Morfologinė italizmų adaptacija lietuvių kalboje

202 Languages and Culture | 84 STEFANO M. LANZA Vytautas the Great University Morphological Analysis of Italics in Lithuanian Language Key words: adaptation of borrowed words, morphological arrangement, italics. INTRODUCTION International dictionaries of words give the following Žodis italizmas lietuvių kalbotyroje – nedažnas terminas. Pagrindiniuose definition: a word or phrase borrowed from the Italian language1. Various problematic aspects of this definition have already been discussed by the author (lanza 2010a: 24 et al.), and in this article Italianisms are considered in the broad sense all those words whose source is the Italian language, regardless of whether they entered into the Lithuanian language directly or through intermediate languages. of course, the longer the word’s path, the more difficult it is to explain its relationship with the source: the relationship between the original and borrowed word forms is the result of all intermediate interactions. Old borrowed words, already settled in the Lithuanian language vocabulary, have even significant phonetic and morphological changes in structure. Comparative analysis of the morphological systems of the individual languages involved in the borrowing process often allows to determine whether these changes are regular, and also helps to determine which languages have affected one or another borrower. this is very important from the point of view of language history and etymology. On the other hand, in order to formalize new borrowings, which usually enter into Lithuanian directly, the comparative analysis of Italian and Lithuanian morphological systems may have a considerable practical significance, especially for language normists. The morphological adaptation of borrowed words has been described quite detailedly by Adela Valeckienė (1967). The linguist pointedly observed that “words from other languages are usually adapted to the morphological system of Lithuanian: the coinciding endings of nouns are left out, non-Lithuanian endings are rejected, and the most appropriate Lithuanian endings are added instead. [...] in Lithuanian, nouns of other language origins receive the endings of the “strong” conjugations, usually the senior g. -as, -is (origin -io), the molar g. -a, -ė” (1967: 128). 1 Thus, word for word, explains Italianism and tŽŽ 2008, and VV tŽŽ. s. M. laNZa. Morphological adaptation of italianisms in Lithuanian language 203 Italian words have vowel endings and are usually not pronounced2. The most common singular noun endings are -a and -o, derived from the Latin first and second persons, which indicate the feminine and masculine genders respectively (e.g., latin rosa(m) ‘rose’ > italian rosa; lupu(m) ‘wolf’ > it. lupo3). The double-frequent ending -e is typical of both genders (e.g. madre ‘mother’; padre ‘father’). The endings -i and -u are very rare, they do not indicate either gender or number and are more common in borrowed words. The main plural endings are -e (from -a) and -i (from -o, -e, sometimes and -a). In the following, the borrowed vocabulary from the Italian language is discussed according to Italian endings, in order to reveal the stages of the entry of the borrowed words into the Lithuanian language, to highlight the regular morphological changes, to raise and discuss several problematic cases. certain forms of gender or number mismatch are described separately. Although most Italianisms consist of nouns, there are also borrowings of other variable parts of the language. Their morphological adaptation is also discussed separately. The data are taken from the Lithuanian Italianisms Compendium (hereinafter – lKIs), which consists of 936 italianisms (for more information about its composition, specificity, methods of creation see lanza 2010a: 105 etc.). ItalŲ Kalbos DaIKtaVarDŽIŲ with end -A aDaPtaVIMas When an Italian word loses the ending -a in the intermediate language and a hard consonant is pronounced at the end4, in Lithuanian it usually gets the ending -as (see Valeckienė 1967: 112), e.g.: bancarotta > bankrotas (German: Bankrott), porcellana > porcelianas (German: Porzellan), spaccata > špagatas (German: Spagat), cupola > kupolas (Russian: купол), fontana > fontanas (Russian: фонтан), tarantola > tarantulas (Russian: тарантул), torta > tortas (Russian: торт), banca > bankas (Russian: 2 Exceptions are essentially service words (e.g.: articles il, un, prepositions con, per, etc.), debt words (e.g.: sport ‘sport’, film ‘film’) and some other isolated elements of the lexicon of unusual construction. 