著者

八代 隆政

出版者

文教大学大学院言語文化研究科付属言語文化研究所

雑誌

言語と文化 = Language and Culture (ISSN:09147977)

巻号頁・発行日

vol.12, pp.88-114, 2000-03-01

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Given transitive and intransitive sentence constructions, there are ideally two types of languages; nominative-accusative languages and ergative-absolutive languages. In a nominative-accusative language like Latin, the subject of an intransitive verb is functionally identified in some manner with the subject of a transitive verb, and two are referred to as nominative case. In an ergative-absolutive language, commonly termed merely 'ergative language', there is a functional identity between the subject of an intransitive and the object of a transitive; these two are termed absolutives or absolutive case. The subject of a transitive verb, called the ergative case or ergative, is distinct.A good number of ergative languages, which are generally referred to as split ergative languages, assign varying case-marking patterns on the basis of tense or aspect. For example, Urdu, Hindi and Punjabi show the ergative-absolutive patterning only in the perfect aspect. Pashto accepts the nominative-accusative construction in the non-past tense and the ergative-absolutive construction in the past tense.This paper is devoted to a consideration of the split ergative phenomenon in Urdu and Pashto. The first two sections show certain general characteristics that have been noted in ergative and split ergative languages. Section 3 covers some matters related to the ergativity of these two languages ranging from morphological to syntactic. Section 4 examines the particular features in Urdu's perfect aspect of the case-marking pattern based on the semantics of the verb, with volitional verbs requiring the ergative-absolutive pattern and non-volitional verbs being of the nominative-accusative pattern.

著者

八代 隆政

出版者

文教大学大学院言語文化研究科付属言語文化研究所

雑誌

言語と文化 = Language and Culture (ISSN:09147977)

巻号頁・発行日

vol.13, pp.104-140, 2001-03-01

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In the discussion of Pashto, two major dialectal groupings are considered – "Soft Pashto" or southwestern dialects spoken around Kandahar, Afghanistan; and "Hard Pashto" or northeastern dialects spoken in the Peshawar area, Pakistan. The latter has been most directly in contact with western Indian languages, e.g. Urdu and Punjabi.This report presents the results of my linguistic survey in Peshawar, including new data of Yusufzai dialects based on my field work. Then similarities and differences between Urdu and Pashto will be identified. It is intended as a beginning rather than an end-point.

著者

八代 隆政

出版者

文教大学言語文化研究所

雑誌

言語と文化 = Language and Culture (ISSN:09147977)

巻号頁・発行日

no.10, pp.88-124, 1998-02-01

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Ahmad Nadim Qasmi (1916—) is an effective Urdu short story writer as well as a poet and a journalist in Pakistan, who has generally maintained an unblemished personal reputation. The Urdu (and Hindi) short story as it exists today is a literary phenomenon of recent origin. Its present development owes much to the inspiration of the West. The short story in Urdu originated with Premchand (1880—1936), universally considered as one of the greatest fiction writers of modern India. Premchand brought it out of the world of dreamland and fantasy and introduced to this form the living truth of human existence. He portrayed the life of the Indian peasant in Uttar Pradesh in his novels and short stories with understanding and sympathy for their poverty and suffering, their superstitions and weakness.Only two years after the creation of the Union of Soviet Writers, Marxist intellectuals in India under the leadership of Sajjad Zahir called the first All-India Progressive Writers' Conference in Lucknow on April 10, 1936. Premchand, who imbibed the spirit of socialism in his final years, presided over the Progressive Writers' Movement's first session shortly before his death in 1936.The Urdu short story in the period after 1936 branched into two different lines: the sociological story, represented by Bedi, Krishan Chandar and Qasmi; and the psychological story, dominated by themes of sex, as best seen in the writings of Manto, Ismat Chughtai and Mumtaz Mufti. After Premchand, Ahmad Nadim Qasmi emerged as one of the best short story writers in Urdu. Imtiaz Ali Taj has rightly called Qasmi the "Premchand of Punjab." As a versatile writer, Ahmad Nadim Qasmi has written extensively both in prose and verse, depicting the rural life of the Punjabi with all its romance and poverty, and touchingly capturing the grandeur of nature in contrast with the sad plight of the village dweller. His interest in rural life sprang initially from his search for romance in the rustic, but later he began depicting rural actuality in all its beauty and misery, a fact which has tended to permeate his writing with a missionary zeal. Qasmi showed a deep sympathy for the peasant folk in their misery and poverty, for he saw beneath their rags a certain dignity, worth, and regard for humanity.In this paper an attempt has been made to describe Qasmi's life, thought and the process of his self-reformation, and to evaluate the characteristics of his works in the fifteenth collection of short stories "Nila patthar" (Blue stone) published in 1980.

著者

八代 隆政

出版者

文教大学言語文化研究所

雑誌

言語と文化 = Language and Culture (ISSN:09147977)

