OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 14_Copley_and_Martin_Chapter14 REVISES page 372 11.11.2014 8:13am 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. OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 14_Copley_and_Martin_Chapter14 REVISES page 373 11.11.2014 8:14am 14.2 The nature of voice in Tagalog 373 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 OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 374 14_Copley_and_Martin_Chapter14 REVISES page 374 11.11.2014 8:14am 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). OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 14_Copley_and_Martin_Chapter14 REVISES page 375 11.11.2014 8:14am 14.2 The nature of voice in Tagalog 375 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- OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 376 14_Copley_and_Martin_Chapter14 REVISES page 376 11.11.2014 8:14am 14. Event-structural prominence 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. OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 14_Copley_and_Martin_Chapter14 REVISES page 377 11.11.2014 8:14am 14.3 Tagalog voice marking 377 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. OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 378 14_Copley_and_Martin_Chapter14 REVISES page 378 11.11.2014 8:14am 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. OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 14_Copley_and_Martin_Chapter14 REVISES page 379 11.11.2014 8:14am 14.3 Tagalog voice marking 379 ‘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. OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 380 14_Copley_and_Martin_Chapter14 REVISES page 380 11.11.2014 8:14am 14. Event-structural prominence 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). OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 14_Copley_and_Martin_Chapter14 REVISES page 381 11.11.2014 8:14am 14.3 Tagalog voice marking 381 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. OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 382 14_Copley_and_Martin_Chapter14 REVISES page 382 11.11.2014 8:14am 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) OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 14_Copley_and_Martin_Chapter14 REVISES page 383 11.11.2014 8:14am 14.3 Tagalog voice marking 383 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.” OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 384 14_Copley_and_Martin_Chapter14 REVISES page 384 11.11.2014 8:14am 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. OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 14_Copley_and_Martin_Chapter14 REVISES page 385 11.11.2014 8:14am 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 OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 386 14_Copley_and_Martin_Chapter14 REVISES page 386 11.11.2014 8:14am 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 OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 14_Copley_and_Martin_Chapter14 REVISES page 387 11.11.2014 8:14am 14.3 Tagalog voice marking 387 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 OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 388 14_Copley_and_Martin_Chapter14 REVISES page 388 11.11.2014 8:14am 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 OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 14_Copley_and_Martin_Chapter14 REVISES page 389 11.11.2014 8:14am 14.3 Tagalog voice marking 389 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. OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 390 14_Copley_and_Martin_Chapter14 REVISES page 390 11.11.2014 8:14am 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 OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 14_Copley_and_Martin_Chapter14 REVISES page 391 11.11.2014 8:14am 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).’ OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 392 14_Copley_and_Martin_Chapter14 REVISES page 392 11.11.2014 8:14am 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. OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 14_Copley_and_Martin_Chapter14 REVISES page 393 11.11.2014 8:14am 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) OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Copley/Causation in Grammatical Structures 394 14_Copley_and_Martin_Chapter14 REVISES page 394 11.11.2014 8:14am 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. OUP UNCORRECTED PROOF – REVISES, 11/11/2014, SPi Alexiadou-etal/ 00_Copley_and_Martin_References REVISES page 395 11.11.2014 8:16am References Abusch, Dorit (1985). On verbs and time. Ph.D thesis, University of Massachusetts at Amherst. 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