3 Most often, the Italian word form is based on the ending of the corresponding Latin word. 4 The terms "hard consonant" and "soft consonant" are suitable for Lithuanian, Polish, Russian languages. For languages like Italian (and partly French, English and German) this articulation feature is not typical (by the way, Valeckienė does not mention it at all). Italian consonants are not softened: when articulating them, the tongue does not reach the palate at all. The slight elevation of the tongue is characteristic only of the phonemes /l/, /ʎ/ and /ɲ/, so only by realizing them it would be possible to speak – and this is still conditionally – about the soft consonants of the Italian language. 204 Languages and Culture | 84 Bank, vok. Bank, left. bank), polizza > polisas (pr. police), risalita > rizalitas (German: Risalit, Polish: ryzalit), spinetta > spinetas (German: Spinett, Polish: szpinet). When an Italian word loses its -a ending and a soft consonant is pronounced at the end, it receives either the masculine ending -is (cf. Valeckienė 1967: 115), e.g. medaglia > medalis (pr. médaille, pl. medal), or the feminine ending -ė, e.g. caravella > karavelė (pr. caravelle), carmagnola > karmanjolė (pr. carmagnole). It is true that the ending -a of Italian words may have become -ė in many places due to the influence of the German language (see Valeckienė 1967: 121), e.g. arietta > ariette (German), barcarola > barkarolė (German), fughetta > fugetė (German), bagattella > bagatelė (German), berretta > beretė (German), fumarola > fumarolė5 (German), novella > novelė (German), operetta > operetta (German), sardina > sardinė (German), cittadella > citadelė (German). o staffetta > relay derived from the French estafette. Polish usually retains the ending -a, so it is difficult to decide whether the word was obtained through it or directly. There are a lot of such words, for example: acquatinta > akvatinta (Polish: akwatinta), bravura > bravūra (Polish: brawura), campagna > kampanija (Polish: kampania), firma > firma (Polish: firma), guardia > gvardija (Polish: gwardija), loggia > lodžija (Polish: lodżia), malaria > malaarija (Polish: malaria) malaria), sottana > sutana (pl. sutanna), tara > tara (pl. tara), etc.6 And the word kalarepa (from Italian cavolo rapa) is a rare example of ending selection that is completely isolated from other languages. The word is adapted by analogy: the vague point kalapaliktas (see kalafioras, Italian cavolfiore from cavolo fiore), and the point r(z)epa (that is, turnip, Italian rapa) is simply translated by the Lithuanian equivalent (see Fraenkel 1962 sub voce). When the word is directly acquired (usually through written language), as is often the case with recent borrowings, the -a ending is retained, e.g. grappa, mafia, mozzarella, pizza. When the word denotes a female person, the ending -a is usually retained (e.g.: ballerina > balerina, diva > diva, madonna > madona, primadonna > primadona, signora > sinjora, signorina > sinjorina); -ė occurs less often (cf. dogaressa > dogaresė, favorita > favoritė, cortigiana > kurtizanė7; see also below). 5 tŽŽ 1936 and tŽŽ 1951 provide a fumarole. 6 The mediation of Polish can be revealed by the shift of the accent to the second syllable from the end, e.g., it. góndola > pol. gondola > lit. vns. kilm. Gondolos. 7 The form favorita can be explained by opposition to the masculine genitive favoritas (from Italian favorito), courtisane – influence of other languages (cf. pr. courtisane, German Kurtisane). s. M. laNZa. 