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14
Event-structural prominence and
forces in verb meaning shifts
ANJA LATROUITE
14.1 Introduction
In Indo-European languages, subject choice in a sentence is determined by the
respective role of the arguments, i.e. in sentences with active verbs the most agentlike argument (the Actor) maps to subject, as exemplified in (1), while in sentences
with passive verbs the most affected argument (the Undergoer) maps to subject, as
exemplified in (2). Note that in the passive sentences the Actor argument becomes
oblique and is either not realized at all or introduced by a preposition.*
(1)
(2)
Active sentences with Actor subject1
a. They manipulated her.
b. Sie
töte-t-en
den
3p.nom kill-past-3pl Det.masc.acc
‘They killed the demonstrator.’
Demonstranten.
demonstrator
Passive sentences with Undergoer subject
a. She was manipulated (by them).
b. Der
Demonstrant wurde
Det.masc.nom demonstrator become.past.3s
‘The demonstrator was killed (by them).’
(von ihnen)
(from them)
getötet.
killed
* I would like to thank the audience at FIGS, especially G. Ramchand and J. Beavers, as well as the organizers
of the conference and editors of this volume, B. Copley and F. Martin, for helpful comments and questions. This
chapter has also greatly benefited from the thought-provoking criticism and suggestions of the two anonymous
reviewers. Special thanks are due to my Tagalog consultants, R. Panotes Palmero and E. Guerrero, as well as to
S. Lambert and R. D. Van Valin, Jr for critical remarks on earlier versions of this chapter. Obviously all
remaining flaws and errors are my own. A large part of the work on this chapter was possible thanks to research
project B1 of CRC 991‚ “Verb frames at the syntax–semantics interface,” funded by the DFG. This chapter is
partly based on Chapter 6 of my PhD thesis.
1
Annotation: AV: Actor voice; ACC: accusative; GEN: genitive; DAT: dative; Det: determiner; impf:
imperfective; MASC: masculin; NMZ: nominalization; NOM: nominative; PL: plural; past: past tense;
s: singular; UV: Undergoer voice. Infixes are marked by < > and may separate the initial consonant of the
stem (Cstem) from the rest of the verb stem.
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The subject argument is easily identifiable in both sentence types as it triggers
person–number agreement on the verb and bears nominative case. The active voice
form of a verb is often called the basic, unmarked voice form, while passive is
conceived of as the marked, derived voice form due to its morphological complexity
and the way it affects the argument structure of the verb by reducing the number of
obligatory arguments by one. In other words, while the active voice form of the verb
has an accusative-marked object argument in addition to the nominative-marked
subject argument, the passive verb no longer takes an accusative complement.
As we will see in the next section, subject selection in Tagalog differs considerably
from subject selection in Indo-European languages. For one, the voice system allows
for a larger array of possible subjects which are identified by affixes encoding
semantic rather than grammatical properties of the subject. Secondly, the voice
system is symmetrical in the sense that Actor voice is no more basic than Undergoer
voice. Moreover, voice affixes are prone to inducing a difference in the interpretation
of verbs, resulting in certain voice forms being less acceptable or preferred than
others. The aim of this chapter is to gain a better understanding of what contribution
is made by the choice of voice. Previous theories relate the semantic function of the
voice affixes to specificity (Maclachlan 2000; Rackowski 2002; Aldridge 2004) or
transitivity (Starosta 2002; Nolasco 2005; Saclot 2006). After a brief overview of the
Tagalog voice system and the relevant terminology in section 14.2, section 14.3
briefly reviews the mentioned approaches as well as some problems they face.
Section 14.4 lays out a theory in which the notion of event structural prominence
and the role of the Actor and the Undergoer in the event are central. More
specifically, it will be shown that voice gaps, subject selection preferences, and
meaning shifts with certain verbs can be related to the factors that contribute to
the causal construal of the event, e.g. the intentionality of the Actor, the motivational
role of the Undergoer in the coming about of an event, and the purpose of an action.
14.2 The nature of voice in Tagalog
Tagalog possesses a set of voice affixes that indicate the properties the subject
argument exhibits in the event. The sentences in (3) show the event denoting stem
tawa ‘laugh’ with a number of different Actor voice (AV) affixes that express how
the Actor is involved in the event of laughing. In (3a) the voice affix /naka-/
expresses that the Actor had the ability to laugh, while the affix /um-/ in (3b),
which is associated with dynamicity, expresses that the Actor actually laughed. The
affix /na-/ in (3c) signals that the Actor laughed despite himself (unintentionally),
while the affix /nag-/ (3d) marks an Actor who laughed heartily. The subject is
marked by the particle ang, which, following Kroeger (1993), is glossed here as NOM
(= nominative). The data show that degrees of dynamicity and intention play a
central role in Tagalog. Note that Tagalog does not have a tense system, but rather
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14. Event-structural prominence
two morphological markers that provide information on the event in relation to the
time of reference: (a) the morphological marker /N-/ (/um-/-verbs lack this marker),
glossed as realis, for an event viewed as +begun, and (b) morphological marking in
the form of CV-reduplication of the first syllable, glossed as impf, indicating that the
event is or was ongoing (Kroeger 1993). Consequently, the following Realis verb
forms express that the event had/has begun, but was/is not ongoing. These forms are
usually translated by simple past forms.
(3)
a. Naka-tawa
ang lalaki.
av.realisability-laugh nom man
‘The man was able to laugh.’
b. T< um>awa
Tstem< av.realis>dynamic1laugh
‘The man laughed.’
ang
nom
lalaki.
man
c. Na-tawa
ang
lalaki.
av.realisstative-laugh
nom
man
‘The man happened to laugh (despite himself).’
d. Nag-tawa
ang
av.realisdynamic2-laugh
nom
‘The man laughed heartily.’
lalaki.
man
In addition to the set of Actor voice affixes shown above, there is also a set of three
non-Actor affixes. They are traditionally described in terms of thematic roles, e.g. the
suffix /-in/ is said to single out the Theme–Patient argument (= directly affected
argument), /-an/ the Recipient–Location–Goal arguments, and /i-/ the Beneficiary/
Instrument as well as certain Theme arguments, as shown in Table 14.1. There is no
consensus with respect to the number and labels of thematic roles in Austronesian
linguistics (cf. Drossard 1984 for an overview). For the purpose of this chapter and
for the sake of simplicity, I will use the cover term Undergoer voice (UV) affixes for
all non-Actor voices, following Himmelmann (1987).2
Note that Tagalog exhibits two non-subject case markers in addition to nominative ang: genitive ng for core arguments of the verb (i.e. arguments the verb
requires due to its meaning and transitivity), and dative sa for oblique arguments
as well as for non-Actor core arguments expressed by pronouns. Given the special
status of animate entities in this language, it is not surprising to find a separate
set of case markers for personal names. Pronouns also come in three different case
forms, as exemplified in the third line of Table 14.2 for the 3rd person singular
pronoun.
2
Description of the Tagalog voice system in terms of thematic roles is problematic, and should
probably be replaced by the concept of event-structural roles (cf. Latrouite and Naumann 1999; 2001).