巻号頁・発行日

vol.10, pp.88-124, 1998-02-01

---

Ahmad Nadim Qasmi (1916—) is an effective Urdu short story writer as well as a poet and a journalist in Pakistan, who has generally maintained an unblemished personal reputation. The Urdu (and Hindi) short story as it exists today is a literary phenomenon of recent origin. Its present development owes much to the inspiration of the West. The short story in Urdu originated with Premchand (1880—1936), universally considered as one of the greatest fiction writers of modern India. Premchand brought it out of the world of dreamland and fantasy and introduced to this form the living truth of human existence. He portrayed the life of the Indian peasant in Uttar Pradesh in his novels and short stories with understanding and sympathy for their poverty and suffering, their superstitions and weakness.Only two years after the creation of the Union of Soviet Writers, Marxist intellectuals in India under the leadership of Sajjad Zahir called the first All-India Progressive Writers' Conference in Lucknow on April 10, 1936. Premchand, who imbibed the spirit of socialism in his final years, presided over the Progressive Writers' Movement's first session shortly before his death in 1936.The Urdu short story in the period after 1936 branched into two different lines: the sociological story, represented by Bedi, Krishan Chandar and Qasmi; and the psychological story, dominated by themes of sex, as best seen in the writings of Manto, Ismat Chughtai and Mumtaz Mufti. After Premchand, Ahmad Nadim Qasmi emerged as one of the best short story writers in Urdu. Imtiaz Ali Taj has rightly called Qasmi the "Premchand of Punjab." As a versatile writer, Ahmad Nadim Qasmi has written extensively both in prose and verse, depicting the rural life of the Punjabi with all its romance and poverty, and touchingly capturing the grandeur of nature in contrast with the sad plight of the village dweller. His interest in rural life sprang initially from his search for romance in the rustic, but later he began depicting rural actuality in all its beauty and misery, a fact which has tended to permeate his writing with a missionary zeal. Qasmi showed a deep sympathy for the peasant folk in their misery and poverty, for he saw beneath their rags a certain dignity, worth, and regard for humanity.In this paper an attempt has been made to describe Qasmi's life, thought and the process of his self-reformation, and to evaluate the characteristics of his works in the fifteenth collection of short stories "Nila patthar" (Blue stone) published in 1980.

著者

八代 隆政

出版者

文教大学言語文化研究所

雑誌

言語と文化 (ISSN:09147977)

巻号頁・発行日

no.11, pp.66-91, 1998

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Pashto, one of the official languages of Afghanistan, belongs to the Eastern group within the Iranian branch of Indo-European family of languages. It has been long recognized also as the most important language of the North-West Frontier Province in Pakistan. An estimated number of Pashto speakers in Afghanistan and Pakistan is approximately 25 million. Although many features vary widely in Pashto and few of their isoglosses coincide, it can be divided into the two major varieties on the basis of the phonemic and phonological features. The two groups are "Soft Pashto", or southwestern dialects spoken around Kandahar, and "Hard Pashto", or northeastern dialects spoken around Peshawar. Characteristic of Hard Pashto are the two phonemes, velar /x/ and /g/, respectively corresponding to retroflex spirants /s[下付きの点あり]/ and /z[下付きの点あり]/ in Soft Pashto.In this paper, focused on Peshawar dialect that has been most directly exposed to Indo-Aryan influence, e.g. Urdu and Punjabi, some of phonological and morphological features of this dialect are presented such as Indo-Aryanised phonemic system and inflections of nouns, personal pronouns and adjectives.

著者

八代 隆政

出版者

文教大学大学院言語文化研究科付属言語文化研究所

雑誌

言語と文化 (ISSN:09147977)

巻号頁・発行日

no.13, pp.104-140, 2000

---

In the discussion of Pashto, two major dialectal groupings are considered – "Soft Pashto" or southwestern dialects spoken around Kandahar, Afghanistan; and "Hard Pashto" or northeastern dialects spoken in the Peshawar area, Pakistan. The latter has been most directly in contact with western Indian languages, e.g. Urdu and Punjabi.This report presents the results of my linguistic survey in Peshawar, including new data of Yusufzai dialects based on my field work. Then similarities and differences between Urdu and Pashto will be identified. It is intended as a beginning rather than an end-point.

著者

八代 隆政

出版者

文教大学言語文化研究所

雑誌

言語と文化 (ISSN:09147977)

巻号頁・発行日

vol.10, pp.88-124, 1998-02

---

Ahmad Nadim Qasmi (1916—) is an effective Urdu short story writer as well as a poet and a journalist in Pakistan, who has generally maintained an unblemished personal reputation. The Urdu (and Hindi) short story as it exists today is a literary phenomenon of recent origin. Its present development owes much to the inspiration of the West. The short story in Urdu originated with Premchand (1880—1936), universally considered as one of the greatest fiction writers of modern India. Premchand brought it out of the world of dreamland and fantasy and introduced to this form the living truth of human existence. He portrayed the life of the Indian peasant in Uttar Pradesh in his novels and short stories with understanding and sympathy for their poverty and suffering, their superstitions and weakness.Only two years after the creation of the Union of Soviet Writers, Marxist intellectuals in India under the leadership of Sajjad Zahir called the first All-India Progressive Writers' Conference in Lucknow on April 10, 1936. Premchand, who imbibed the spirit of socialism in his final years, presided over the Progressive Writers' Movement's first session shortly before his death in 1936.The Urdu short story in the period after 1936 branched into two different lines: the sociological story, represented by Bedi, Krishan Chandar and Qasmi; and the psychological story, dominated by themes of sex, as best seen in the writings of Manto, Ismat Chughtai and Mumtaz Mufti. After Premchand, Ahmad Nadim Qasmi emerged as one of the best short story writers in Urdu. Imtiaz Ali Taj has rightly called Qasmi the "Premchand of Punjab." As a versatile writer, Ahmad Nadim Qasmi has written extensively both in prose and verse, depicting the rural life of the Punjabi with all its romance and poverty, and touchingly capturing the grandeur of nature in contrast with the sad plight of the village dweller. His interest in rural life sprang initially from his search for romance in the rustic, but later he began depicting rural actuality in all its beauty and misery, a fact which has tended to permeate his writing with a missionary zeal. Qasmi showed a deep sympathy for the peasant folk in their misery and poverty, for he saw beneath their rags a certain dignity, worth, and regard for humanity.In this paper an attempt has been made to describe Qasmi's life, thought and the process of his self-reformation, and to evaluate the characteristics of his works in the fifteenth collection of short stories "Nila patthar" (Blue stone) published in 1980.