205 Italian words with the international ending -ista (from Latin -ista(m), which is from Greek -ιστης) denoting both genders in Lithuanian language without exception take over the ending -istas (mot. g. -istė), e.g.: fascista > fašistas, -ė, novellista > novelistas, -ė, solista > solistas, -ė8, or only -istė, when the word denotes only a female person, e.g.: camerista > kameristė. ItalŲ Kalbos DaIKtaVarDŽIŲ with the endings -E, -O The above remarks about the -a ending may also help to clarify the peculiarities of the adaptation of the -e (and partly -o) ending of Italian words. When a hard consonant remains after dropping the ending of an Italian word, in Lithuanian the borrowed word gets the ending -as, for example: (from Italian -e) allarme > aliarmas (Polish: alarm), arsenale > arsenalas (Polish: arsenał, Russian: арсенал), balcone > balkonas (Polish: balkon, Russian: балкон), cornice > karnizas (Russian: карниз), finale > finalas (Russian: финал), maggiore > mažoras (Prussian: majeur, Russian: мажор), marzapane > marcipanas (German: Marzipan), pallone, tarm. ballone > balloon (pr. ballon, polk. balon), tenore > tenor (polk. tenor); (from Italian -o) accordo > chord (German: Akkord, Polish: akord), barocco > baroque (German: Barock), cardano > cardan (Polish: kardan), duetto > duet (Polish: duet, Russian: дуэт), colorito > koloritas (Polish: koloryt), libretto > libretto (Russian: либретто), quartetto > quartet (German: Quartett, Polish: kwartet), sonetto > sonet (German: Sonett, Polish: sonet, Russian: сонет), soprano > soprano (German: Sopran, Polish: sopran, Russian: сопрано)9. When a soft consonant is pronounced at the end of the Italian word, the borrowed word in Lithuanian gets either the genitive ending -is, e.g.: (from Italian -e) bemolle > bemolis (pr. bémol); (from Italian -o) modello > modelis (Polish model), profilo > profilis (German profil), zoccolo > cokolis (Russian цоколь), or mot. g. ending -ė, e.g.: acquarello > watercolor (German aquarelle, Russian акварель), pastello > pastel (German pastel, Russian пастель), trillo > trelė (Russian трель), violoncello > violončelė (Russian виолончель). 8 In addition to these (his lKI is not) mentioned baristas -ė (meaning ‘coffee master’, although in Italian it is simply barman), recently included in the list of foreign words equivalents, approved by the State Lithuanian Language Commission (hereinafter – VlKK) 2011-04-07 protocol resolution No. PN-4. 9 Some of these italicisms, especially musical terms, could also be direct borrowings (cf. 1967: 114. 206 Languages Culture | 84 Words with Latin endings -ario, -iere (both from late Latin -arius) and -tore (from Latin suffix galin. -tore(m)) never retains the same endings -o and -e. These words are traditionally accompanied by the endings -ijus and -ius (-ė), respectively, e.g.: impresario > impresarijus, scenario > scenarijus, cavaliere > kavalierius, accompagnatore > akompaniatorius, improvvisatore > improvizatorius, investitore > investitorius, registratore > registratorius, stiratore > stiratorius. The distance of lit. courier from the source (it. corriere) can be explained by the mediation of the French or – rather – Polish language (cf. fr. courrier, pl. kurier). Sometimes -iere becomes -jeras, e.g. bersagliere > bersaljeras, gondoliere > gondoljeras10. In some cases, the ending -o of the Italian genitive is replaced by the Latin -a, e.g.: contrabbando > contrabanda, mandolino > mandolina, mosaico > mozaika (this is undoubtedly influenced by some Slavic language, cf. pol. kontrabanda, mandolina, mozaika, rus. контрабанда, мандолина), and even more rarely by the Latin -ė, e.g., grupa (here the sequence of phonetic changes is quite complicated: it. gruppo > pr. groupe [gru:p] > german. Gruppe [gruppe] > lit. grupė, cf. stammerjohann 2008 sub voce). "Slowly but surely: The end of a long journey". Based on the above-mentioned patterns and the lKIs data, it is possible to say that this is mainly typical of recent borrowings, which could have entered into the Lithuanian language directly, especially through written language. Except for the words duce, cicerone and salto mortale, other Italianisms where the ending -ė is translated from -e