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Himalayan Linguistics, Vol 10(1) Wennerstrom, Ann. 2001a. “Intonation and evaluation in oral narratives”. Journal of Pragmatics 33: 1183–1206. Wennerstrom, Ann. 2001b. The music of everyday speech. Oxford: Oxford University Press. Wichmann, Anne. 2000. Intonation in text and discourse: Beginnings, middles, and ends. Harlow: Longman. Carol Genetti cgenetti@linguistics.ucsb.edu 76
Himalayan Linguistics, Vol. 10(1). © Himalayan Linguistics 2011 ISSN 1544-7502 Another look at storyline marking in Sherpa narrative 1 David E. Greninger SIL International 1 Introduction In narrative discourse, storyline 2 clauses (events) push a story forward through time while supportive clauses (non-events) slow down or stop the temporal movement of a story. This distinction between events and non-events has been studied in English narrative by Labov and Waletzky (1967), Labov (1972), Grimes (1975), Longacre (1976, 1989, 1996), Hopper (1979, 1982, 1995), Hopper and Thompson (1980) and Polanyi (1989). A number of publications have also demonstrated the usefulness of distinguishing between storyline and supportive material in other languages (e.g. Grimes ed. 1978, Jones and Jones 1979, Somsonge 1991, 1992 and 2002, Jirel 1999, Arisawa 2006, etc.). This paper describes the morpho-syntactic and lexico-semantic features that distinguish types of storyline clauses from types of supportive material in five Sherpa personal experience narratives. Following Longacre’s (1996) textlinguistics approach to discourse analysis, storyline clauses are defined as events that are: 1. Substantive (new information), 2. Narrative (events within a storyworld as opposed to evaluative intrusion by the storyteller), 3. Realis (as opposed to irrealis), 4. Dynamic (events in the storyworld rather than storyworld states), 5. Sequential (in chronological order), and 6. Punctiliar (as opposed to durative). Storyline clauses can include one of four event verb types: 1. Action (volitional and conscious events) 2. Motion (describes the movement of participants from one place to another) 3. Cognitive event (cognitive experiences that are communicated by verbs such as realize), and 4. Contingency (non-volitional) (Longacre 1993: 3, 1996: 23–27). Once the storyline markers are described, I compare my results with Schöttelndreyer’s (1978) study of storyline in Sherpa. Based on this comparison, I will suggest a reevaluation of Schöttelndreyer’s classification of personal experience narratives. While Schöttelndreyer suggests that there are four personal experience narrative genres each normally characterized by one storyline marker, the analysis presented in this paper leads to the conclusion that the norm is for personal experience narratives to exhibit multiple storyline markers with each marker performing a different evidential or attitudinal function rather than representing a primary indicator of genre. 1 This paper is a revision of portions of my MA thesis entitled Aspects of discourse prominence in Solu Sherpa oral stories of personal experience. This thesis can be download from the Payap University website: http://ic.payap.ac.th/graduate/linguistics/theses/David_Greninger_Thesis.pdf. I would like to thank Tom Tehan, Carla Bartsch, Christy Greninger and two anonymous reviewers for taking the time to read this paper and for giving helpful input. 2 Storyline (i.e. the mainline of a narrative) has also been referred to as: the main time line, foreground, eventline and backbone by various researchers.
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(6) amh bəyʔ-ne-wʔ food give-NON
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Singular Plural 1 maʔ-niŋ maʔ-nu
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