No detailed description available for "The Sound Pattern of Russian".

Since this classic work in phonology was published in 1968, there has been no other book that gives as broad a view of the subject, combining generally applicable theoretical contributions with analysis of the details of a single language. The theoretical issues raised in The Sound Pattern of English continue to be critical to current phonology, and in many instances the solutions proposed by Chomsky and Halle have yet to be improved upon.Noam Chomsky and Morris Halle are Institute Professors of Linguistics and Philosophy at MIT.

This book takes contrast, an issue that has been central to phonological theory since Saussure, as its central theme, making explicit its importance to phonological theory, perception, and acquisition. The volume brings together a number of different contemporary approaches to the theory of contrast, including chapters set within more abstract representation-based theories, as well as chapters that focus on functional phonetic theories and perceptual constraints. This book will be of interest to phonologists, phoneticians, psycholinguists, researchers in first and second language acquisition, and cognitive scientists interested in current thinking on this exciting topic.

The artists’ books made in Russia between 1910 and 1915 are like no others. Unique in their fusion of the verbal, visual, and sonic, these books are meant to be read, looked at, and listened to. Painters and poets—including Natalia Goncharova, Velimir Khlebnikov, Mikhail Larionov, Kazimir Malevich, and Vladimir Mayakovsky— collaborated to fabricate hand-lithographed books, for which they invented a new language called zaum (a neologism meaning “beyond the mind”), which was distinctive in its emphasis on “sound as such” and its rejection of definite logical meaning. At the heart of this volume are close analyses of two of the most significant and experimental futurist books: Mirskontsa (Worldbackwards) and Vzorval’ (Explodity). In addition, Nancy Perloff examines the profound differences between the Russian avant-garde and Western art movements, including futurism, and she uncovers a wide-ranging legacy in the midcentury global movement of sound and concrete poetry (the Brazilian Noigandres group, Ian Hamilton Finlay, and Henri Chopin), contemporary Western conceptual art, and the artist’s book. Sound recordings of zaum poems featured in the book are available at www.getty.edu.

This book describes and systematizes all aspects of the grammar of Russian: the patterns of orthography, sounds, inflection, syntax, tense-aspect-mood, word order, and intonation. It is especially concerned with the meaning of combinations of words (constructions). The core concept is that of the predicate history: a record of the states of entities through time and across possibilities. Using predicate histories, the book presents an integrated account of the semantics of verbs, nouns, case, and aspect. More attention is paid to syntax than in any other grammars of Russian written in English or in other languages of Western Europe. Alan Timberlake refers to the literature on variation and trends in development, and makes use of contemporary data from the internet. This book will appeal to students, scholars and language professionals interested in Russian.