have been introduced or recorded in dictionaries11 only recently, for example: biennale < it. biennale, quadriennale < it. quadriennale, triennale < it. triennale, latte < it. latte, mascarpone < it. mascarpone, provolone < it. provolone. The noun ending -o is not typical of Lithuanian. Since it does not fit into the conjugation system, borrowed words with the original -o must be converted into conjugated words by adding the Lithuanian ending -as (see KP G: 64). Some of the recognised (codified) exceptions are precisely Italian borrowings (see Pakerys 1991), such as aggio, bel canto, brutto, fiasco, franco, incasso, capriccio, maestro, moto, netto, saldo, salto, solfeggio, storno. in the theoretical literature no arguments were found why these words should not change to linksniuoja10 but gonfaloniere > gonfalonieras (tŽZ 2008). 11 Some of them are extremely rare. For example, campanile is recorded only once in the Lithuanian text, while cassone and colascione are not recorded at all. s. M. laNZa. Morphological adaptation of italicisms in Lithuanian language 207 mosios words class. And indeed, kaspras, maestros and saldas occur in the usage, lacas and impresariius, which were still not conjugated (lãco, impresãrio) in ŽŽ 1951, are now morphologically formalized. It is not syllabled, apparently, in some places because of rarity (ažio, franko, inkaso, storno), in some places because of old tradition of use (bruto, fiasko, moto, neto, salto) or for semantic reasons (capriccio, solfeggio remain unsyllabable12, as are most musical terms). ItalŲ Kalbos DaIKtaVarDŽIŲ with OTHERS In Italian, the ending -i is usually the plural ending of both genders when vns. The plural of the word can be borrowed when the designate is a group of people or objects, which rarely exist individually. Among the first are social groups, political and other groups (Chompies, Ghibellins, Guelf, Lazzaroni, Popolani) and monastic orders (Celestinians, Camalduleans, Oratorians, Passionists); of the objects mentioned are several pasta names (ravioli, spaghetti), several types of writing (credentials, portolani) and one more word (graffiti13, pocolani). As can be seen from the examples, there is no regularity in the quality of the stem consonant when choosing the Lithuanian ending (Italian lazzaroni gets the soft n; Italian popolani – the hard n; Italian ravioli gets the soft l; Italian credenziali – the hard l). The Italian ending -i is kept intact – i.e., in Lithuanian it does not form a diphthong – only in the word confetti (cf. confetti)14. Sometimes the adaptation is based on the plural form of the original, but it is interpreted as singular, e.g. broccoli (Italian singular broccolo), salami (Italian singular salame) and, apparently, paparazzi (Italian singular paparazzo)15. The choice of the ending -is is lawful here, it naturally replaces the final unpronounced -i (see Valeckienė 1967: 115). There are few Italian words with the singular ending -i. borrowings are mostly recent, and, except for one (kiantis < chianti, patataccis < pappataci), all denote products whose Italian names get the ending -i from ga12 it is true, sometimes in usage the form solfedis occurs, derived by analogy with the -ia stem words, interpreting solfeggio as vns. kilm. (solfeggio < solfeggio as tree < tree). 13 in the recommended list of foreign words, approved by the VlKK 2011-04-07 protocol resolution No. PN-4, proposes the plural form grafičiai. Red. note. 14 DlKG4 (p. 82) presents as normative and some linguists elsewhere corrected spaghetti. 15 The competitiveness of the forms of paparazzi and paparazzi has been examined by Vaicekauskienė (2007: 178–179). 