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Table 14.1 Voice affixes
Voice affix
selects as subject
um-; mag – (Realis: nag-)
-in (Realis: in-)
-an (Realis: in-verb-an)
i-(Realis: i-ni-verb)
Actor
Theme–Patient
Locative: Recipient–Location–Goal
Circumstantial: Beneficiary–Instrument–Theme
Table 14.2 Case markers
Common nouns
Personal names
Pronoun 3sg
nominate
genitive
dative
ang
si
siya
ng
ni
niya
sa
kay
sa kaniya
As has been pointed out by Foley (1998) and Himmelmann (2005), Tagalog is a
symmetrical voice language, i.e. no voice form is morphologically more basic than
another and no voice form can be viewed as derived from another voice form. An
often-cited example of a verb stem taking all of the voice affixes above, and thus
allowing for Actor, Theme, Locative, and Beneficiary subjects marked by the nominative marker ang, is shown in (4). An item enclosed within square brackets in the
translations below indicates that this is a possible but less preferred reading for the
sentence without further context. Note that genitive-marked Undergoers are preferably understood as non-specific in Actor voice sentences, but not in Locative or
Beneficiary voice sentences. The role of specificity has been often evoked as crucial,
and will be reviewed in the next section.
(4)
Active verb with different voice affixes
ka
ng libro sa aklatan para sa anak mo.
a. H<um>iram
Hstem< av>borrow 2s.nom gen book dat library for dat child 2s.gen
ACTOR: um‘You borrow a book in [a/]the library for the child!’
b. Hiram-in
mo
ang libro sa aklatan para
sa anak mo.
borrow-uv:in 2s.gen nom book dat library for
dat child 2s.gen
THEME:-in
‘You borrow the book in [a/]the library for your child!’
c. Hiram-an
mo
ng libro ang aklatan para sa anak mo.
borrow-uv:an 2s.gen gen book nom library for dat child gen
‘You borrow a/[the] book in the library for the child!’
LOCATIVE: -an
d. I-hiram
mo
ng libro sa aklatan ang anak mo.
uv:i–borrow 2s.gen gen book dat library nom child 2s.gen
‘You borrow a/the book in [a/]the library for your child!’ BENEFICIARY: i-
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Extensive work has shown that the Undergoer voice forms cannot be analyzed as
passives (cf. e.g. Foley 1976; Foley and Van Valin 1977; Pawley and Reid 1979;
Drossard 1984; Himmelmann 1991). For one, the Actor argument does not get
demoted to oblique in Undergoer voice sentences. Quite the contrary: it retains
certain subject properties. Sentences like (5) show that in Undergoer voice sentences,
the ng-marked Actor, and not the ang-marked Undergoer, is interpreted as coreferential with the subject of the second conjunct. Note that the 3rd person singular
pronoun is gender-neutral in Tagalog and would in theory allow for both interpretations.3
(5)
B<in>ugbog4
ng
lalaki ang babae at um-alis
Bstem< UV.realis>beat.up GEN man NOM woman and AV.realis-leave
siya.
3s.Nom
‘The man beat up the woman and he left.’
(NOT: ‘The woman was beaten up by the man and she left.’) (Drossard 1984: 61)
At least since Schachter (1976) it has been well known that the syntactic properties associated with the subject in most Indo-European languages are divided
between the Actor argument and the ang-marked argument in Tagalog, i.e. rolerelated subject properties are associated with the Actor and reference-related subject
properties are associated with the ang-marked argument (cf. Foley and Van Valin
1984). I follow Kroeger (1993) in this chapter and call the ang-marked argument the
subject, as it exhibits important subject properties like the ability to launch floating
quantifiers and the ascension of possessors, as well as the ability to control secondary
predicates and to license relativization as the only argument in the sentence.5,6
Examples like those in (4) evoke the misleading impression that voice choice is
rather free and that the meaning difference between Actor and Undergoer voice
forms boils down to a difference in specificity with respect to the Theme argument.
In the next section we look at subject selection restrictions and greater meaning
shifts, and discuss previous approaches that have analyzed the function of the voice
affixes in terms of specificity and transitivity.
3
Drossard (1984: 75ff.) points out that this interpretation is due to the combination of two active
predicates. If a stative and an active predicate are combined, the reference of the pronoun is ambiguous.
4
The Realis form of Undergoer voice forms is marked by the infix /-in-/ with verbs beginning in
consonants and the prefix /ni-/ with verbs beginning in vowels. Patient/Theme voice forms lack the suffix
/–in/ in Realis. The Actor voice forms /nag-/ and /naka-/ and is analyzed as a fusion of /mag-/ and /-in-/,
respectively /maka-/ and /-in-/ (cf. Pawley and Reid 1979).
5
See Schachter (1976) for a discussion of Kroeger’s work and the analysis of sentences lacking
nominative arguments.
6
In Philippine languages, the ang-marked argument is often called the topic—however, not in the
sense of discourse topic or old information, as it may very well be the focus of the sentence (cf. Schachter
and Otanes 1972). Rather, it is used in the sense of “clause-internal topic” and “what the event denoted by
the verb phrase is about,” showing that its status is not first and foremost pragmatic, but grammatical.
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14.3 Previous approaches to Tagalog voice marking
14.3.1 Subject choice, specificity, and intentionality
Already Bloomfield (1917: 155) had stated that in Actor voice sentences the Undergoer argument was generally either lacking or “underdetermined,” while in Undergoer voice sentences it was definite. Naylor (1986) put this observation into the rule
that a definite Patient/Theme would win over a definite Actor with respect to subject
choice. More recent works (Maclachlan 2000; Rackowski 2002; Aldridge 2004)
phrase this observation more carefully in terms of specificity instead of definiteness.7
Specificity is usually understood to mean something like “presupposed by the
speaker.” Rackowski takes the specificity of the nominative argument as the motivation to state that specificity is a central factor in voice choice, in the sense that only
non-specific Patients may stay in VP, while specific Patients need to move out of VP
to a position where they trigger voice marking. This results in the picture that
specific Actors outrank non-specific Patients/Themes for nominative marking,
while specific Patients/Themes are believed to generally outrank specific Actors
and “enforce” Undergoer voice. Grammaticality judgments with respect to wellknown examples like the one in (6) seem to provide further evidence for the key role
of specificity in Tagalog. In contrast to the Undergoer voice sentence in (6b), the
Actor voice sentence in (6a) is considered unacceptable by native speakers. Recall
that non-subject Undergoers expressed by personal names and pronouns are always
marked by the dative marker.
(6)
takot ‘fear’/ takót ‘afraid’, t-um-akot/takut-in: to frighten
(Schachter and Otanes 1972)
a. *T< um>akot
siya
kay Jose.
