Azrán Historical Linguistics: Difference between revisions
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In the world of the TV series ''[[Into the Badlands]]'', the [[Azrán language]] is descended from contemporary {{wl|Mexican Spanish}}, having evolved over the course of more than 500 years. No constraints on the language's recognizability were imposed by production, allowing for some | In the world of the TV series ''[[Into the Badlands]]'', the [[Azrán language]] is descended from contemporary {{wl|Mexican Spanish}}, having evolved over the course of more than 500 years. No constraints on the language's recognizability were imposed by production, allowing for some profound changes in phonology and grammar. However, [[David J. Peterson]] still considers the language more conservative than he could have made it. | ||
==Sound changes== | ==Sound changes== | ||
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* ''s'' became ''h'' before consonants and at the end of a word. | * ''s'' became ''h'' before consonants and at the end of a word. | ||
* Voiced fricatives disappeared between vowels and at the word | * Voiced fricatives disappeared between vowels and at the end of a word. | ||
* Voiced fricatives hardened (ɣ > ɡ, β > b, ð > d). | * Voiced fricatives hardened (ɣ > ɡ, β > b, ð > d). | ||
* Voiceless sounds became voiced after vowels, even at the end of | * Voiceless sounds became voiced after vowels, even at the end of a word. | ||
* All glottal fricatives were lost. | * All glottal fricatives were lost. | ||
* Vowels were lost at the end of words. | * Vowels were lost at the end of words. | ||
Following these changes, stress patterns began to shift, leading to the emergence of high and low tones. Vowel coalescence occurred, resulting in the merging of high and low tones, ultimately giving rise to falling tones. While there are instances of low-high melody, they do not occur on a single vowel, exemplified by the transformation of ''nadar'' to ''naá'' [na˩.a˥]. | Following these changes, stress patterns began to shift, leading to the emergence of high and low tones. Vowel coalescence occurred, resulting in the merging of high and low tones, ultimately giving rise to falling tones. While there are instances of low-high melody, they do not occur on a single vowel, exemplified by the transformation of ''nadar'' to ''naá'' [na˩.a˥]. | ||
Peterson considers these sound changes possible, but implausible, especially the voicing of voiceless sounds after vowels. This is, however, intentional; the language is intendended as a speculative "what if" scenario that fits in the fantastical setting of ''Into the Badlands'' in the former American Southwest and Mexico. | |||
[[Category:Azrán language|Historical linguistics]] | [[Category:Azrán language|Historical linguistics]] |
Latest revision as of 15:03, 18 November 2023
In the world of the TV series Into the Badlands, the Azrán language is descended from contemporary Mexican Spanish, having evolved over the course of more than 500 years. No constraints on the language's recognizability were imposed by production, allowing for some profound changes in phonology and grammar. However, David J. Peterson still considers the language more conservative than he could have made it.
Sound changes
The ordered sound changes leading back to Spanish are as follows:
- s became h before consonants and at the end of a word.
- Voiced fricatives disappeared between vowels and at the end of a word.
- Voiced fricatives hardened (ɣ > ɡ, β > b, ð > d).
- Voiceless sounds became voiced after vowels, even at the end of a word.
- All glottal fricatives were lost.
- Vowels were lost at the end of words.
Following these changes, stress patterns began to shift, leading to the emergence of high and low tones. Vowel coalescence occurred, resulting in the merging of high and low tones, ultimately giving rise to falling tones. While there are instances of low-high melody, they do not occur on a single vowel, exemplified by the transformation of nadar to naá [na˩.a˥].
Peterson considers these sound changes possible, but implausible, especially the voicing of voiceless sounds after vowels. This is, however, intentional; the language is intendended as a speculative "what if" scenario that fits in the fantastical setting of Into the Badlands in the former American Southwest and Mexico.