208 Languages Culture | 84 names of inventors, e.g.: bugatis < Bugatti, feraris < Ferrari, kamparis < Campari, lamborginis < Lamborghini, martinis < Martini16. It. vns. The word buttafuori ‘stage worker, theater supervisor’ entered the Lithuanian language (butaforija) through Russian бутафория. It is not used in Italian for the meaning of ‘staging equipment’. The ending -u (ppr. -ù) is very rare in both Italian and Lithuanian. The only recorded Italianization with the ending -u is the unworthy dessert name tiramisù17. Fiat is an acronym for Fabbrica Italiana Automobili Torino (Italian for "Italian Automobile Factory"). It. mot. g. fiat first became a trademark, then metonymically began to designate any car of this brand18. Why lit. fiat got the ending -as can be explained differently. In the absence of a clear ending of the original mot. g., -as acts both as an unmarked ending and as the most characteristic ending of the Lithuanian language (see Valeckienė 1967: 128). besides, phonetically -as is a regular ending which is also of the po kietojo priebalsio. Galiausiai, fiatas susijęs su hiperonimu automobilis, masculine gender (more about the perception of foreign word gender cf. Vaicekauskienė 2007: 170 etc.). ORIGINAL AND SECONDARY FORMS As mentioned, the grammatical meaning of the ending can change for various reasons when a word is inherited. in the borrowed language one or another ending may not exist, be rare or have a different grammatical meaning. For example, in Polish, German, and Russian, consonant endings are typical of the masculine and feminine genders, so the Italian vowel ending is often discarded as unsystematic. On the other hand, when the genus of the borrower is motivated, in the borrower 16 Italian surnames with the ending -i are common, it is simply a plural form. For example, Ferrari – from it. intestine. ferraro ‘kalvis’. 17 such a name can be understood in the figurative sense of ‘lift my mood’, ‘help me recover’, etc. See also lanza 2010b. in the recommended list of foreign words, approved by the VlKK 2011-04-07 protocol resolution No. PN-4, the proposed equivalents are tiramėjasas 2, tiramisù. Red. note. 18 The new word ‘trade mark’ could be proposed for this category of metonymically used proper names. It would mean a registered trademark, a trade name, the name of the inventor or a similar word that has become generic. This type of loan word was first described by the Italian linguist B. Migliorini (1927). s. M. laNZa. Morphological adaptation of italicisms in Lithuanian language In 209 languages the ending may acquire a more rare grammatical meaning, e.g., liet. Brigela, duče, kazanova, podesta and Pulčinela, all of which denote male persons, are undoubtedly masculine genus. When Italianism is not adapted, the principles of attribution of gender in Lithuanian are quite clear. The ending -a is understood as feminine, -o, -i, -u – as masculine19. When a loanword is borrowed indirectly, it is morphologically adapted in Lithuanian despite the authentic expression of the original. therefore, the cases of mismatch in the category of gender are explained by intermediate forms, e.g. ital. mot. g. torta > rus. vyr. g. tort > lit. vyr. g. tortas, ital. vyr. g. violoncello > rus. mot. g. violonceľ > lit. mot. g. violončelė, ital. vyr. g. mosaico > pol. mot. g. mozaika > liet. mot. g. mozaika, it. mot. g. palafitta > lenk. vyr. g. palafit > lit. vyr. g. palafitas, it. vyr. g. brigantino > pr. mot. g. brigantine > lit. mot. g. brigantina, it. mot. g. porcellana > vok. Niek. g. Porzellan > lit. senior g. porcelianas. When the borrowing is most likely to have been obtained directly, usually through written language, the Italian endings -a and -o of the principal masculine and feminine g are equated with the corresponding Lithuanian endings -a and -as, e.g. mafia > mafija, mozzarella > mocarela, cappuccino > kapučinas, espresso > espreso, etc.20 Only when translating the Italian ending of both genders -e into Lithuanian -ė, which is usually characteristic of the feminine gender, gender mismatch occurs. Here, the already codified name of the cheese mascarpone is obviously based on Italian spelling (see mascarpone), although the Italian word is of the masculine gender, and the hard sound of the stone (here [n]) would better correspond to the ending -as, in addition, the form mascarpone (and also provolone, from Italian provolone, and rarely collashone, kesonas) due to the ending -one is far better also in terms of the system and fits to the already existing balcone (< Italian balcone), frontone (< Italian frontone), cartone (< Italian cartone), trombone (< Italian trombone) and vasone (< Italian vasone)21. Even more doubtful is the fact that the principles of attribution of genus are more complicated for Italian 19 borrowed from other languages where vowel endings are not common (cf. Vaicekauskienė 2007: 170 et al.). 