Tstem < av.realis>afraid 3s.nom dat Jose
Intended: ‘He frightened Jose.’
b. T-in-akot
Tstem< uv.realis>afraid
‘He frightened Jose.’
niya
3s.gen
si Jose.
nom Jose
Interestingly, for a limited number of verbs, the Actor voice form is found to be
unacceptable, even if the Undergoer is non-specific and the Actor specific as in (7a),
while the Undergoer voice form in (7b) is acceptable, as would be expected. The
marker # indicates that speakers find the sentence awkward.
(7)
7
patáy ‘dead’, p.um.atay/patay.in: to kill (Saclot 2006)
a. #P< um>atay
ang mga bata ng mga aso.
Pstem< av.realis>dead nom pl child gen pl dog
Intended: ‘The children killed (the) dogs.’
Cf. Bell (1978) as well as Adams and Manaster-Ramer (1988) for data challenging the definiteness
requirement in Tagalog.
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14. Event-structural prominence
b. P< in>atay
ng mga bata
Pstem< uv.realis>dead gen pl child
‘The children killed the dogs.’
ang mga aso.
nom pl dog
Saclot (2006) suggests that the unacceptability of (7a) results from semanticpragmatic considerations: Undergoer voice forms, but not Actor voice forms, are
said to denote intentional actions directed towards the Undergoer. If the Actor is not
depicted as intentionally killing the dogs, i.e. if Actor voice is chosen, the implication
is that it is an inherent property/inclination of the Actor to kill. The action is not
depicted as specifically directed at the referent of the Undergoer. The idea of
children randomly killing animals is felt to be odd and thus Actor voice gets rejected.
Saclot therefore suggests that Actor voice forms imply voluntariness, while Undergoer voice forms imply intention.
When it comes to explaining the distribution of Actor voice vs. Undergoer voice
of verbs that denote emotional states and do not take intentional agents like the verb
umibig/ibigin ‘to love’ in (9), or verbs that may take inanimate highest arguments
like sumalpok/salpukin ‘to hit’ in (8), the notions of voluntariness and intention lack
explanatory power. It should be noted that the specificity of the Undergoer in these
sentences does not “enforce” Undergoer voice. Actor voice may be freely chosen
even if the Undergoer is specific, as the sentences in (8a) and (9a) show. While with
the verb ‘to hit’ in (8a) the speaker may choose between ng and sa, and thus overtly
mark the difference between a non-specific Undergoer (ng) and a specific Undergoer
(sa), the emotion verb umibig ‘to love’ only takes sa-marked Undergoers, like many
verbs that require animate Undergoers. Given that the sentence in (9a) is taken from
the story Alamat ng saging, it can be shown, however, that in this particular case, the
Undergoer lalaki ‘man’ is indeed specific, even definite, as he has been mentioned in
the preceding sentences. The Undergoer voice sentences, given in (8b) and (9b) for
comparison, are of course also possible, although according to Nolasco (2005), the
Undergoer voice sentence in (8b) depicts a less natural scenario of the waves
‘forcefully striking the boat.’
(8)
a. S< um>alpok
ang alon
nom wave
Sstem< av.realis>strike
‘The wave struck a/the boat.’
b. S< in>alpok
ng
Sstem< uv.realis>strike gen
‘The wave struck the boat.’
(9)
alon
wave
ng/sa bangka.
gen/dat boat
(Schachter 1972: 70)
ang bangka.
nom boat
(Schachter 1972: 70)
Context: Noong unang panahon, isang magandang babae ang nakilala ng isang
kakaibang lalaki. ( . . . ) Ipinagtapat naman ng engkanto na buhat siya sa lupain
ng mga pangarap, at hindi sila maaaring magkasama.
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‘Once upon a time a beautiful woman met a strange/odd man. ( . . . ) The
spirit (=the man) declared frankly that he was from the region of dreams, and
that they could not become companions.’ (Source: Alamat ng saging (http://
hawaii.edu/Filipino/Related))
a. Gayunman, um-ibig
ang babae
sa
lalaki.
however
av.realis-love nom woman
dat man
‘However, the woman loved the man.’
b. In-ibig
ng babae
uv.realis-love gen woman
‘The woman loved the man.’
ang lalaki.
nom man
These few sentences show already that the distribution and acceptability of Actor
and Undergoer voice affixes cannot fully be explained by referring to the specificity
of the Undergoer or the intentionality of the Actor argument (for more examples see
Latrouite 2012 and in press).
The differences in interpretation that Saclot describes in terms of volition vs.
intention for the sentences in (7) are clearly restricted to verbs requiring animate,
controlling Actors. The voluntariness reading of Actor voice forms is probably best
viewed as a prototypical and—in the Gricean sense of the word—implicated inference for activity verbs with animate and controlling Actors, but not as uncancellable
semantic content associated with the Actor voice affix /um-/ (cf. Van Valin and
Wilkins 1996). Evidence for the status of this interpretation as an implicature comes
from contrastive focus sentences. The choice of Actor voice in a contrastive focus
sentence with the verbs above is perfectly acceptable, as seen in (10), and does not
implicate that the Actor acts voluntarily, rather than unintentionally, and once again
it does not implicate or require the Undergoer to be non-specific.
(10)
a. Siya
ang t< um>akot
3s.nom nmz tstem< av.realis>afraid
‘It is he who frightened Jose.’
kay Jose.
dat Jose
b. Ang mga bata ang p< um>atay
nom pl child
nmz pstem< av.realis>dead
‘It is the children who killed dogs/the dogs.’
ng/sa
gen/dat
mga
pl
aso.
dog
Saclot’s analysis is not undermined by the observation that intentionality cannot
serve as an explanation for all voice selection patterns. Following Nolasco (2005), she
views intentionality as only one factor that may serve to render an argument more
prominent than the other. Nolasco (2005) assumes a framework in which intentionality is one parameter of semantic transitivity—a notion that has been put forward
by several Philippinists as decisive for voice choice. The next section provides a brief
overview and discussion of the transitivity approach to voice.
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14.3.2 Voice choice and transitivity
Transitivity as a key concept in the voice system of Tagalog is discussed in Starosta
(2002), Ross (2002), Nolasco (2005), and Nolasco and Saclot (2005). The basic idea
is that voice affixes differ with respect to transitivity marking: sentences with Actor
voice forms are said to be intransitive, while sentences with Undergoer voice forms
are said to be transitive (for a different view, see Kroeger 1993 and Himmelmann
1991). Transitivity is not to be understood as a morphosyntactic term (cf. Ross
2002), but as a semantic notion in the sense of Hopper and Thompson (1980), i.e. it
is understood to be about an activity “being carried over or transferred from an
agent to a patient. Transitivity in this traditional view necessarily involves at least
two participants . . . and an action which is typically EFFECTIVE in some way”
(Hopper and Thompson 1980: 251, emphasis original). Hopper and Thompson
identify a list of parameters—“each of which suggests a scale according to which
clauses can be ranked” (p. 251)—that “involves a different facet of the effectiveness
or intensity with which the action is transferred from one participant to another”
(p. 252). Nolasco (2005), Nolasco and Saclot (2005) revises Hopper and Thompson’s
parameters and the definition of transitivity to suit Philippine languages (cf. 2005a:
222), for which he assumes only a weak grammaticalization of the subject–object
relation. Inspired by Klaiman’s (1988) notions “source of action” and “most affected
entity,” he comes up with the following definition:
A transitive construction is one where the source of the action is viewed as distinct from the
most affected entity (P). An intransitive construction is one where the source of the action is
also viewed as the most affected entity. (Nolasco 2005: 218)
Nolasco claims that the primary function of the voice affixes is “to cross-index the
most affected entity in the clause” (Nolasco and Saclot 2005: 2; cf. Nolasco 2005: 236);
i.e. Actor voice, signalling intransitivity, identifies the Actor (the sole argument of the
verb) as the most affected one, while Undergoer voice, signalling transitivity, identifies
the Undergoer as the most affected one. Nolasco does not define the notion of
affectedness.8 However, given that he refers to Klaiman’s work, it is evident that
he holds the view that “performing an action” can also be a form of being affected.
