A Typology of Spreading, Insertion and Deletion or What You weren't Told About Raddoppiamento sintattico in Italian (original) (raw)
2002, Proceedings of the 2002 Conference of the Australian Linguistics Society
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Raddoppiamento sintattico and Prosodic Phonology: A Re-evaluation
K. Allan (ed.), Selected papers from the 2005 conference of the Australian Linguistic Society, 2006
Raddoppiamento sintattico (RS), or word-initial gemination, e.g. tre [kk]ani “three dogs”, is a well-known external sandhi phenomenon in Italian. It has been widely discussed in the phonological and phonetic literature and its analysis was central to the formulation of Prosodic Phonology (PP) in the 1980s (NV Loporcaro 1995, 1997a, 1997b). We claim that a better analysis of when RS does/does not occur in Italian needs to account for much more data than prosodic phonologists are willing to refer to and cannot be reliably associated with φ.
In: Luciano Romito (éd.). Quaderni del Dipartimento di Linguistica Università della Calabria 27 (30 anni di Laboratorio di Fonetica). ISSN 1128-7675 (Rome : Aracne)., 2019
ABSTRACT: In Southern Italian dialects we find several verbal forms which show double enclitics Cl1Cl2, where we observe a stress shift on Cl1 or on final verbal V before a Cl. In these Italian varieties this has consequences for the rule of Raddoppiamento Sintattico since a geminate of the first consonant is triggered in such clitics: after the stress shift, any initial consonant of Cl can geminate. The geminate in clitics is conditioned by the constraint STRESS-TO-WEIGHT (STW). In Italian (and in Spanish but not in Catalan) the stress is not shifted on clitics in parallel forms. The stress shift in Italo-Romance dialects follow what I call the three-moras-window and pronominal postverbal enclitics always behave as phonological words footed with the verbs. In these verbal structures stress fells on one of the last three moras which identify the maximal prosodic window . Stress shift takes place on clitics clusters to avoid the stress to fall on the fourth mora. This analysis is presented in a version of OT joined with prosodic and metrical phonology .
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