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Jacob Xalabín by Jordi Vinyes

Criatures by Companyia T de Teatre

Breve antología de la poesía dominicana

Londres (Guías Visuales) by Aguilar

The life of Zamenhof (Inventor of Esperanto) by Edmond Privat

The Cambridge Companion to Velázquez

La piel curtida by Marta Allué

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Cien años de soledad by Gabriel García Márquez

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The Talented Mr Ripley by Patricia Highsmith

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Prefiero no decirlo by José Luis Miranda

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Never Let Me Go by Kazuo Ishiguro

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A desaparición da neve by Manuel Rivas

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Cuentos de hadas para adultos: la lógica del inconsciente by Carmen Fink

Sorry to have not responded earlier, But I have been in Russia since February, and internet coverage is spotty at best. I have also not had my copy of George Yule's book with me, as it resides in Scotland. But I see you have already been replied to. Just wanted to apologize for my lack of follow-up.

posted by KateClark at 6:17 pm (EST) on Aug 26, 2007

When a group of words can be differentiated, each one from the others, by changing one phoneme (always in the same position), then we have a minimal set. Thus, a minimal set based on the vowel phonemes of English would include feat, fit, fat, fate, fought, foot, and one based on consonants could have big, pig, rig, fig, dig, wig.

Phonotactics

This type of exercise involving minimal sets also allows us to see that there are indeed definite patterns to the types of sound combinations permitted in a language. In English, the minimal set we have just listed does not included forms such as lig or vig. As far as I know, these are not English words, but they can be viewed as possible English words. That is, your phonological knowledge of the pattern of sounds in English words would allow you to treat these forms as acceptable if, at some future time, they came into use. They represent 'accidental' gaps in the vocabulary of English.

posted by valzi at 4:29 pm (EST) on Apr 14, 2007

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