Latrouite (2011) provides a detailed discussion of all the parameters given by
Nolasco, and shows that some of them are of little to no importance to voice choice,
e.g. kinesis and punctuality, or cancellable inferences, e.g. the amount of effort put in
by the Actor. A third set of (interrelated) parameters comprising individuation,
affectedness of the Patient, telicity, and directionality, on the other hand, are shown
to play a more substantial role for a number of verbs. It seems to me that behind
Nolasco’s undefined notion of prominence as affectedness lurks an idea similar to
my notion of “event-structural prominence of participants,” which will be defined in
8
For a more restrictive view of affectedness applied to the three different Undergoer voice affixes, see
Himmelmann (1987).
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14.3 Tagalog voice marking
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section 14.4, i.e. the idea that voice affixes cross-index an argument with a higher
level of prominence based on the nature of the event and its event-related properties.
Therefore the next section briefly reviews and discusses those parameters that shed
light on the aspects that I consider relevant to the voice system and the topic of this
chapter.
14.3.3 Individuation, affectedness of P, telicity, and directionality
Nolasco (2005a) is aware of Actor voice sentences with specific Undergoers and
therefore does not include specificity, but rather particularity (of the event) and
individuation (of the Undergoer), in his list of criteria for semantically transitive
sentences. Both these parameters can be used in describing the difference between
(11a), which according to Nolasco denotes a general leisure-time activity (a nonparticular event), and (11b), which denotes “a conscious, deliberate and particular
act undertaken to affect a book” (p. 230).
(11)
a. Nag-basa
siya
ng
libro.
av.realis-read 3s.nom gen book
‘He did book-reading.’ [Nolasco’s translation]9
b. B<in>asa
Bstem< uv.realis>read
‘He read the book.’
niya
3s.gen
ang
nom
libro.
book
(Nolasco 2005: 230)
The sentences also differ with respect to the parameter of individuation of the
Undergoer argument. The book is understood as an individuated object in the
Undergoer voice sentence, but not in the Actor voice sentence. Nolasco notes that
individuation is not to be understood as “specificity” or in the sense of “grammatical
individuation” signalled by pronouns and personal names, but as “exclusivity of a
semantic patient.” Saclot (2006) chooses an example with two personal names, given
in a slightly modified version in (12), to explicate the concept of individuation.
(12)
/suntok/ ‘hit’ with two specific arguments
a. S< um>untok
si Pedro
kay Jose.
Sstem< av.realis>hit nom Pedro dat Jose
‘Pedro hit Jose.’
b. S< in>untok
sstem< uv.realis>hit
‘Pedro hit Jose.’
ni Pedro
gen Pedro
(cf. Saclot 2006: 10)
si
Jose.
nom Jose
It is suggested that the speaker chooses (the admittedly marked) Actor voice form
in (12a) because Jose was not the only one who got hit and the activity was not
9
My consultants allow for more than one interpretation of this sentence; it may also be understood as
‘he read a book’, so a sentence taking up ‘book’ as a discourse referent may follow.
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14. Event-structural prominence
specifically directed towards him. Thus, in contrast to (12b), Jose is not understood
as the exclusive receiver of the action in (12a), supposedly because the Actor hit for
the sake of hitting and not because he had Jose as a target in mind. However,
different speakers offer different scenarios: my consultants suggest that Actor voice
was chosen because Pedro tried to hit Jose, but did not touch him (or really hit him).
So in the first scenario given by Saclot, the Undergoer was understood as fully
physically affected, but not viewed as delimiting the event because he was not
the only one involved, while in the second scenario the Undergoer was viewed
as the only one involved, but not as prototypically affected by it. Individuation of
the Undergoer is thus only one of two possible interpretations. What both interpretations given for (12a) have in common is the focus on the initial phase of the
event, i.e. the causing phase, which is characterized by the Actor’s intention of
starting and pursuing the activity, while the subevent associated with the Undergoer
is backgrounded, leaving room for different interpretations as to how (s)he may have
been involved. This is in line with the idea that sentences are descriptions of
situations, such that more than one situation can satisfy the description; see also
Copley and Harley’s discussion (Ch. 6 above) of how more than one situation may
be construed for a single sentence.
Note that the Actor voice example of the verb ‘to love’, given in (9a), cannot be
explained based on the fact that the Undergoer is (i) one among many or (ii) not
understood as prototypically affected. The latter is first and foremost true because
the verb ‘to love’ does not determine any prototypical change of state with respect to
the Undergoer argument. It can also be argued that the punctual contact verb ‘hit’ is
not associated with a specific result that the event brings about with respect to the
Undergoer either. We find that, in contrast to result-oriented verbs like “to frighten”
and “to kill,” for which Actor voice forms are very much dispreferred and necessitate
a special context (cf. Latrouite 2011), all dynamic contact verbs above, as well as ‘to
bite’ in (13), allow for Actor and Undergoer voice forms in basic sentences. However, the Actor voice form in (13c) is strongly dispreferred if the Undergoer is
human, while the Actor is not human—a pattern that was found to hold true for all
the contact verbs looked at in Latrouite (2011).
(13)
a. K< um>agat
ang
Kstem< av.realis>bite
nom
‘The dog bit a/the bone.’
b. K< in>agat
ng
Kstem< uv.realis>bite gen
‘The dog bit the bone.’
c. #K< um>agat
ang aso
< av.realis>bite nom dog
‘The dog bit me/Lena.’
aso
dog
aso
dog
ng/sa
gen/dat
ang
nom
buto.
bone
buto.
bone
sa akin/
dat 1s.nonact/
kay Lena.
dat Lena
(cf. Saclot 2006: 5)
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As an intermediate summary, we can conclude that we need to distinguish
different classes of verbs: verbs that bring about changes in an Undergoer and
those that do not. The first class comprises stative verbs without an agent, like “to
love,” for which discourse-structural prominence of the arguments plays a role for
subject choice, as argued in Latrouite (2011); and verbs with an agent, but no
extended event structure and no specific change brought about with respect to the
Undergoer, like punctual contact verbs. Note that the Undergoer of the latter
subclass prototypically delimits the run-time and is associated with the end-point
of the event in contrast to the Undergoer of the first subclass. As mentioned before,
for contact verbs, referential properties of the arguments like their respective position on the animacy hierarchy (with humans as agents par excellence being on top)
plays a role. If the referent of the Actor and Undergoer argument is in both cases a
human being, then—without further context—Undergoer voice is preferred. Actor
voice was argued to be only possible if a scenario can be construed in which the
Undergoer does not delimit the event or is not construed as motivating the coming
about of the event, thereby putting the responsibility for the initiation and the runtime of the event solely on the Actor and rendering it more prominent. Speakers
suggested in these cases that they viewed the Actor as having an inherent predisposition towards the denoted kind of behavior. The data suggest that this construal is
faciliated if the Undergoer is inanimate.
