Hello, and welcome to the second session of our module on tokerin. We'll continue a little survey of tokerin phonology and we'll be concerned with suprasegmentals and specifically with stress. Our focus will be on tokerin b because stress in tokerin b is relatively well

understood. Our understanding of stress in tokerin a is actually only in its early stages, but this is a good thing because it means that there are still very important things to be figured out about tokerin. And this is something that makes working on tokerin really exciting. Tokerin b has a stress accent. How do we know this? Stress can be inferred from the alternation

of the central vowels in classic tokerin b. Classic tokerin b is the language where most of our descriptions of tokerin b are based on. Tokerin b as opposed to tokerin a shows a great deal of variety. This variety is partially due to diachronic layers, partially due to dialectal

layers, but the bulk of our tokerin b manuscript fragments is classical tokerin b. And classical tokerin b as opposed to, for example, archaic tokerin shows alternation in the central vowels that depends on where the stress in the word goes. So there are basically two

patterns concerning the central vowels schwa and a. Pattern one is that underlying accented schwa, presumably phonetically rendered as the IPA bard ai, so u, is written with the Fehmzehlung,

so the German umlaut a, a with two dots on the top. And underlying accented schwa, presumably phonetically rendered as real schwa, so i, is written with a. Pattern two is that underlying unaccented a, presumably phonetically rendered again as schwa, so i,

is also written with a. And underlyingly accented a, presumably phonetically rendered as a, is written with a macron, so long a. However, to be sure, only written with a long vowel

diacritic in the Brahmi system. As you know, phonological contrast of length in vowels doesn't exist in tokerin. So these are the basic patterns of how to see the stress in b. Classic tokerin b has a fixed stress as opposed to variable stress like in English or Russian.

Stress in tokerin b to a certain extent is predictable. It falls on the penultimate syllable. There are certain exceptions to this rule that we will be treating shortly. Stress

falls on the penultimate syllable as said and descriptively this leads to the following rules for tokerin b. So first, di-syllabic words are stressed on the first syllable. So here we have

cloud and she knew. The second rule is tri-syllabic words are stressed on the second syllable. So nominative plural clouds and third plural preterite

As said before, there are certain exceptions to this basic rule. Here is the first amendment. Di-syllabic words with stress on the second syllable are underlyingly tri-syllabic. So here we have two examples. So nominative singular pu-var with the nominative plural written spelled

pvara. That underlyingly is pu-vara. And nominative singular a-calc wish. That underlyingly is a-calc-ku. The underlying final schwa surfaces on the one hand in inflection and derivation.

But even more interesting it appears written as o in metrical texts which are as we will see in our next session are strictly syllable counting. So for a-calc in metrical text we frequently find a-calc-ku because this rendering of final schwa as o is not obligatory and

depending on the meter it is called mobile o or o-mobile. This might seem strange at first but think for example about the pronunciation of French schwa like in gloire for a spoken French gloire in the second line of the French national anthem or in poetry in French poetry

in general. A fun fact is that in songs of certain chansonniers you can actually hear the underlying schwa phonetically rendered as o just like in tocarion b. Here's the second major

amendment to the basic rule. Tri-syllabic words bear initial stress if the first syllable has a full vowel and full vowel for tocarion purposes means a, a or o. So for example the preterite participle nominative singular jamuva dan is stressed on the first syllable so it's not jamuva

as expected from a rule for tri-syllabic words or take patur father from underlying tri-syllabic patur is also stressed on the first syllable and it's not patar on the second syllable as

expected from a basic rule and its first amendment. Let's turn to an example of the of course and ketum refers to the online edition where you can actually also check out the whole

text of this fragment. The call number tht stands for the exploits of the three german expeditions to the tarim basin at the beginning of the 20th century. That among other things brought tocarion

to light. The manuscripts of the Turf und Sammlung are kept in the Staatsbibliothek in Berlin. The artifacts, some manuscripts and very prominently the wall paintings of buddhist caves brought to Germany from the tarim basin will be on display in the Humboldt forum in Berlin.

So if we turn to a passage here I will read it to you Again our passage here is of course from a buddhist text namely a buddhist stotra

that is a hymn to the buddha and we're interested here in two words namely narration here this is just the adjective in agreement here with le klenta and le klenta

is the nominative accusative plural of lakle and lakle we find down here and as you can see the stress in accusative singular lakle suffering is the disyllabic stress the stress is on the first syllable but in le klenta sufferings it's a trisyllabic word

with enter the plural ending so the stress is on the second syllable and we can nicely see the alternation of the central vowel uh of course in the first syllable here thank you for your attention in the next session we'll be looking at the tocarion meter