20 this also applies to symbolic names, cf. r. Vaskelaitė’s remark: “It is possible to observe a tendency to use feminine adjectives with those symbolic names whose ending resembles the ending of feminine nouns. [...] these examples already show a certain syntactic expression of the family of symbolic nouns: [...] Mafia boss T.B. died, the first to turn his back on the notorious Sicilian “Cosa nostra” and tell the law enforcement bodies its secret r 2000 12 29” (Vaskelaitė 2003: 47). 21 Maskarpon is more systematic and takes into account the laws of word formation. the ending -one in Italian is actually an augmentative suffix. as well as the Italian cartone (from carta ‘paper’ + -one) is ‘big, thick paper’, the Italian trombone (from tromba ‘trumpet’ + -one) is ‘big trumpet’ and the Italian vasone (from vaso ‘vase’ + -one) is ‘big vase’, the word mascar pone (the old form: mascherpone, which from mascherpa ‘lean curd cheese’ + -one) means ‘strong, thick, thick’. riebus mascherpa sūris“. 210 Languages Culture | 84 v. g. latte ‘milk’ adaptation latte. but the question here is not whether the ending is properly chosen, but whether the Lithuanian language needs such a loanword at all22. number category mismatch is rare. In addition to the aforementioned borrowings, such as broccoli, where the Italian plural is the basis of the Lithuanian singular form (to them we can add lit. pomidoras > old Italian dgs. pomi d’oro ‘golden apples’), the number mismatch is only shown by the rather rare word maremai (from Italian vns. mot. g. maremma ‘marsh land on the Tyrrhenian coast’)23. Since most of the borrowings arise from the need to name a new reality, a physical object, etc., there are few italianizations of other parts of the language. According to KIs data, nouns make up 84.4% of all italics in Lithuanian, while other variable words only about 2%24. Of the latter, the most important are two numerals – zero (from Italian nulla ‘null size’ through German Null) and million (from Italian milione ‘big thousand’, probably through German Million). As you can see, they were adapted according to the rules: to the soft stem l was added the ending -is, to the hard n – the ending -as (see what was said earlier about nouns). borrowed adjectives are also rare. found only grandioso, maccheronesco, maccheronico, mercantile, pastoso. The adjective suffixes -inis, -iškas are the most common in Lithuanian (cf. DlKG4 207–210), so this morphological form is lawful. It is not excluded that the suffix -iškas itself could be a relative of Italian -esco and -ico (see skardžius 1943: §96). Twelve verbs are included in lCIs25. both possible autonomous Lithuanian derivatives from borrowed words (e.g.: inkaso > inkasuoti, koncertas > koncertuoti, tara > taruoti), and true borrowed words get the suffix -uoti26. In fact, this milk and coffee drink is called caffelatte (also caffellatte or caffè e latte) in Italian, not latte. it's just coffee with milk, or milk with coffee (the latter is perhaps more accurate, because it contains more milk than coffee). It is to be assumed that lit. latė (originally used – and still sometimes occurs – morphologically unformalized, phonetically unfounded name latè) was only an abbreviation of caffè e latte, because one word latte means milk, and not milk and coffee drink. 23 Maremai first recorded in the Russian translation tŽŽ 1969. more accurate was tŽŽ In 1936, the Marema. 24 remaining about 14% are adverbs (found 120) and emoticons (found 6). A large number of adverbs are due to the abundance of borrowings in music terminology, meaning performance references. 25 on the difficulties in generating and classifying verbs see lanza 2010a: 84. 26 seems to be the most common suffix of all borrowed verbs (cf. Vaicekauskienė 2007: 196).