The second class of verbs denotes events that bring about changes in the Undergoer.
A subclass of these verbs requires an animate Actor and denotes a specific change of
state in animate Undergoers, like the verbs “to kill” and “to frighten.” These resultoriented verbs strongly prefer Undergoer voice forms to the extent that Actor voice
forms are labeled “unacceptable” in basic sentences. Another subclass deserves mention, for which Nolasco’s notion of individuation turns out to be a very decisive
parameter, because the event-structural interpretation of the verb crucially hinges on
this factor. This is true for verbs taking incremental themes (13)10 (cf. Dowty 1991),
i.e. Undergoer arguments that are used up or built up bit by bit as the event denoted
by the verb progresses. The basic idea, formulated by Krifka (1992; 1998), is that for
verbs taking incremental themes a one-to-one relationship between the run-time of
the event and the parts of the incremental theme can be established. According to
Lyutikova and Tatevosov (Ch. 11 above), incremental verbs denote a “special type of
immediate causation, whereby two eventualities are causally related down to their
proper parts and temporally co-extensive . . . any part of the causing eventuality has
to bring about some temporally co-extensive part of the caused eventuality and . . .
any part of the caused eventuality is to be brought about by some temporally
co-extensive part of the causing eventuality.” An individuated Undergoer is thus
10
Nolasco analyzes examples like these in terms of the parameter “less affected patient” vs. “fully
affected patient.”
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14. Event-structural prominence
understood as measuring out the event (cf. Tenny 1987; 1994) and changes an
activity verb into an accomplishment verb, as exemplified in (14) and (15).
(14)
Activity readings with Actor voice
a. S< um>ulat
si Pedro
ng
liham.
Sstem< av.realis>write nom Pedro gen letter
‘Pedro wrote a letter/part of a letter/letters.’
b. L< um>angoy
ka
Lstem< av>swim 2s.nom
‘Swim in the river.’
c. K< um>ain
Kstem< av.realis>eat
‘I ate (a) fish/fishes.’
sa
dat
ako
1s.nom
ilog.
river
ng
gen
d. Um-akyat
ako
ng/sa
av.realis-go_up 1s.nom gen/dat
‘I climbed on a/the mountain.’
(15)
isda.
fish
bulog.
mountain
Accomplishment readings with Undergoer voice
a. S< in>ulat
ni Pedro
ang liham.
Sstem< uv.realis>write gen Pedro nom letter
‘Pedro wrote the letter/the letters.’
b. L< in>angoy
mo
ang
ilog.
Lstem< uv.realis>swim 2s.gen nom river
‘You swam (across) the river (= from one side to the opposite side).’
c. K< in>ain
ko
Kstem< uv.realis>eat 1s.gen
‘I ate the fish/the fishes.’
ang
nom
isda.
fish
d. In-akyat
ko
ang
bulog.
uv.realis-go_up 1s.gen nom mountain
‘I climbed the mountain (= all the way up to the top of the mountain).’
As Dell (1987) points out, the completion reading is best viewed as a default
reading (see also Chs 2 and 6 above). Still, Undergoer verbs never receive a simple
activity reading. Rather, they express that the Actor intended to bring about an
accomplishment, if completion is contradicted. However, Actor voice sentences, as
pointed out by my consultants, can be interpreted as accomplishments if they occur
in a contrastive focus sentence, even if the Undergoer is not explicitly marked as
specific by the dative marker sa, as shown in (16). This suggests that AV verbs, in
contrast to UV verbs, are not specified for the (intended) result brought about with
respect to the Undergoer, i.e the Actor voice form is the less specific form regarding
the relation of Actor and Undergoer.
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14.3 Tagalog voice marking
(16)
Siya
ang k-um-ain
3s.nom nmz kstem< av.realis>eat
‘He is the one who ate fish/the fish.’
ng/sa
gen/dat
385
isda.
fish
As mentioned above, more than one scenario may be construed for a single
sentence. In the case of Tagalog, this seems to be true, with the restriction that
there are always prototypical construals, and that less specific forms that would in
theory allow for a larger array of readings are usually taken to be restricted to the
readings the more specific form does not cover, unless this less specific form is
chosen for different reasons, as is the case in (16), where Actor voice is obligatory.
The examples in this section show that the significance of Nolasco’s parameters to
voice selection depends to a large degree on the meaning and the event structure
associated with a verb, as well as on the centrality of the arguments for the event.
Meaning components of the verb determine, in ways to be discussed in section 14.4,
which participant will preferably be chosen as subject. Subject choice deviating from
the default choice results in meaning shifts, as exemplified above and in the next set
of data, which Nolasco reviews under the section of “directionality.” “Directionality”
is Nolasco’s cover term for actions that are directed away from the Actor towards an
external target, and those that are “inherently internal” (2005a: 230), i.e. directed
towards the Actor. The example in (17a) illustrates that the Actor voice form
nagpaluto “to make someone cook” denotes a reflexive action, in the sense that
the caused action is understood as benefiting the Actor. This reading is said not to
arise with the more common Undergoer voice form pinaluto in (17b).
(17)
a. Nag-pa-luto
ako
ng
adobo
av.realis-caus-cook 1s.nom gen adobo
‘I asked my mother to cook adobo (for me).”
b. P< in>a-luto
ko
ng
adobo
caus< uv.realis>-cook 1s.gen gen adobo
‘I asked/let my mother (to) cook adobo.’
sa
dat
nanay
ko.
mother 1s.gen
ang nanay
ko.
nom mother 1s.gen
(Nolasco 2005: 230)
In a causative construction, it is obviously the Causee that is intentionally
envisaged by the Actor and central to the event in the sense that (s)he is instigated
to move from non-action to action which she (the causee) controls. Anyone who
reads a text in Tagalog will find that causative sentences with Undergoer (Causee)
voice forms like (17b) are more frequent than causative sentences with Actor voice
forms. As pointed out by Nolasco, if Actor voice is chosen in a causative construction, we get a marked interpretation, namely that the Actor is more than just the
initiator: (s)he is at the same time the Benificiary or Goal of the caused action and its
result, i.e the Actor is understood to play a significant role in the causing event and
in the caused event. One of my consultants pointed out that the argument ‘mother’
does not have to be construed as the Causee in the Actor voice sentence, but may be
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14. Event-structural prominence
the person who was asked by the Causer to get the adobo cooked for the Actor,
showing once more that the Actor–Undergoer relationship is open to more than one
construal in Actor voice.
