasis or prominence given to a certain syllable in a word, or to a certain word in a phrase or sentence. This emphasis is typically caused by such properties as increased loudness and vowel length, full articulation of the vowel, and changes in pitch. The terms stress and accent are often used synonymously in this context, but they are sometimes distinguished. For example, when emphasis is produced through pitch alone, it is called pitch accent, and when produced through length alone, it is called quantitative accent. When caused by a combination of various intensified properties, it is called stress accent or dynamic accent; English uses what is called variable stress accent.
Masculine or masculinity, normally refer to qualities positively associated with men.
Feminine, or femininity, normally refers to qualities positively associated with women.
Catalan grammar, the morphology and syntax of the Catalan language, is similar to the grammar of most other Romance languages. Catalan is a relatively synthetic, fusional language.
Like many other languages, English has wide variation in pronunciation, both historically and from dialect to dialect. In general, however, the regional dialects of English share a largely similar phonological system. Among other things, most dialects have vowel reduction in unstressed syllables and a complex set of phonological features that distinguish fortis and lenis consonants. Most dialects of English preserve the consonant and many preserve, while most other Germanic languages have shifted them to and : compare English will and then with German will [vɪl] (
Northern or North Sami, sometimes also simply referred to as Sami, is the most widely spoken of all Sami languages. The area where Northern Sami is spoken covers the northern parts of Norway, Sweden and Finland. The number of Northern Sami speakers is estimated to be somewhere between 15,000 and 25,000. About 2,000 of these live in Finland and between 5,000 and 6,000 in Sweden.
Stress is a prominent feature of the English language, both at the level of the word (lexical stress) and at the level of the phrase or sentence (prosodic stress). Absence of stress on a syllable, or on a word in some cases, is frequently associated in English with vowel reduction – many such syllables are pronounced with a centralized vowel (schwa) or with certain other vowels that are described as being "reduced". Various phonological analyses exist for these phenomena.
Iambic pentameter is a type of metric line used in traditional English poetry and verse drama. The term describes the rhythm, or meter, established by the words in that line; rhythm is measured in small groups of syllables called "feet". "Iambic" refers to the type of foot used, here the iamb, which in English indicates an unstressed syllable followed by a stressed syllable. "Pentameter" indicates a line of five "feet".
In phonetics, vowel reduction is any of various changes in the acoustic quality of vowels, which are related to changes in stress, sonority, duration, loudness, articulation, or position in the word, and which are perceived as "weakening". It most often makes the vowels shorter as well.
In phonetics, clipping is the process of shortening the articulation of a phonetic segment, usually a vowel. A clipped vowel is pronounced more quickly than an unclipped vowel and is often also reduced.
In his book Milton's Prosody, Robert Bridges undertakes a detailed analysis of the prosody of John Milton's Paradise Lost. Bridges shows that there are no lines in Paradise Lost with fewer than ten syllables, and furthermore, that with a suitable definition of elision, there are no mid-line extra-metrical syllables. He also demonstrates that the stresses may fall at any point in the line, and that although most lines have the standard five stresses, there are examples of lines with only three and four stresses. All this amounts to a statement that Milton was writing a form of Syllabic verse. Bridges explains this in historical terms by observing that Milton followed the practice of Geoffrey Chaucer, who — in Bridges' view — adopted the Romance prosody of French verse, which was syllabic, having itself derived from the practice of Latin poets who through a corruption of Greek quantitative meters also counted syllables. Bridges notes that the approach Milton takes in Paradise Lost represents a certain tightening of the rules, compared to his earlier work, such as Comus, in which he allowed himself the Shakespearian 'liberty' of a feminine ending before a caesura.
The book Notes on Prosody by polyglot author Vladimir Nabokov compares differences in iambic verse in the English and Russian languages, and highlights the effect of relative word length in the two languages on rhythm. Nabokov also proposes an approach for scanning patterns of accent which interact with syllabic stress in iambic verse. Originally Appendix 2 to his Commentary accompanying his translation of Aleksandr Pushkin's Eugene Onegin, Notes on Prosody was released separately in book form.
Portuguese orthography is based on the Latin alphabet and makes use of the acute accent, the circumflex accent, the grave accent, the tilde, and the cedilla to denote stress, vowel height, nasalization, and other sound changes. The diaeresis was abolished by the last Orthography Agreement. Accented letters and digraphs are not counted as separate characters for collation purposes.
Anapestic tetrameter is a poetic meter that has four anapestic metrical feet per line. Each foot has two unstressed syllables followed by a stressed syllable. It is sometimes referred to as a "reverse dactyl", and shares the rapid, driving pace of the dactyl.
In Russian, the term spelling rule is used to describe a number of rules relating to the spelling of words in the language that would appear in most cases to deviate from a strictly phonetic transcription.
Light ending may refer to:
The traditional English pronunciation of Latin, and Classical Greek words borrowed through Latin, is the way the Latin language was traditionally pronounced by speakers of English until the early 20th century.
The Pirdop dialect is a Bulgarian dialect, which is part of the Balkan group of the Eastern Bulgarian dialects. Its range includes the towns of Pirdop, Zlatitsa and Koprivshtitsa, as well as several neighbouring villages. The most significant feature of the dialect, as in all Balkan dialects, is the pronunciation of Old Church Slavonic ѣ (yat) as or, depending on the character of the following syllable. However, the Pirdop dialect also features a number of characteristics which bring it closer to the neighbouring Western Bulgarian dialects, and especially to the Botevgrad dialect and which, in turn, separate it from the rest of the Balkan dialects.
This article is about the phonology and phonetics of the Slovene language.