Nolasco’s parameters have in common that they measure the centrality of the
participant for the event, or the event-structural prominence of arguments. The
diversity of the parameters can be explained based on the fact that verb classes differ
in what meaning components are central to their predicational core. The notion of
event-structural prominence alluded to in this section has been associated with a
number of different factors. On the one hand, it has been characterized as prominence in terms of centrality to the predication, e.g. Undergoers are more prominent
than Actors for result-oriented verbs like “kill” and “frighten,” while Actors are more
prominent for manner of action verbs than Undergoers. On the other hand, while
describing voice choice diverging from predicate-inherent orientation, it was also
associated with event-related properties of arguments, such as intention, reason/
motivation (for the activity), and the property of measuring out/delimitating the
event, all of which are connected with how events are causally construed. The
following two sections serve to clarify the concept of voice marking as prominence
marking and the importance of event-structural prominence in the overall system
and in the occurrence of meaning shifts.
14.3.4 Nominative marking and voice choice as prominence marking
The idea behind the development of the Austronesian voice system is that it started
out as a pragmatic system (cf. e.g. Foley and Van Valin 1984) and got grammaticized
in such a way that most speakers nowadays feel that only a certain set of voice affixes
is acceptable (and easily interpretable) with particular verbs, out of which a few are
more natural than others with a given stem. The discourse topic has turned into a
clause topic, i.e. a subject of a certain kind that has inherited the property of
“specificity,” a characteristic of a topic-worthy participant. Given this background,
Latrouite (2011) argues that the voice system marks prominence, which is evaluated
on different levels: on the discourse-structural level, the information-structural level,
the event-structural level, and the referent level (comprising specificity as well as
animacy). The last three, more local, levels of prominence are central to the
predication and interact to a certain degree. As we have already seen, for verbs
like “to love” or “to greet” the specificity of the Undergoer argument is not eventstructurally important. However, for verbs denoting incremental events, specificity is
event-structurally important, turning the interpretation of the verb from denoting
an activity (“eat cake”) to denoting an accomplishment (“eat a (certain)/the cake”).
Obviously, specificity does not only interact with the event-structural level, but also
with the discourse- and the information-structural level, but this goes beyond the
scope of this chapter (cf. Latrouite 2011 for discussion). Suffice it to say that given
this approach one would expect that for verbs which are not associated with an
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elaborate event structure, levels other than the event-structural level play an important role for voice selection, while for verbs with a more elaborate event structure,
which are the focus of this chapter, event-structural prominence is expected to play a
major role. The data discussed in Latrouite (2009 and 2011) suggest that there may
be a ranking between the three levels of local salience, in the sense that informationstructural prominence outranks event-structural prominence, which in turn ranks
higher than referential prominence (ISPESPRP) for nominative marking, but
this point will not be pursued here.
In order to evaluate the event-structural prominence of an argument, we need to
take a look at the meaning components associated with the respective verbs. A verb
like “to kill” denotes a non-specific activity and a specific result. As the more specific
information is associated with the Undergoer (and as the event manifests itself with
respect to the Undergoer), it is the Undergoer that is most relevant for the predication and thus, by default, the more prominent of the arguments in this respect.
Hence, whether a verb is inherently Undergoer- or Actor-oriented can be deduced
from its lexical meaning as a first step. In accordance with Rappaport Hovav and
Levin’s (2010) idea of manner–result complementarity, most verbs either specify the
Actor-related manner component or the Undergoer-related result component of an
event. In frameworks like RRG (Role and Reference Grammar, Van Valin and
LaPolla 1997) and LDG (Lexical Decomposition Grammar, Wunderlich 1997), this
fact is reflected in the decompositional representations of verb meaning. The resultoriented verb “to kill,” for example, is usually decomposed into a generic activity
predicate (e.g. ACT or “do”) and a general change of state predicate (e.g. BECOME)
which takes the specific result predicate DEAD, resulting in (ACT (x) and BECOME
(DEAD (y))) (s) in LDG. The activity verb “to climb,” on the other hand, is usually
decomposed into a specific activity predicate, (e.g. MOVE-UPWARD) and the
general change of state predicate (BECOME) taking a general result predicate
(LOCATION), resulting in (MOVE_UPWARD (x) and BECOME (LOCATION
(x, at y))) (s). Note that the causation relation between the activity and the change
of state is not explicitly stated in LDG decompositions because it can be deduced
based on the well-formedness condition Coherence, which the semantic representation of lexical verbs has to adhere to (cf. Kaufmann and Wunderlich 1998).
Coherence states that subevents encoded by the predicates of a decomposed
semantic structure must be contemporaneously or causally related. The latter is
automatically true if an activity and a change of state predicate are joined. The basic
idea here is that the inherently more prominent argument is the argument of the
specific predicate, not the non-specific one.
As we have seen in the previous sections, the inherent orientation, e.g. the Actor
orientation of manner verbs like “to swim” or “to read,” may be overridden. Undergoer voice shifts the focus to the subevent associated with the Undergoer, i.e. the
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14. Event-structural prominence
end-point, and to its role as delimiter of the run-time of the event. Summing up
these observations, a verb has an event-structurally prominent argument if:
(i) when decomposing the predicate into meaning components, the specific
meaning component only provides information on one argument;
(ii) one of the arguments is crucial for the event, because it delimits the run-time.
If both points come together as in the verb “to kill,” i.e. if the meaning of the
predicate centers on the Undergoer and the Undergoer delimits the event (and is
also prominent at the referential level, given that it has to be animate), we get a verb
for which Actor voice forms are only found in the focus construction. If a verb takes
an Undergoer that is not more prominent than the Actor with respect to the first
point, but only with respect to the second, as in the case of contact verbs like “to hit,”
then we expect it to exhibit a preference for Undergoer voice, while still allowing
Actor voice forms.
Note that Tenny (1992: 9) defines a delimited event as an event that the language
encodes as having an end-point. In terms of the Tagalog voice system, we need a
slightly different concept of “delimitation of an event,” if we want to use this notion
to also capture Actors in Actor voice forms. An Actor may be viewed as delimiting
an event, if the run-time of the event is construed as strictly dependent on the Actor,
whereby the notion “run-time” comprises the start, the developing phase and the
end-point of the event. I suggest that inherent event-structural prominence, as
characterized in (i), may be overwritten if the second level of event-structural
prominence, as characterized in (ii), is possible and plausible for a given verb. I
suggest the following definition of (secondary) event-structural prominence to
explain voice selection and meaning shifts induced by voice affixes:
An argument (a core argument) is event-structurally prominent if the run-time of
the event expressed by the verb is viewed as strictly related to this argument.
By “strictly (temporally) related” I mean that the referent of the prominent
argument is viewed as a crucial participant right from the beginning until the
temporal end of the event. With verbs denoting controlled activities as those
discussed above, the involvement in the occurrence of the event implies that the
prominent argument is seen as the driving force for the beginning and the end, if it is
an animate Actor, or, in the case of a non-acting Undergoer argument, as the reason
for the event occurring. The only way an Undergoer can be perceived as having been
involved in the controlled activity of an Actor from beginning to end is if (s)he is
perceived as somehow causal or motivational for the beginning and the end of the
event. Hence, in my terminology, it may be either the Undergoer argument, or the
Actor argument as a controlling, intentional being, that may delimit the run-time of
the event. Note that the properties in question, which enable a speaker to view an
argument as event-structurally prominent in the above sense, are those relevant to
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the causal construal of an event. As argued by Kistler (Ch. 4 above), not only events
but also facts can be causes. In the case of Tagalog, it is facts about the participants
that are evoked by speakers as being at the heart of the reason why the event came
about and how it developed. We will see clear examples of this in section 14.4.
Turning back to Saclot’s “hit” example, we see how the notion of event-structural
prominence accounts for the changes in meaning that have been described. For the
Undergoer voice form of “to hit,” event-structural prominence of the Undergoer
means that Jose was viewed as involved in the event from beginning to end. The
involvement in the beginning is easily reinterpreted as Pedro’s being focused on Jose
right from the beginning. Thus, the reading that Pedro acted deliberately and
intentionally with respect to Jose arises. Furthermore, Jose is construed as the only
one who was hit, as the run-time of the event is viewed as directly related to him.
However, if, by choosing Actor voice, the speaker expresses that the start and the end
of the event are strictly related to the Actor and not to the Undergoer, then the
interpretation is possible that the Undergoer is seen neither as the reason for the
event starting nor as a relevant factor for the event continuing or ending. In other
words the Undergoer’s involvement in the event is viewed as neither strictly related
to the beginning nor to the end, nor to any other point of the event, and he may be
construed as one out of many Undergoers involved in the event. Note, however, that
he could just as well be the only one involved, albeit in such a way that he is not
viewed as delimiting the event (e.g. because he did not get touched).
While “hit” denotes a simple punctual activity with a “normal” non-decomposable Undergoer, the examples in (14) and (15) have shown that with an activity verb
that may take an incremental Undergoer argument—i.e. an Undergoer who, by
virtue of being decomposable into definable parts, measures out the event—Undergoer voice will result in a switch from activity reading to an active accomplishment
reading11 of the respective verb.
A third example of a meaning shift was exemplified in (17) for the indirect
causative verb ‘to make cook’. The highest Actor argument, the Causer, is the
argument of the non-specific predicate (CAUSE), while the Causee argument is
the argument of the specific manner of action predicate (COOK); hence the complex
predicate is inherently Causee-oriented. As we have seen, once Actor voice instead of
Causee voice is chosen, the Causer-Actor is construed as a crucial participant in the
caused subevent, in the sense that (s)he is understood as the Beneficiary–Goal of the
action, and as such, causer of and motivation for the caused subevent. This interpretation is explainable if event-structural prominence is understood as above, i.e. in
the sense that the Actor is viewed as prominent for the run-time of the entire event
and not only the instigation process.
11
The notion active accomplishment was coined by Van Valin and La Polla (1997) for the telic use of
activity verbs.
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14. Event-structural prominence
The notion of event-structural prominence is related to the idea of “perspective”
and “orientation” (Himmelmann 1987) that we often find in Philippine linguistics.
The notions “perspective” and “event-structural prominence” are related in that the
event-structural prominence of an argument implies that the event is depicted as
manifesting itself primarily with respect to this argument, i.e. the involvement of
the participant denoted by the prominent argument is the determining factor for the
most important event properties. The notion of orientation captures the important
intuition that the speaker’s perspective on the event and on the participants in it
plays a key role. However, once a pragmatic category like perspective is grammaticized in a language, it is natural that there are a number of non-pragmatic factors
that constrain the system of voice selection and the acceptability of voice forms.
To sum up: for many verbs, one argument is inherently more prominent and may
be a more natural delimiter than the other, leading to a preference for the respective
voice form. Choosing the alternative voice form may then lead to non-prototypical
readings of verbs, resulting from the fact that the speakers need to think of natural
scenarios, in which the formerly non-prominent argument can be construed as
central to the event. It has been argued that this is achieved by focusing on properties
of the arguments that are relevant to the coming about, continuing, and ending of
the event. All the above means that the affixes operate within the meaning space
opened up by the verb. Thus, events can only be oriented toward a limited set of
participants central to the event, even if the set tends to be a bit bigger than the set of
arguments available for the grammatical relation “subject” in Indo-European languages. In the following we will see how the notion of event-structural prominence
above captures less straightforward meaning shifts than those discussed up to now.
14.4 Shifts in the interpretation of Actor-oriented verbs due
to Undergoer voice
Shifts in meaning induced by Actor voice versus Undergoer voice vary from verb to
verb. This is one of the reasons why shifts in Tagalog verb meaning have frequently
been labeled “idiosyncratic.” In (18), Undergoer voice licenses a number of Undergoer arguments that may motivate and delimit the moving event: e.g. a person or a
group of people the Actor intends to meet (18b), an object the Actor intends to get
(18c), or a certain distance the Actor intends to run (18d).
(18)
a. T-um-akbo
si Pedro
tstem< av.realis>run nom Pedro
‘Pedro ran to the table.”
b. Takbu-hin
mo
ang
realis.run-uv 2s.gen nom
‘Run to (talk to) the police!’
sa
mesa.
dat table
polis!
police
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14.4 Shifts in interpretation
c. Takbu-hin
mo
run-uv
2s.gen
‘Run the marathon!’
391
ang
marathon!
nom
marathon
(cf. http://www.scribd.com/doc/6784539/salita)
In all these cases, the Undergoer does not only delimit the event, but is also the
purpose or the motivation behind the event. This aspect is very important for
the examples in (19) and (20). As pointed out by Saclot (2006), the acceptability
of the Undergoer voice form in (19) requires a specific setting, e.g. a restaurant
setting that establishes a pre-determined relationship between the Actor and the
Undergoer. While in (19a) the returning to the table is about the Actor and her
motivation to return, (19b) implies that it is properties of the table that made the
Actor return to it: “a sense of purpose to accomplish what is on the table” is implied
(Saclot 2006: 8), or in other words, the table is viewed as playing the key role for the
occurrence of the event. Without such a context, Undergoer voice forms get rejected,
as the example in (19c) shows. In order to express the sentence in (19c), Actor voice
would have to be chosen.
(19)
a. ( . . . ) b< um>alik
siya
sa mesa/
bstem< av.realis>return 3s.nom dat table/
‘She returned to the table / the wall’
sa pader.
dat wall
b. B< in>alik-an
ng
weyter
ang
mesa.
bstem< realis>return-lv gen waiter
nom table
‘The waiter returned to the table (to do something to the table).’
(cf. Saclot 2006: 8)
c. #B< in>alik-an
niya
bstem< realis>return-lv
3s.gen
‘He returned to the wall.’
ang
nom
pader.
wall
For the verb lumabas/labasin ‘to go out’ (20), Undergoer voice seems to result in a
change of direction. While in the Actor voice sentence, the Undergoer argument is
the place or person that is left, in Undergoer voice it is the destination of the
movement.
(20) a. L< um>abas
si Pedro
sa
bahay/ sa kapit-bahay.
lstem< av.realis>go.out nom Pedro gen house/ dat neighbor(’s house)
‘Pedro left a house/the neighbor (’s house).’
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14. Event-structural prominence
b. Ni-labas-an12
ni
Pedro
ang kapit-bahay.
< realis>-go.out-lv
gen
Pedro
nom neighbor(’s house)
‘Pedro went out to (meet) his neighbor (e.g. he went out to fight with his
neighbor).’
(Reyal Panotes, pers. comm.)
Once again, this can be explained if we recall that event-structural prominence
means that the beginning and the run-time of the event expressed by the verb are
viewed as strictly related to the prominent argument. Given that Undergoer voice
implies that the Undergoer is crucially involved in the occurrence of the event,
without further context the sentence (20) receives the reading that the Undergoer
kapitbahay (which may mean both ‘neighbor’ and ‘neighbor’s house’) is the reason
why the Actor decided to go out: once again, the neighbor is not only the reason, but
the purpose and the goal. Note that with a non-animate object the interpretation of
the Undergoer voice form of labas is “go out to get something” (English 1977: 731),
nicely rendering the meaning that it is the Undergoer that is decisive for the
beginning and the run-time of the event. Although kapitbahay could be construed
as the location ‘the neighbor’s house’ in (20), this interpretation would be weird, as a
location cannot straightforwardly be interpreted as motivating someone to move
out, unless there is a context that renders this reading plausible.
Another meaning shift that has often been labeled “idiosyncratic” is shown in (21).
(21)
a. P< um>asok
ka
ng/sa
bahay!
pstem< av>go.into 2s.nom gen/dat house
“Enter/Go into a/the house!’
b. Pasuk-in
mo
ang
bahay!
go.into-uv 2s.gen nom house
‘Break into the house! (= Go into the house to steal!)’
(Reyal Panotes, pers. comm.)
Given the characterization of event prominence above, the resulting meaning is
not all that unexpected. The Undergoer voice form of pasok ‘go into’ implies that the
Undergoer plays the crucial role for the beginning of the event, i.e. the place the
Actor goes into directly motivates his going there, e.g. because the Actor needs to
accomplish something in this location. In the context of Philippine culture, “going
into a building to accomplish something” got lexicalized into “going into a building
with the purpose of robbing it,” rendered by the English translation “to break into.”
Although the English translation suggests otherwise, the process of entering the
house does not have to be an act of violence directly affecting the surface of
the house, according to my informants. What counts is that some properties about
the house (the content or imagined content) are the reason for the entering event to
occur. The house is at once the motivation for and goal of the action.
12
Speakers differ as to whether or not they need the suffix /-an/ to get this reading.
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14.4 Shifts in interpretation
393
The same is true for the verb dumating ‘to arrive’, which surprisingly may also
take Undergoer voice forms, datnin “to attain something” and datnan “to come
upon/to catch someone in the act” (cf. English 1987: 421).
(22)
a. D< um>ating
si Pedro
sa kapit-bahay/sa
Manila.
dstem< av.realis>arrive nom Pedro dat neighbor(’s house)/dat Manila
‘Pedro arrived at the neighbor’s house/in Manila.’
b. D< in>atn-an
ni Pedro
ang kapit-bahay/#ang Manila.
dstem< realis>go.out(-lv) gen Pedro nom neighbor’s house/nom M.
‘Pedro caught his neighbor (in the process of doing something bad)/
#Manila.’
(Reyal Panotes, pers. comm.)
Upon a closer look at the motion verbs bumalik/balikan “to return” and tumakbo/
takbuhin “to run,” it becomes clear that the lexicalized meanings of pasukin, labasin,
and datnin/datnan follow a similar pattern and are not that unexpected (“idiosyncratic”) at all. All Undergoer voice forms of motion verbs identify the Undergoer not
only as a simple location but as the entity motivating the beginning of the movement
on the part of the Actor and the time-span of the event per se, because something
has to be accomplished with respect to the “location.” As the examples in (23c) and
(24c), mere locations, even if they delimit the event, are not acceptable as prominent
Undergoers.
(23)
(24)
a. G< um>apang
ang bata
Gstem< av.realis>crawl nom child
‘The child crawled over the floor.’
sa
dat
sahig.
floor
b. G< in>apang
ng bata
ang
Gstem< uv.realis>crawl gen child nom
‘The child crawled to (get) the doll.’
doll.
doll
c. #G< in>apang
ng bata
ang
Gstem< uv.realis>crawl gen child nom
Intended: ‘The child crawled to the wall.’
pader.
wall
a. L< um>akad
si Pedro
lstem< av.realis>walk nom Pedro
‘Pedro walked on/over my roses.’
akin-g
my-lk
sa
dat
roses.
roses
b. Ni-lakar-an/Ni-lakad
ni Pedro
ang
aking
<realis>walk-lv
gen Pedro
nom
my-lk
‘Pedro walked on/over my roses (to destroy them).’
roses.
roses
c. Ni-lakar-an/Ni-lakad
ni Pedro
ang
mabatong
kalye.
< realis>walk-lv
gen Pedro
nom
stone-lk
street
‘Pedro walked on a stony street.’
(Reyal Panotes, pers. comm.; cf. Himmelmann 1987)
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14. Event-structural prominence
As the example in (24) shows, the same observation holds for verbs that do not
denote movements. As English (1986) notes in his dictionary, the active perception
verb ‘to watch out of the window’ (25a) turns into a quasi-causative verb in Undergoer voice (25b), with the Undergoer construed as the motivation for the Actor to
‘watch out of the window’.
(25)
a. D< um>ungaw
dstem< av.realis>watch_out_of_the_window
‘Pedro watched out of the window.’
si
nom
b. D< in>ungaw
ni
Dstem< uv.realis>watch_out_of_the_window gen
‘Pedro showed himself to Mia at the window.’
Pedro.
Pedro
Pedro
Pedro
si
nom
Mia.
Mia
14.5 Summary
Voice in Philippine languages like Tagalog is often described in terms of thematic
roles and relative specificity of arguments. In this chapter I have reviewed a set of
data in which the relative specificity associated with the different thematic roles
played a minor role (or no role at all) for the acceptability of voice forms. I have
suggested that a closer look at verb semantics and event structure can be helpful
in explaining the acceptability and preference of certain voice forms. Furthermore,
I have discussed data showing that voice selection may lead to interesting shifts in
the interpretation of verbs, closely related to the causal construal of events. These
shifts have been viewed as idiosyncratic, but are in fact systematic, if the concept of
event-structural prominence and the way it is defined here is adopted. Eventstructural prominence has been argued to be only one out of a number of competing
levels of prominence—one global and three more local levels of prominence—but it
is clearly the prominent one when it comes to shifts in verb meaning.
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